Music as the Key to the Cultural Soul:

An Analysis of the Nationalizing Force of Song Lyrics

by

Diane Hart

A major project submitted in partial fulfillment of the requirements for the degree of

MASTER OF ARTS in PROFESSIONAL COMMUNICATION

We accept the major project as conforming to the required standard

Dr. Bettina Heinz, Faculty Supervisor Date School of Communication & Culture Royal Roads University

Dr. Bettina Heinz, Major Project Coordinator Date School of Communication & Culture Royal Roads University

Dr. Phillip Vannini, Second Reader Date School of Communication & Culture Royal Roads University

Dr. Joshua Guilar, Director Date School of Communication & Culture Royal Roads University

Royal Roads University June 2008

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Abstract

Cultural artefacts offer insights about the culture in which they are created and consumed.

By inspecting the most popular music in nations (based on airplay and sales) one may be able to develop an understanding of the current popular sentiments held in various locations. This research project was designed to examine how popular music in three nations may reflect national identity. Lyrics of the most popular songs from the United States, the United Kingdom, and Canada provided the basis for this analysis. A discourse analysis of lyrical content helped to uncover perpetuated ideologies regarding relationships and personal values. The presence of consistent themes in each nation suggested that national identity is evident in music. Music as the Key iii

Acknowledgements

I would like to thank my major project advisor, Dr. Bettina Heinz, for her extreme patience and dedication to academic excellence. Additional appreciation goes to my second reader, Dr. Phillip

Vannini, for his attention to detail and his honesty. I am grateful for the Royal Roads University professors who have encouraged me and directed me to this point in my academic career. The constant support of my Royal Roads University peers has been paramount as it has propelled me forward with feelings of determination, confidence, and peace. I have come to realise that my major project is more than merely a Master's degree component as it has been the catalyst for discovering real life lessons.

I truly feel that it is by the infallible faith of my parents (Jean and Bill Hart) and the constant grace of God that I have completed this paper. It is to them that I dedicate my major project. Music as the Key iv

Table of Contents

Abstract ii

Acknowledgements iii

Introduction 1

Literature Review 4

Context 9

Discussion 14

Conclusions 17

Appendix A 24 Music as the Key 1

Introduction

Communication studies, due to contributions by Marshall McLuhan (1962), value the theoretical constructs offered by the concept of globalisation (Fiss & Hirsch, 2005). Fast-paced technological advances present new opportunities for multicultural and intercultural discourse.

Shared meaning is a possible result of the innovations as information is easily accessible in many locations around the world. I, however, am critical of the ease at which some communication scholars have adopted the globalisation concept to supersede the concept of national identity retention. Social codes, national traits, and identity concerns, though in a constant state of flux, may still have distinction (Fiss & Hirsch, 2005). My analysis will not only seek out national identity differentiation, then, but will also be critical of the ways that some scholars view the current technological world.

My critical discourse analysis is based on the writing of Mikko Lehtonen who contends that,

"All discursive use of language aims at producing certain effects and subject positions in

the recipient.. .[With] the concept of 'ideology' we can describe those areas of language

use that deal with the interests of different group and questions concerning power" (2000,

p. 47).

This paper analyses popular music in Canada, the United Kingdom, and the United States.

Consumers of music, although subject to influence by recording companies, have led to the popularity of the specific songs in this study. Generally accepted and constantly perpetuated lyrical content may therefore present insight into the national values.

Norman Fairclough deems that discourse analysis is an effective tool in the effort to denaturalise properties of discourse: Music as the Key 2

"Naturalized discourse conventions are a most effective mechanism for sustaining and

reproducing cultural and ideological dimensions of hegemony. Correspondingly, a

significant target of hegemonic struggle is the denaturalization of existing conventions

and replacement of them with others" (1995, p. 94).

My goal within in this project was to denaturalise the musical representations that may have begun as a personal reflection, but contributed in the production of a collective national understanding.

Though it is problematic to view national identity as a singular conceptual framework embraced by all residents of a particular location there is still validity in the perception of dominant messaging. Culture continually evolves, especially when factors such as immigration come into play. Homi Bhabha comments on the "third space" in which first generation individuals are unable to fully adopt the new culture, and are unable to retain the previously attributed culture (Bhabha, 1994, p.39). Music has the ability to impact identity when it is repeatedly presented (Karimi, 2005). Moreover, with the repetition of music singles (which are evaluated according to a national level of singles charts, given advanced airplay, and arguably more recognisable for the population) the development of collective identity is encouraged.

