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All Around the World the Global Opportunity for British Music
1 all around around the world all ALL British Music for Global Opportunity The AROUND THE WORLD CONTENTS Foreword by Geoff Taylor 4 Future Trade Agreements: What the British Music Industry Needs The global opportunity for British music 6 Tariffs and Free Movement of Services and Goods 32 Ease of Movement for Musicians and Crews 33 Protection of Intellectual Property 34 How the BPI Supports Exports Enforcement of Copyright Infringement 34 Why Copyright Matters 35 Music Export Growth Scheme 12 BPI Trade Missions 17 British Music Exports: A Worldwide Summary The global music landscape Europe 40 British Music & Global Growth 20 North America 46 Increasing Global Competition 22 Asia 48 British Music Exports 23 South/Central America 52 Record Companies Fuel this Global Success 24 Australasia 54 The Story of Breaking an Artist Globally 28 the future outlook for british music 56 4 5 all around around the world all around the world all The Global Opportunity for British Music for Global Opportunity The BRITISH MUSIC IS GLOBAL, British Music for Global Opportunity The AND SO IS ITS FUTURE FOREWORD BY GEOFF TAYLOR From the British ‘invasion’ of the US in the Sixties to the The global strength of North American music is more recent phenomenal international success of Adele, enhanced by its large population size. With younger Lewis Capaldi and Ed Sheeran, the UK has an almost music fans using streaming platforms as their unrivalled heritage in producing truly global recording THE GLOBAL TOP-SELLING ARTIST principal means of music discovery, the importance stars. We are the world’s leading exporter of music after of algorithmically-programmed playlists on streaming the US – and one of the few net exporters of music in ALBUM HAS COME FROM A BRITISH platforms is growing. -
The Sound of the Next Generation a Comprehensive Review of Children and Young People’S Relationship with Music
THE SOUND OF THE NEXT GENERATION A COMPREHENSIVE REVIEW OF CHILDREN AND YOUNG PEOPLE’S RELATIONSHIP WITH MUSIC By Youth Music and Ipsos MORI The Sound of the Next Generation THE SOUND OF THE NEXT GENERATION A COMPREHENSIVE REVIEW OF CHILDREN AND YOUNG PEOPLE’S RELATIONSHIP WITH MUSIC By Youth Music and Ipsos MORI Cover Photo: The Roundhouse Trust - Roundhouse Rising Festival of Emerging Music The Sound of the Next Generation The Sound of the Next Generation CONTENTS Foreword – Matt Griffiths, CEO of Youth Music 02 With thanks to 03 Executive summary 04 About the authors 05 A note on terminology 05 The voice of the next generation 06 1) Music is integral to young people’s lives 08 Consumption channels Live music Genres and artists 2) Young people are making music more than ever before 10 Musical engagement Musical learning Music in schools 3) Patterns of engagement differ according to a young person’s background 14 Popular culture and DIY music 4) Music is a powerful contributor to young people’s wellbeing 16 Listening to music and positive emotional states Music to combat loneliness Young people’s view of their future 5) A diverse talent pool of young people supports the future of the music industry 19 Getting a job in the music industry Diversifying the music industry A win-win for education and industry 6) Music has the power to make change for the next generation 21 Appendices 22 Methodology The young musicians The expert interviewees Endnotes 24 01 Photo: The Garage The Sound of the Next Generation The Sound of the Next Generation FOREWORD – MATT GRIFFITHS, So, it’s time to reflect, look back and look forward. -
The A-Z of Brent's Black Music History
THE A-Z OF BRENT’S BLACK MUSIC HISTORY BASED ON KWAKU’S ‘BRENT BLACK MUSIC HISTORY PROJECT’ 2007 (BTWSC) CONTENTS 4 # is for... 6 A is for... 10 B is for... 14 C is for... 22 D is for... 29 E is for... 31 F is for... 34 G is for... 37 H is for... 39 I is for... 41 J is for... 45 K is for... 48 L is for... 53 M is for... 59 N is for... 61 O is for... 64 P is for... 68 R is for... 72 S is for... 78 T is for... 83 U is for... 85 V is for... 87 W is for... 89 Z is for... BRENT2020.CO.UK 2 THE A-Z OF BRENT’S BLACK MUSIC HISTORY This A-Z is largely a republishing of Kwaku’s research for the ‘Brent Black Music History Project’ published by BTWSC in 2007. Kwaku’s work is a testament to Brent’s contribution to the evolution of British black music and the commercial infrastructure to support it. His research contained separate sections on labels, shops, artists, radio stations and sound systems. In this version we have amalgamated these into a single ‘encyclopedia’ and added entries that cover the period between 2007-2020. The process of gathering Brent’s musical heritage is an ongoing task - there are many incomplete entries and gaps. If you would like to add to, or alter, an entry please send an email to [email protected] 3 4 4 HERO An influential group made up of Dego and Mark Mac, who act as the creative force; Gus Lawrence and Ian Bardouille take care of business. -
Where to Next? a Dynamic Model of User Preferences
