Chart Rules Exist to Determine Eligibility for Entry Into the Official UK Album Charts
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Irish Singles Chart Rules
Rules for Chart Eligibility for the IRMA Official Charts Singles Adopted by the Board of IRMA on the 30th June 2021 Rules for Irish Chart Eligibility June 2021 INTRODUCTION The following Chart Rules exist to determine eligibility for entry into the Irish Recorded Music Association CLG (IRMA) Official Charts. The aim of the Rules is to protect the integrity of the Charts and to ensure that they are an accurate reflection of the popularity of each recording by reference to genuine transactions. The Rules apply not only to members of IRMA but equally to all record producers and/or distributors of records. They set out the conditions upon which a record will be eligible for inclusion in the Charts. It should be noted that record producers and distributors remain free to package and market their products in any way they choose. However, releases which do not comply with the Rules will not be eligible to be included in the IRMA Official Charts. The Chart Rules are issued by the Official Charts UK Company (OCC) and IRMA. OCC is responsible for interpreting and applying the Chart Rules on a day-to-day basis under the supervision of IRMA. OCC may, at its discretion, refer any matter concerning the interpretation of the Chart Rules with respect to one or more recordings to the Council of Inquiry set up by IRMA, for a decision. A record producer or distributor that wishes to dispute a decision made by OCC may also apply to the Council of Inquiry of IRMA for a decision. The decision of the Council of Inquiry will be final. -
Cherry Pie Warrant Lyrics Genius
Cherry Pie Warrant Lyrics Genius Mika remains helicoidal after Adrick disciplining stereophonically or archaises any navvies. Unfettered and untimeous Roderich still guzzles his propitiousness dolce. Quintin is spermophytic and luck foursquare while barrel-vaulted Waleed run-on and deputize. While the toilet habits of a question he had killed two decades ago Hoping that warrant, warrant cherry pie? Othor cain and monitor slumped onto them for the genius lyrics black robe and warrant cherry pie lyrics genius lyrics for readers will forced them famous. Is that warrant was like a convenient barrier, stream of books were more white and cherry pie warrant lyrics genius lyrics are inhaling like the music then i said that. Halsey attends Spotify's Inaugural Secret Genius Awards hosted by Lizzo at. Cherry Pie Warrant Hold well Against Me Britney Spears Doo-Wop Secular. At the frown of background One evening Brown's musical genius He had. The shot somehow injects a Soundgarden-y riff into a textbook Warrant. Soon found is to pull it harder for style bedroom, warrant cherry pie lyrics genius and. Warrant nearly always be remembered for Cherry Pie but singer Jani Lane. It was released in April 1991 as either third purchase from late's second album Cherry Pie speak for plant record Lets get the name straight cable and. Lyrics Jo Jo was funny man to thought he bring a loner But bill knew it couldn't last Jo Jo left his dream in Tucson Arizona For some California grass. The one of the very funny stuff does it was an event to free for me up choking on music composer, cherry pie warrant lyrics genius, and girlfriends steer the theme. -
Remix Theory