Notably, musical representation is more than its lyrical content: tempo, utterances, musical interludes, tone... all have distinctive impact on the message. These factors are beyond the scope of this project. Discourse analyses are also complicated by the fact that any textual sample is necessarily limited by time of selection. In this study, the results may vary depending on the timeframe during which a song is chosen. To provide a consistent standard, I chose the top three songs per month with a sample of three months to account for seasonal difference in each nation based on airplay and sales for each. Furthermore, lyrics are succinct and carefully Music as the Key 3

chosen by songwriters. Lehtonen states that in artistic literature "The fact that texts do not imitate reality but, on the contrary, textually produce it often remains unnoticed" (2000, p. 73). Lyrics

are created to be listened to, thus they constitute a body of text of analytical importance. Music as the Key 4

Literature Review

Culture is a transient concept, and cultures move from tradition to modernity and postmodernity while retaining national aspects of identity (Abril, 2006; Nadezhda, 2005; Perez,

2006). Identifying a singular music tradition as well as a singular mode of cultural expression present at any one time is not probable due to the intricacies of diversity within national culture.

It is possible, however, to note cultural influences in music (Abril, 2006). White and McCormack found that "Music can be a powerful theme as we investigate issues such as ethnicity and the struggle for equality, population growth, economics, technology, business and industry, and efficacy and empowerment within the context of social history" (2006, p. 124). Thematic trends imbedded in song lyrics provide a basis for relevant analysis as is shown by studies in both poetic and lyric discourse (White and McCormack, 2006). The use of "pop" music is also valid according to Perez since it "has the power to influence listeners and shape communities and identities" (2006, p. 86). Critical media scholars have employed constructivism to analyse entertainment media as "[users of entertainment media] are constructing further meaning in light of their .. .experience" and negotiating personal perspective with what has been popularized in society (Tisdell & Thompson, 2007, p. 656).

According to some theorists, lyrics analysed as local-specific poetry are seen to have political resonance with the nation that promotes its music (Mufti, 2004; Phua Siew Chye &

Kong, 1996). Van Sickel (2005), however, notes in his analysis of American country music that as lyrics become more laden with political messages the popularity of the song will decrease.

Thus, musicians may attempt to avoid the injection of political opinion within song lyrics for the purpose of retaining popularity. Explicitly political references may be minimal within the sample used, but the lyrics may still exist as a text detailing differentiations between nations. The Music as the Key 5 apparent contrast of Mufti and Van Sickel's findings may be due to the difference in appropriation of the term "political" as well as the vast cultural differences between the Indian sample in the work of Mufti and the American sample in the work of Van Sickel. Phua Siew

Chye and Kong (1996) were attentive to the resistance movements in Singapore and the duality of meanings present in lyrical content. Significantly, songs in their study were not only from

Singapore, but also imported from Western nations. Airplay of Western songs was restricted to avoid the promotion of foreign (and arguably controversial) themes (Phua Siew Chye & Kong,

1996).

Iran and Afghanistan also have restricted foreign music from being played and sold within their nations. The Iranian cultural revolution in 1979 mandated cultural policies based on political and religious beliefs that, while not necessarily endorsed by all Iranian citizens, remain in place today (Mansourian, 2007). In 2001 there was another surge of government control affecting music. In this instance Iran's Supreme Cultural Revolutionary Council banned

"indecent and Western music" (Karimi, 2005). Due to the black market Iran has not been able to eradicate Western music entirely (Karimi, 2005). Afghanistan has scaled back some of its strict religious laws due to international opposition but has limited airplay of Western music (Moss,

2001). The cultural policies of Afghanistan and Iran illustrate the tie between national identity and music. Other scholars, such as Vannini and Myers (2002) also employed a thematic approach to analysing lyrics as an effective way of highlighting sociological concerns.