Where To Next? A Dynamic Model of User Preferences Francesco Sanna Passino∗ Lucas Maystre Dmitrii Moor Imperial College London Spotify Spotify [email protected] [email protected] [email protected] Ashton Anderson† Mounia Lalmas University of Toronto Spotify [email protected] [email protected] ABSTRACT 1 INTRODUCTION We consider the problem of predicting users’ preferences on on- Online platforms have transformed the way users access informa- line platforms. We build on recent findings suggesting that users’ tion, audio and video content, knowledge repositories, and much preferences change over time, and that helping users expand their more. Over three decades of research and practice have demon- horizons is important in ensuring that they stay engaged. Most strated that a) learning users’ preferences, and b) personalizing existing models of user preferences attempt to capture simulta- users’ experience to match these preferences is immensely valuable neous preferences: “Users who like 퐴 tend to like 퐵 as well”. In to increase engagement and satisfaction. To this end, recommender this paper, we argue that these models fail to anticipate changing systems have emerged as essential building blocks [3]. They help preferences. To overcome this issue, we seek to understand the users find their way through large collections of items and assist structure that underlies the evolution of user preferences. To this them in discovering new content. They typically build on user pref- end, we propose the Preference Transition Model (PTM), a dynamic erence models that exploit correlations across users’ preferences. model for user preferences towards classes of items. The model As an example within the music domain, if a user likes The Beatles, enables the estimation of transition probabilities between classes of that user might also like Simon & Garfunkel, because other users items over time, which can be used to estimate how users’ tastes are who listen to the former also listen to the latter. -
Assessing Fela Anikulapo-Kuti, Lucky Dube and Alpha Blondy
humanities Article Political Messages in African Music: Assessing Fela Anikulapo-Kuti, Lucky Dube and Alpha Blondy Uche Onyebadi Department of Journalism, Texas Christian University, Fort Worth, TX 76129, USA; [email protected] Received: 30 September 2018; Accepted: 30 November 2018; Published: 6 December 2018 Abstract: Political communication inquiry principally investigates institutions such as governments and congress, and processes such as elections and political advertising. This study takes a largely unexplored route: An assessment of political messages embedded in music, with a focus on the artistic works of three male African music icons—Fela Anikulapo-Kuti (Nigeria), Lucky Dube (South Africa), and Alpha Blondy (Côte d’Ivoire). Methodologically, a purposive sample of the lyrics of songs by the musicians was textually analyzed to identify the themes and nuances in their political messaging. Framing was the theoretical underpinning. This study determined that all three musicians were vocal against corruption, citizen marginalization, and a cessation of wars and bloodshed in the continent. Keywords: Political communication; African politics; African music; Fela Anikulapo-Kuti; Alpha Blondy; Lucky Dube; textual analysis 1. Introduction Music permeates significant aspects of African society, culture, and tradition. Adebayo(2017, p. 56) opined that “to the African, music is not just a pastime, it is a ritual” that describes the true essence and humaneness in being of African origin. Cudjoe(1953, p. 280) description of the place of music among the Ewe people in Ghana typifies this African musical heritage. He observed that “music has an important place in the social life of the Ewe people. There is no activity which does not have music appropriate to it: weaver, farmer and fisherman each sings in perfect time to the rhythmic movement of (one’s) craft .. -
ROCKS, Theresa Ikoko and Claire Wilson (BAFTA 2020)
ROCKS Written by Theresa Ikoko and Claire Wilson Story by Theresa Ikoko Directed by Sarah Gavron FINAL SHOOTING SCRIPT Developed with the assistance of BFI and Film4 © 2020 Fable Pictures Ltd, The British Film Institute and Channel 4 Television Corporation CONTACT: [email protected] The cast and many other young Londoners collaborated with the writers and filmmakers to create the characters and world of our film. Some of the dialogue was improvised. 1 EXT. LONDON - SUNSET 1 It is the perfect summer day in East London. A group of 14 and 15 year old girls frolic on the rooftop of a block of flats. Hijabs, braids, tracksuits, braces, songs, banter, dance moves and laughter. This is friendship. This is London. 2 INT. OMOTOSA FLAT- BEDROOM - MORNING 2 ROCKS (real name: Shola Joy Omotosa, 15, Black (Nigerian & Jamaican)- British, cool, responsible, mature for her age, serious, stony, aloof, until she laughs. Her laugh lights up her face and all around her. She laughs like a child. We’re reminded of her age when she laughs. And when she cries) gets ready for school. Her room is small. Cluttered with belongings that aren’t hers. Plastered with stickers and pictures. Lazy attempts at putting her personal touch on the decor. 3 INT. OMOTOSA FLAT- KITCHEN - MORNING 3 A narrow kitchen. Linoleum floor. Counter tops filled with appliances, letters and other things intended to be gotten back to, at some point long passed. A radio plays. EMMANUEL (Rocks’ younger brother, 7, vivid imagination, a little spoilt, heart of gold) fries Nigerian style egg. -