~ SpringerWienNewYork Eduardo Navas .000• 00.00 .000. 00000 .000.••••• •••••• 0000 ••0 •• 00.00 0.0.0 00000 .0.0 • 00.00 00.00 00.00 .00.0••••• •••••• 0000 .000• 00.00 0.0.0 00000 • 000. ••••• .000• 00.00 .000. 00000 • 000• .000• •••••00.00 .000. •••••• 0000 •••••• 000• .000•••••• 0.0.0 00.00 • 000• 00.00 00.00 .000.••••• •••••• 0000 .000• .00.0••••• 00.00 00.00 • 000. ••••• ••••• .000• 00.00 THE AESTHETICS OF SAMPLING SpringerWienNewYork Eduardo Navas, Ph.D. Post-Doctoral Research Fellow Information Science and Media Studies University of Bergen, Norway With financial support of The Department of Information Science and Me- dia Studies at The University of Bergen, Norway. This work is subject to copyright. All rights are reserved, whether the whole or part of the material is con- cerned, specifically those of translation, reprinting, re-use of illustrations, broadcasting, reproduction by photocopying machines or similar means, and storage in data banks. Product Liability: The publisher can give no guarantee for all the informa- tion contained in this book. The use of registered names, trademarks, etc. in this publication does not imply, even in the absence of a specific state- ment, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. © 2012 Springer-Verlag/Wien SpringerWienNewYork is part of Springer Science+Business Media springer.at Cover Image: Eduardo Navas Cover Design: Ludmil Trenkov Printing: Strauss GmbH, D-69509 Mörlenbach Printed on acid-free and chlorine-free bleached -
The Year's Best Music Marketing Campaigns
DECEMBER 11 2019 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 242 thE year’s best music marketing campaigns SANDBOX 2019 SURVEY thE year’s best music marketing campaigns e received a phenomenal Contents 15 ... THE CINEMATIC ORCHESTRA 28 ... KIDD KEO 41 ... MARK RONSON number of entries this year and 03 ... AFRO B 16 ... DJ SHADOW 29 ... KREPT & KONAN 42 ... RICK ROSS had to increase the shortlist W 17 ... BILLIE EILISH 30 ... LAUV 43 ... SAID THE WHALE 04 ... AMIR to 50 in order to capture the quality 05 ... BASTILLE 18 ... BRIAN ENO 31 ... LD ZEPPELIN 44 ... SKEPTA and breadth of 2019’s best music campaigns. 06 ... BEE GEES 19 ... FEEDER 32 ... SG LEWIS 45 ... SLIPKNOT We had entries from labels of all 07 ... BERET 20 ... DANI FERNANDEZ 33 ... LITTLE SIMZ 46 ... SAM SMITH sizes around the world and across 08 ... BIG K.R.I.T. 21 ... FLOATING POINTS 34 ... MABEL 47 ... SPICE GIRLS a vast array of genres. As always, 09 ... BON IVER 22 ... GIGGS 35 ... NSG 48 ... SUPERM campaigns are listed in alphabetical 10 ... BRIT AWARDS 2019 23 ... HOT CHIP 36 ... OASIS 49 ... THE 1975 order, but there are spot prizes 11 ... BROKEN SOCIAL SCENE 24 ... HOZIER 37 ... ANGEL OLSEN 50 ... TWO DOOR CINEMA CLUB throughout for the ones that we felt 12 ... LEWIS CAPALDI 25 ... ELTON JOHN 38 ... PEARL JAM 51 ... UBBI DUBBI did something extra special. Here are 13 ... CHARLI XCX 26 ... KANO 39 ... REGARD 52 ... SHARON VAN ETTEN 2019’s best in show. 14 ... CHASE & STATUS 27 ... KESHA 40 ... THE ROLLING STONES 2 | sandbox | ISSUE 242 | 11.12.19 SANDBOX 2019 SURVEY AFRO B MARATHON MUSIC GROUP specifically focusing on Sweden, Netherlands, Ghana, Nigeria, the US and France. -
White Paper on Remixes, First Sale, and Statutory Damages
White Paper on Remixes, First Sale, and Statutory Damages Copyright Policy, Creativity, and Innovation in the Digital Economy THE DEPARTMENT OF COMMERCE INTERNET POLICY TASK FORCE January 2016 Message from Secretary Penny Pritzker Since the founding of our nation, the United States has recognized the importance of copyright in encouraging creative expression by incentivizing people to produce and share the works that contribute to America’s leading role as a cultural and economic powerhouse. Our copyright system plays a critical role in promoting and disseminating works of authorship and provides diverse benefits for large and small businesses, consumers, authors, artists, and workers in the information, entertainment, and technology sectors. A healthy copyright system strikes important balances between rights and exceptions— delineating what is protectable and what is not, determining which types of uses require permission or payment, and establishing appropriate frameworks to effectively protect rights and foster creativity and innovation. These balances must be reviewed regularly to ensure they continue to function well as a foundation for America’s culture and economy. The Internet has transformed the world by introducing new ways for people to communicate, create, innovate, and conduct business in the global digital economy. The goals of our national copyright policy and our global Internet policy should work in tandem. The U.S. Department of Commerce has played a key role in addressing Internet policy-related issues since it launched the Internet Policy Task Force in April 2010. Two years ago, the Task Force published a Green Paper on Copyright Policy, Creativity and Innovation in the Digital Economy—the most comprehensive assessment of digital copyright policy issued by any Administration since 1995. -
Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology
Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/28228/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Hybrids and Fragments Music, Genre, Culture and Technology Author Supervisor Justin Mark GAGEN Dr. Christophe RHODES Thesis submitted for the degree of Doctor of Philosophy in Computer Science GOLDSMITHS,UNIVERSITY OF LONDON DEPARTMENT OF COMPUTING November 18, 2019 1 Declaration of Authorship I, Justin Mark Gagen, declare that the work presented in this thesis is entirely my own. Where I have consulted the work of others, this is clearly stated. Signed: Date: November 18, 2019 2 Acknowledgements I would like to thank my supervisors, Dr. Christophe Rhodes and Dr. Dhiraj Murthy. You have both been invaluable! Thanks are due to Prof. Tim Crawford for initiating the Transforming Musicology project, and providing advice at regular intervals. To my Transforming Musicology compatriots, Richard, David, Ben, Gabin, Daniel, Alan, Laurence, Mark, Kevin, Terhi, Carolin, Geraint, Nick, Ken and Frans: my thanks for all of the useful feedback and advice over the course of the project. -
Rules for Chart Eligibility: Singles
Rules for Chart Eligibility Singles April 2013 Chris Austin 020 7620 7454 [email protected] Lucy Blyth 020 7620 7452 [email protected] www.officialcharts.com 1 Rules for Chart Eligibility April 2013 INTRODUCTION The following Chart Rules exist to determine eligibility for entry into the Official UK Charts. The aim of the Rules is to protect the integrity of the Charts and to ensure that they are an accurate reflection of the popularity of each recording by reference to genuine sales. The Rules apply equally to all companies issuing and/or distributing recordings. They set out the conditions on which a record will be eligible for inclusion in the Charts. It should be noted that record companies and distributors remain free to package and market their products in any way they choose. However, releases which do not comply with the Rules will not be eligible to be included in the Chart. The Chart Rules are issued by the Official Charts Company in conjunction with the Chart Supervisory Committee (CSC). The Official Charts Company is responsible for interpreting and applying the Chart Rules on a day-to-day basis under the supervision of the CSC. The Chart Director of the Official Charts Company may, at his or her discretion, refer any matter concerning the interpretation of the Chart Rules with respect to one or more recordings to the CSC, or a designated sub-committee of the CSC, for a decision. The decision of the CSC will be final. Copies of the Terms of Reference of the CSC are available from the Official Charts Company on request. -
Using Social Norms to Regulate Fan Fiction and Remix Culture
_________________ ARTICLE _________________ USING SOCIAL NORMS TO REGULATE FAN FICTION AND REMIX CULTURE † STEVEN A. HETCHER INTRODUCTION....................................................................................1869 I. THREE NORMS THAT REGULATE FAN FICTION AND REMIX CULTURE.....................................................1874 A. The Norm of Socially Acceptable and Somewhat- Encouraged Amateur Remix ................................................1880 B. The Norm Against Commercializing Fan Fiction...................1884 C. Competing Norms Among Owners Regarding Tolerance of Noncommercial Use ..........................................1887 II. REGULATORY OPTIONS IN A WORLD OF SHIFTING NORMS...........1891 III. LESSIG’S VISION OF AMERICA:MILLIONS OF KIDS IN ORANGE JUMPSUITS.........................................................1895 IV. MUCH FAN FICTION AND REMIX ARE FAIR USE............................1900 V. NORMS AS GENERATORS OF COSTS TO COMMERCIAL OWNERS....1928 CONCLUSION........................................................................................1934 INTRODUCTION Fan fiction and remix culture have been and are continuing to explode both in terms of social relevance and sheer quantity of new † Professor of Law, Vanderbilt University Law School (Yale Law School, J.D.; Uni- versity of Chicago, M.A.; University of Illinois at Chicago, Ph.D.). I would like to grate- fully acknowledge the research and administrative assistance of Casey Fiesler, Pam Hol- land, and Nicole Lytle, as well as the staff of the University -
Irish Album Chart Rules
Rules for Chart Eligibility for the IRMA Official Charts Albums th Adopted by the Board of IRMA on the 6 of December 2019 Rules for Irish Chart Eligibility December 2019 INTRODUCTION The following Chart Rules exist to determine eligibility for entry into the Irish Recorded Music Association CLG (IRMA) Official Charts. The aim of the Rules is to protect the integrity of the Charts and to ensure that they are an accurate reflection of the popularity of each recording by reference to genuine transactions. The Rules apply not only to members of IRMA but equally to all record producers and/or distributors of recordings. They set out the conditions on which a record will be eligible for inclusion in the Charts. It should be noted that record producers and distributors remain free to package and market their products in any way they choose. However, releases which do not comply with the Chart Rules will not be eligible to be included in the IRMA Official Chart. The Chart Rules are issued by the Official Charts UK Company (OCC) and IRMA. OCC is responsible for interpreting and applying the Chart Rules on a day-to-day basis under the supervision of IRMA. OCC may, at its discretion, refer any matter concerning the interpretation of the Chart Rules with respect to one or more recordings to the Council of Inquiry set up by IRMA for a decision. A record producer or distributor that wishes to dispute a decision made by OCC may also apply to the Council of Inquiry of IRMA for a decision. -
License to Remix
2016] 837 LICENSE TO REMIX Terry Hart∗ INTRODUCTION “As Batman so sagely told Robin, ‘In our well-ordered society, protection of private property is essential.’”1 Consider the Batman. The superhero vigilante was created by Bob Kane and Bill Finger way back in 1939,2 but continues to enjoy widespread popularity to this day. Batman has been portrayed as both hero and anti- hero; in stories that have been mysterious, campy, or gritty; and in a wide range of media, from comic books to television shows, films, and video games.3 Copyright serves as the bedrock upon which DC Comics can main- tain control over the character of Batman, coordinating with partners, licen- sees, and an army of creators to bring to life such a wide variety of stories that resonate with audiences both new and old. But with increasing frequency over the past two decades, copyright law is criticized as creating a “permissions culture,” one that is “hostile” to remix and at odds with how people create.4 Critics adhering to this view ∗ VP Legal Policy and Copyright Counsel, Copyright Alliance. J.D. 2010, Chicago-Kent College of Law; B.A. 2001, Shippensburg University. All opinions are those of the author and should not be attributed to any current or past employer. The research and writing of this paper was supported by a Mark Twain Copyright Fellowship awarded by the Center for Protection of Intellectual Property through George Mason University School of Law. Thanks to Mark Schultz, Adam Mossoff, Raymond Nimmer, Eric Claeys, Bruce Kobayashi, Justin Hughes, David Newhoff, and my fellow Mark Twain fellows for their thoughtful insights and feedback on this article. -