Research dealing with national identity must recognise the multicultural and intercultural reality of nations today. According to John Hutchinson, previous scholars of national identity construction have flawed research due to their excessive emphasis on historical data, historical document support, and lack of relevance to current social conditioning (Hutchinson, Reynolds, Music as the Key 6

Smith, Colls, & Kumar, 2007). Existing studies of historical accounts of national identity tend to

stress spectacular incidences. Furthermore, high culture or folk culture is often analysed instead

of pop culture. Pop culture prevails in contemporary societies, and this gape in study may

account for the persistent separation between scholars and the non-academic world. When

studies do include pop culture, it is then used to show what is wrong with society (such as in the case of Adorno and his followers) as opposed to what is "right" or "neutral" thus widening the disconnect between analysis and modern culture (Horkheimer & Adorno, 1944). Music as the Key 7

Method

Constructivism has been used as a way of understanding the cultural and historical representation in national artefacts (Rusnock, 2007). Specifically, constructivism has been used when determining tendencies towards cultural integration versus national essentialism

(Christiansen, Jorgensen, & Weiner, 2001). This theoretical stance is beneficial to the development of this research paper as it offers an awareness of how the world is observed by various cultures. Media then becomes one of the influential factors in the creation of identity.

Consequently, lyrical expression presents a reciprocal relationship: one which is both a producer of identities and a reflection of identities as well.

Constructivism, in its sociological construct form, has been criticized for its lack of empirical grounding (Glass, 2007). Despite the claim of being difficult to define with its personal and varied implications, constructivism is validated in a complex world. A method more suited to empirical analysis may not be capable of adequately relaying depth of insight into the diversity of negotiated positions of national identity.

Critical discourse analysis (CDA) fits within constructivism as it is also concerned with the context within which discourse exists. The analysis for this paper will not only be critical of the discourse (the sample of lyrics), but will also bring an awareness into the manner in which the lyrics were exposed to the nation. Once a national or globalized standard is exposed, this paper will comparatively relate the nations to note distinctions, thematic tendencies, and unifying sentiments.

According to van Noppen, CDA linguists can:

"give people the necessary language-awareness to cast a critical glance on the verbal

universe in which they live, move and have their being, and in which they are constantly Music as the Key 8

showered with myriads of messages which deliberately or unwittingly affect their

cognition thought and action" (2004, p. 107).

My sample consisted of the top three songs in each of the three nations in three months of differing seasons (June 2007, October 2007, and January 2008). I used a total of twenty-seven songs (nine songs from each nation). The top songs were obtained from www.top40-charts.com as this source states which songs have the most sales and airplay in all three of the chosen nations (Kazakis & Giannopoulos, 2001).

As all of these nations are English speaking and Western the nuances between cultural differences may be slight. Any notable difference, however, in the construction of identity will present a useful contribution to the field of communications. Canadian national identity, specifically, is the source of much debate

Michael Toolan, a communications scholar noted for his work with critical discourse analysis, is quoted in van Noppen (2004) as saying "CDA is more useful when it is kept relatively simple, and that it should have no qualms about being prescriptive to achieve better

(fairer, less misleading) communication" (2004, p.l 10). Music as the Key 9

Context

Historically, Canada and the USA have developed as nations when their citizens

separated from the UK. Canada was a colony and the USA preferred to establish itself as an independent nation. Canada still retains its ties to the UK, but has its own government and policies. Canada has been open to the influence of other nations as memorably mentioned in

Trudeau's Multicultural Act, created in 1988. The USA, in contrast, is seen to be a melting pot to its nation with distinctive values and the 'American Dream' as a common ideal.

According to The Economist, the USA has a profound economic impact on the world.

The USA is the leading distributor to Canada making up 21.4% of the USA export industry in

2007, and 65% of the Canadian import suppliers. Canada exports 76.4% of its exports to the

USA, but that only accounts for 16% of the USA imports (which favours China instead). The UK is second on the list of Canadian leading markets, but only amounts to 3.2% of the total export market (The Economist, 2007). The USA is a strong superpower, but is currently unstable in its political condition.

An awareness of other forms of media will help to offer insight into the conditions in which the music is produced. On the level of televised media, the USA is apt to rely on material that is produced in its own nation (The Nielsen Company, 2008). The UK also favours its own programming, but has a high regard for USA based sitcoms. Canada, though distinctive with its programming and use of the MAPL system, relies on a majority of foreign material (Medley,

2007). In the recent past, the USA has developed television programming from the UK template.