One Direction Infection: Media Representations of Boy Bands and Their Fans
One Direction Infection: Media Representations of Boy Bands and their Fans Annie Lyons TC 660H Plan II Honors Program The University of Texas at Austin December 2020 __________________________________________ Renita Coleman Department of Journalism Supervising Professor __________________________________________ Hannah Lewis Department of Musicology Second Reader 2 ABSTRACT Author: Annie Lyons Title: One Direction Infection: Media Representations of Boy Bands and their Fans Supervising Professors: Renita Coleman, Ph.D. Hannah Lewis, Ph.D. Boy bands have long been disparaged in music journalism settings, largely in part to their close association with hordes of screaming teenage and prepubescent girls. As rock journalism evolved in the 1960s and 1970s, so did two dismissive and misogynistic stereotypes about female fans: groupies and teenyboppers (Coates, 2003). While groupies were scorned in rock circles for their perceived hypersexuality, teenyboppers, who we can consider an umbrella term including boy band fanbases, were defined by a lack of sexuality and viewed as shallow, immature and prone to hysteria, and ridiculed as hall markers of bad taste, despite being driving forces in commercial markets (Ewens, 2020; Sherman, 2020). Similarly, boy bands have been disdained for their perceived femininity and viewed as inauthentic compared to “real” artists— namely, hypermasculine male rock artists. While the boy band genre has evolved and experienced different eras, depictions of both the bands and their fans have stagnated in media, relying on these old stereotypes (Duffett, 2012). This paper aimed to investigate to what extent modern boy bands are portrayed differently from non-boy bands in music journalism through a quantitative content analysis coding articles for certain tropes and themes. -
Measuring Music 2015 Report Acknowledgements
MEASURING MUSIC 2015 REPORT ACKNOWLEDGEMENTS Measuring Music is created on behalf of UK Music and its UK MUSIC MEMBERS members to highlight the economic contribution of the music industry to the UK economy. 2015 is the third edition of the report, which was first published in 2013. When we published Measuring Music last year, Tony Clayton, then Chief Economist of the Intellectual Property Office (IPO) said: “The IPO welcomes UK Music’s collaborative research on the economic contribution of music. This excellent piece of work meets both the IPO’s Standards of Good Evidence and National Accounts standards.” We are pleased to continue to work collaboratively with the IPO on research, as well as with other relevant bodies including Department of Culture, Media and Sport (DCMS) and the Office for National Statistics (ONS). In particular, we are grateful to the ONS for allowing us access to the Virtual Microdata Lab (VML), which has enabled us to apply a bespoke methodology for the calculation of the music industry’s GVA. We are grateful for collaboration from all parts of the music industry with this research. Over the past two years in excess of 1,500 musicians have responded to our survey, giving us a vital and unique insight into their careers. In addition, accountants to some of the UK’s leading music acts have provided unprecedented insight into their clients’ earning structures. We have worked with all UK Music members to survey their memberships. This research would not be possible without this enthusiastic participation and vital data inputs from them. UK Music is the umbrella organisation which represents the collective interests of the UK’s commercial music industry- from artists, musicians, songwriters and composers, to record labels, LIVE MUSIC GROUP music managers, music publishers, studio producers, music • Association of Independent Festivals licensing organisations and the live music industry. -
(2020) “Listening to Other Minds. a Phenomenology of Pop Songs”, British Journal of Aesthetics