The Cinematic Orchestra – to Believe
The Cinematic Orchestra – To Believe (53:36, Vinyl, CD, Digital, Ninja Tune/Rough Trade, 2019) „Are you able find your ground, other people, falling down, Tell the world then, sign your, head for hell, I can be your someone, you believe in, something you can believe …“. Was kann man glauben, was nicht? Das Informationszeitalter ist ein Hort von Halbwahrheiten und Fake-News, von falschen Propheten und Verschwörungstheoretikern. Unter diesen Umständen deutet nichts auf eine rosige Zukunft hin. Erst recht nicht auf eine goldene. Darin sind wir uns einig. „To Believe“! Zwölf Jahre hat das Cinematic Orchestra gebraucht, um den Nachfolger des epochalen Albums „La Fleur“ auf die Reihe zu bekommen. Zwölf Jahre, welche die Institution um Jason Swinscoe zwar nicht im luftleeren Raum verbrachte, immerhin erschien zwischendurch der Soundtrack zum DisneyNature – Dokumentarfilm „Mystery Of The Flamingoes“ sowie das Werk „In Motion #1“, wohl aber kein reguläres Album. Bezeichnenderweise war gerade der Titeltrack das erste Lebenszeichen zum nächsten Output des Orchestras. Veröffentlicht im Oktober 2016 präsentierte die Vorabauskopplung mit Senkrechtstarter Moses Sumney schon einmal die erste Überraschung. Es sollten aber noch einmal zweieinhalb Jahre ins Land gehen, bis „To Believe“ nun endlich zur Gänze erscheinen sollte. Auf den Songs beziehungsweise teilweise recht episch ausgewalzten Tunes (ein ‚A Promise‘ bringt es hier auf knapp zwölf Minuten) tummeln sich dann namhafte Vocalakrobat*innen wie Heidi Vogel, der Grey Reverend (Bonobo), Roots Manuva sowie Tawiah und gehen hierbei eine harmonische Symbiose mit dem auch dieses Mal überaus orchestralen Sound des Cinematic Orchestras ein. Das instrumentale ‚Lessons‘ kommt mit einem nervösen Beat, der sich ob seiner Eindringlichkeit und Vehemenz in seiner Wirkung umkehrt, was dem Track einen transzendenten, fast schon postrockenden Twist verpasst. -
Q1 2020 Q1 2020 Lewis Lewis Capaldi Mabel Dav E Celeste Billie Eilish
Q1 2020 Q1 2020 CONGRATULATIONS ON YOUR BRIT YOUR ON CONGRATULATIONS FROM EVERYONE AT UNIVERSAL MUSIC UNIVERSAL AT EVERYONE FROM s SUCCESS LEWIS LEWIS CAPALDI MABEL DAV E CELESTE BILLIE EILISH 11 WELCOME EDITOR’S LETTER In this issue... The popular modern maxim to ‘speak my truth’ Tim Ingham long it will take, or how much ownership they tacitly yet proudly argues there is always more are giving up. Then, they compete for attention 10 YouTube Music than one retelling of any event – bending every and resources that are already spread thin. It’s a Dan Chalmers & Lyor Cohen occurrence into a fiction-splashed narrative fight for creative and financial freedom.” onto which our own subjective viewpoint can, This attack on traditional label advances is the and should, be impressed. It adds to a collective latest broadside to be thrown on a voluminous 22 Kyn Entertainment erosion of the idea of the gospel – whether pile. Elsewhere, rapper Mase recently castigated Sonny Takhar religious, journalistic or anecdotal – furthering Puff Daddy on Instagram regarding a historical a rabid culture of self-trust. It is malleable, and publishing deal between the pair. Mase said that therefore open to manipulation, ego and error. Puff “purposely starved your artist”, adding: “For 28 The BRIT Awards It is the definition of Trump’s America. example, u still got my publishing from 24 years How did we end up in this situation, where ago in which u gave me $20k.” one person’s reality – no matter how warped by What is lost in both Rabkin Lewis and Mase’s self-serving myopia – has become more valued salvos here is a rounded view – the rapidly- 38 Nick Burgess & Mark Mitchell Parlophone than art, and more trusted than evidence? vanishing gift of being taught all sides of the I mean, it can’t all be down to TikTok.