Shows such as American Idol, the Office, and Big Brother were all initiated in the UK. After

USA promotion, Canada has also followed suit and developed a Canadian Idol (with less success than the American counterpart). Music as the Key 10

Music artists often establish themselves in their nations of origin, and then aspire to

'make it' in the USA. Canada, though established in the music industry and able to produce high selling artists (such as Celine Dion, Avril Lavigne, Michael Buble, Alanis Moressette), is frequently found relying on artists from the USA to entertain the Canadian population. The

MAPL system was constructed by the Canadian government to increase the Canadian music talent for the purpose of filling a cultural need and establishing the Canadian music industry

(Canadian Radio-Television & Telecommunications Commission [CRTC], 2001). These standards do not make it necessary to make the majority of all programming Canadian, but it does prove to boost the presence of Canadian music artists. UK artists do not have the concern of neighbouring nations diluting the cultural product in the same way that Canada and the USA do

(granted the UK is composed of multiple countries so it is faced with other, internal, dilemmas).

Each of these nations promotes their artists by way of award shows. The Brit Awards, Juno

Awards and Grammy Awards all have international awards but reserve the majority of the night's performances and award categories for national artists. Additionally, music festivals in each of the nations feature national talent. The UK's T in the Park festival and the USA's

Lollapalooza festival showcase mostly national artists on their main stages. Canada's Virgin

Music Festival, however, continues the pattern of subdued national promotion as it presents primarily foreign artists as the headliners. Music as the Key 11

Data Analysis

Most of the song selections from the USA airplay and sales indicate a promotion of homegrown artists. The sample includes artists who have been newly introduced to the music scene and have been managed by recording studios. Often, new artists are ushered into the music world using singles which feature established artists (such as Umbrella by Rihanna and

Apologise by One Republic). Only one artist from the USA sample is a non-native (Rihanna), but she has signed to a USA label (Island Def Jam), and has moved to the USA.

The UK will also promote local artists, but the fame is less explicitly induced by recording studios; two of the artists from this sample are winners of the X Factor television program. This show, though initially directed by the judges, permits individuals across the UK to vote for their favourite artists and identify the ultimate winner.

This project shows that Canada, in contrast, includes artists who are from the USA and

Ireland. Though it was recognised when determining an accurate sample for the project that

Canada did promote its own artists (Michael Buble, Avril Lavigne), the number one spots were most often reserved for artists of foreign origin. It is also significant that Canada included a prime spot for a Highschool Musical 2 soundtrack song as Highschool Musical is a film that is produced in the USA but has a wide international appeal. Evident in the song choices, Canada has a tendency to feature songs that are classified in the "indie" category (Perfect Crime #2 by

The Decemberists), while the USA supports primarily R&B dance music (Crank That by Soulja

Boy), and the UK promotes dance music and ballads (The Girls by Calvin Harris and Bleeding

Love by Leona Lewis). Due to copyright limitations the lyrics of songs discussed will not be present in this paper, but can be found for the reader on various Internet sources such as http://www.azlyrics.com. Music as the Key 12

Canadian songs which rose to the top of the charts are occasionally not new releases.

Consequently, it is possible to consider that it is more than the initial mediated hype that has promoted this type of song. Though Every Day is Exactly the Same by Nine Inch Nails was released in April 4, 2006, it appears as the second top song in June of 2007. This song is laden with dismay. The lyrics speak to an invisible other and include qualifying words to weaken the position of the protagonist. Additionally, it speaks of a faded dream, a faded voice, and a faded sense of self. Pretence and identity struggle are present. It is significant that it is the Canadian population and music industry that is promoting this sentiment and permitting it to resonate enough to achieve the number two spot of airplay and sales for the week of June 06, 2007.

Canadians were not content with only one Nine Inch Nails song in June 2007, but also permitted the single Survivalism to achieve the top spot for airplay and sales. Canadians have had a history of being aware of popular culture and frequently choosing to counter its ideals. As such, it is understandable why Canadians would choose to reinforce words like "propaganda" and

"revisionism" (that are found in the lyrics of Survivalism) in their musical identity construction.

Additionally, Canadians have been inclined to view themselves as survivalists due to the nature of the conditions Canadian settlers were faced with when entering the country (Taras, 2001).

Mediated Canadian representations, such as found in the acclaimed film Nanook of the North, identify a savage, cold nation where it is a struggle to survive (Flaherty, 1922). Thus, pride in national identity and "survivalism" are a part of Canadian understanding.

Contrastingly, the USA has a clearly defined sense of self and is confident in its portrayal. Stronger by Kanye West is an example of the assured nature of the nation. The chorus includes seven references to an "I" in a first person narrative. There is an impatience associated with achieving strength and obtaining goals which has been a stereotypical trait of citizens of the Music as the Key 13

USA. Certainly, this claim can be made for the personality of Kanye West and may not be an accurate depiction of all USA citizens. The Way I Are opposes the lavish claims of Kanye and the association of status with money. Instead, it comments on not having "floss", "cheese" or

"car keys" while focusing on appreciating a romantic partner the way her or she is. Even though the song appears to promote acceptance, however, the lack of money is a challenge to overcome and the song highlights the ideals of society (such as the body of Pamela Anderson, mansions, motorboats, and exotic holidays). Being without each of the aforementioned items must be addressed before the couple can proceed in their relationship.

The UK song lyrics speak less about explicitly of material desires, favoring instead an emotive resonance with its population. The majority of the lyrics from the UK discuss a romantic relationship. There are also relationship songs which question or lament the course of love. The distinction between negative love songs from the UK is that they do not relay violence with a former lover such as found in Maroon 5's Makes Me Wonder popular in the USA. Instead the lyrics are ballads and are concerning personal affect from an unpleasant love. The most telling of the examples is Bleeding Love by Leona Lewis; though love is the result of pain it is the person who chooses to love who is hurt rather than the affair seeker from the American promoted Makes

Me Wonder. Music as the Key 14

Discussion

An essentialist approach to any identity is problematic. My findings do, however, indicate the propensity for the nation to favour certain values over others.

Canada favours a cultural mosaic self perception in regard to its cultural make-up.

Embracing the wide variety of ethnic backgrounds and adapting to the flux of cultural representation, Canada's national identity is perceived to be more malleable than that of USA and the UK. Canada sometimes accepts a generalised pop sound that is appreciated worldwide

(as seen in the vast distribution and acclaim of songs from Highschool Musical 2). In other situations, as is the case with the Nine Inch Nails songs, Canadians are permitted to refer back to the historically accepted identity construction. This interpretation is consistent with those offered by scholars in the past, such as Northrop Fry who believed that Americans had a strong identity.

Fry remarked that his American students "were self-confident in the notion that their country was a superpower with a global mission. Canadians, [however] are conditioned from infancy to think of themselves as citizens of a country of uncertain identity, a confusing past, and a hazardous future" (Fry, 2003, p. 509).

The UK and USA, though modified by immigration and modernization, maintain an attachment to music that is produced within their nations. Canada, however, appears hesitant in its celebration of national artists, often defaulting to the popularity of music from the USA.

Instead, it is the constant internal quest of Canadians that inherently constructs the Canadian identity. Mike Crang, a scholar familiar with cultural representation, states "the culture is no longer seen as the outcome of material and symbolic processes but instead as the cause of those practices - a hidden essence lying behind the surface of behaviour" (1998, p. 162). Canada's Music as the Key 15 acceptance of diversity, then, exposes the reason why a range of cultural representations are present.

One of the limitations of this study may be the lack of gender distinctions between artists.

Deborah Cameron, who specializes in sociolinguistics and gender, comments in van Noppen's article that "the whole context in which different speakers communicate at different times, including the social situation of women and men" is relevant in CDA (2004, p.5). A study of gender positioning is deemed to be an integral part of the critical study of international relations

(Ala, 2006; Wong & Satzewich, 2006). The majority of the artists from the USA were males, the majority of the artists from the UK were females, and the majority of the artists from Canada were males (by a small amount). Using the sample to indicate that UK lyrics were more emotive may have come from the stereotype that females produce music that is more emotional.

Music sales and airplay has been used in this analysis as the means of developing a sample to determine nationwide priorities. Though this analysis considers the sentiments that are perpetuated on airwaves nationwide, this does not mean that the sales and airplay are effective modes of understanding the true feelings of the nation. For example, post the USA September 11 attacks in 2001 the government in the USA was aware of the impact of anti-government sentiments that were presented through music lyrics (McNair, 2003). Controversial artists were taken off radio playlists to unify the country's emotive response.

Even when songs are specifically chosen by the populace it is also plausible that music lovers may just appreciate the beat and not lyric content. Dance music, popular in the UK, is repetitive and while the lyrics may be thought to reinforce a singular thought or theme the reality may be that the lyrics are ignored in preference of the beats and the 'danceability' of the song.

Beats may also be trademarks of certain performers, such as the music producer Timbaland. The Music as the Key 16 population may recognise the beat of his music and, assuming the population has power in this regard, the songs may go to number one on the charts due to artist popularity.

Some songs may be popular due to the success of the attributed music video.

Controversial content or extreme creativity may propel the interest of the population. Artists like

Calvin Harris who are notorious for their use of suggestive female depictions in video representation may tantalize the population and may make their videos common knowledge.

Fame due to notoriety may transcend beyond the visual form and impact the sales of an album.

Some digitally based albums, found on iTunes for instance, include the videos of their top singles. Music as the Key 17

Conclusions

Ernest Gellner, noted for his contributions to the study of nationalism, has noted that "the institutionalization of cultural norms shared over a large geographical area, and the dissemination of national ideologies, can only occur in modern mass societies" (Kiesling &

Paulson, 2004, p.2). The chosen countries, then, are appropriate choices for this type of investigation into national identity creation. In countries where the mass media are not accessible to the population, nationalising constructs are not uniformly distributed. The nation will then experience a more diffused identity.

The audience studies position which I prefer is that suggested by Stuart Hall in

Encoding/Decoding: Citizens exposed to media are themselves able to establish whether they utilize a preferred reading, an oppositional reading, or a negotiated reading of the discourse

(Hall, Hobson, Love, & Willis, 1980). Consequently, there is the potential for a dominant value system of national ideals to be present, but this impact may not affect the population if the nation is critical of media. Though individuals have different interpretations and beliefs scholars have suggested that "we can identify shared meanings, habits, rituals, and ways of speaking which compromise resources that facilitate communication and establish a sense of national belonging

(Kiesling & Paulson, 2004, p. 20). Studies of national identity should not present cultural evaluations by suggesting which ideals are considered "better"; instead, the concern should revolve around the degree with which these ideals are socially imbedded (Kiesling & Paulson,

2004, p. 16).

Many of the songs featured in this project do not stay within their country of origin.

Consequently, the transient nature of the songs indicate that the songs and their lyrics may be absorbed (or reappropriated) by other cultures. The music industry works in such a way that Music as the Key 18

artists are often promoted globally. The Internet has increased the ability for individuals to seek

foreign music. Inherent in this mediated process, then, is the potential for globalization to be a

working force. Though this paper suggests that nations have distinction, Western nations in this

project have similar lyrical concerns. It is with the generalized collective understanding of the

songs that themes present themselves, namely: the USA with showmanship and the importance

of relationship values; the UK with unstable relationships but strong emotions; and Canada having a peculiar balance of environmental struggle and light-hearted life perspective. Even if a

claim of globalization could be supported, restrictions from other countries (some presented within this paper) prevent the homogenization from occurring worldwide.

As time progresses it is necessary to repeat studies concerning national identity. Though it is suggested by this study that globalisation is prematurely and simplistically attributed to the modern world, it is not impossible that a globalised world will exist in the future. Other theorists have coined terms such as "glocalization" to define the hybrid between globalisation and local culture (Storey, 2004, p.l 12). New generations of scholars may enhance understanding to a position where it evolves beyond a basic understanding of societal and cultural milieu. Music as the Key 19

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Appendix A

Top three songs based on airplay and sales for each of the months studied and separated by country.

January 2008

USA: No One - Alicia Keys Apologise - Timbaland Ft. One Republic Kiss Kiss - Chris Brown

CANADA: Apologise - Timbaland Ft. One Republic Don't Stop the Music - Rihanna Bubbly - Colbie Callait

UK: When You Believe - Leon Jackson Crank That (Soulja Boy) - Soulja Boy Bleeding Love - Leona Lewis

October 2007

USA: Crank That (Soulja Boy) - Soulja Boy Stronger - Kanye West The Way I Are - Timbaland ft. Keri Hilson

CANADA What Time is It (Highschool Musical 2) - Highschool Musical 2 Cast Bed - J. Holiday Perfect Crime #2 - The Decemberists

UK: About You Now - Sugababes Let Me Think About It - Ida Corr vs. Freddie Le Grand No U Hang Up - Shayne Ward

June 2007

USA: Umbrella - Rihanna Party Like a Rockstar - Shop Boyz Makes Me Wonder - Maroon 5 Music as the Key 25

CANADA: Survivalism - Nine Inch Nails Every Day is Exactly the Same - Nine Inch Nails Window in the Skys - U2

UK: Umbrella - Rihanna Real Girl - Mutya Buena The Girls - Calvin Harris