(2020) “Listening to Other Minds. A Phenomenology of Pop Songs”, British Journal of Aesthetics, DOI: http://dx.doi.org/10.1093/aesthj/ayaa018 1 Listening to Other Minds. A Phenomenology of Pop Songs ‘I hate live music’ (Bret Easton Ellis, American Psycho) This paper explores some phenomenological consequences of the ontological affinity between films and pop songs. Given the central place of the recording technology in both films and pop songs, one can wonder whether pop songs can elicit from their listeners the same kind of experience that films elicit from their spectators. Borrowing Kendall Walton’s expression, one might wonder whether pop songs encourage us to play a ‘game of make-believe’ analogous to that we play when we engage with films.1 The main part of the paper (§§ 1-7) is meant to provide a positive answer to this question. The remaining sections (§§ 8-9) illustrate and test the proposed account by contrasting paradigmatic pop songs with borderline cases. 1. The Dark Side of the Film According to Theodore Gracyk, works of rock music are sound structures encoded on recordings and properly instantiated through playbacks.2 The core claim of this ontological conception is summarized by Andrew Kania as follows: ‘rock musicians primarily construct tracks’, that is, the ‘thick’ sound structures that are ‘the primary focus of critical attention in rock’.3 Tracks, as thick sound structures, manifest ‘very thin structures of melody, harmony, and lyrics’, that is, ‘pieces of music that may be performed’.4 Although I am sympathetic to Gracyk’s and Kania’s ontological view, I do not follow them in using of the term ‘song’ to designate the ‘thin’ pieces of music manifested by the ‘thick’ works of rock. -
And This Year Celebrates Women in Music
Celebrating the Art of the Album NATIONAL ALBUM DAY RETURNS ON 16TH OCTOBER 2021 – AND THIS YEAR CELEBRATES WOMEN IN MUSIC SHARLEEN SPITERI, LAURA MVULA, RAY BLK AND JOY CROOKES CONFIRMED AS NAD ARTIST AMBASSADORS Special album re-issues, picture discs and coloured vinyl released exclusively for National Album Day from artists including: Amy Winehouse, Garbage, Haim, Roisin Murphy, Stevie Nicks, Donna Summer, Mariah Carey, Patti Smith, Solange, Lykke Li, and many more Tuesday 17th August 2021 – National Album Day returns for its fourth edition on Saturday 16th October, and this year will spotlight women artists and their huge contribution to music and culture through the art of the album. Revisiting iconic and influential albums by women artists, from the earliest pioneers to present- day legends, and pointing towards exciting new and future talent, the 2021 event will also highlight the integral role women play within the wider music community, not only as recording artists, but as songwriters, producers, and cultural influencers. We are delighted to announce our 2021 ambassadors, who will be championing their love of the album between now and the build up to the day itself. They are multi-platinum recording artist Sharleen Spiteri, 2021 Hyundai Mercury Prize shortlisted Laura Mvula, R’n’B/soul queen Ray BLK and BRITs 2020 Rising Star nominated Joy Crookes. Sharleen Spiteri, chart topping singer songwriter with the phenomenally successful band Texas said: “With albums, you go on a journey with the writer. The moment when the songs become yours, the people and places, the heartaches, and nights out in your life, merge into that album and forever stick with you. -
Nigeria's 'New Oil': Fueling the Growth of the Music
CASE STUDY NIGERIA’S ‘NEW OIL’: FUELING THE GROWTH OF THE MUSIC INDUSTRY IN LAGOS THROUGH ENTREPRENEURSHIP April 2018 Caroline Fry Georgina Campbell Flatter PhD Candidate, MIT Sloan Executive Director, The Legatum Center Senior Lecturer, MIT Sloan Sarah Jane Maxted Prof. Fiona Murray Executive Director, MIT REAP MIT Sloan Associate Dean for Innovation Co-Director, MIT Innovation Initiative Nigeria’s ‘New Oil’: Fueling the Growth of the Music Industry in Lagos through Entrepreneurship April 2018 Caroline Fry1, Georgina Campbell Flatter, Sarah-Jane Maxted, Fiona Murray This case study is dedicated to Bolaji Finnih, passed away unexpectedly in December 2017. He was a true example of the ways in which entrepreneurship can have impact. He will be remembered by all and in particular through everything he did for the MIT community as well as across the African entrepreneurship community, particularly his home city of Lagos, Nigeria. Bolaji was a 2015 MIT Sloan School of Management Fellow, 2015 MIT Legatum Center for Development and Entrepreneurship Fellow, and Team Champion of the MIT Regional Entrepreneurship Acceleration Program, Team Lagos. More than that he was a true champion of African entrepreneurship, working relentlessly to support our community, increase MIT’s engagement in Africa, and raise the profile of the African continent. Through his company, Techpreneur, he established a home and support platform for thousands of entrepreneurs across Africa. Bolaji’s dedication, optimism, and passion created a powerful dynamic both within MIT’s ecosystem and in the broader global innovation community. We celebrate his legacy by continuing to build this global community, by strengthening our commitment to developing innovation ecosystems, and by showcasing and celebrating the greatest examples of entrepreneurs, like Bolaji, doing what they do best—turning challenge into opportunity. -
Brit Awards… the Definition... Brit Pop… the Pop Music Formula
KNOWLEDGE ORGANISER: MUSICAL GENRE 8 The Definition... *Much of the music in the charts is seen as ‘pop’ music. Pop music means music that is ‘popular!’ - people are buying it and it has popular appeal and a general audience *Much pop music has been professionally produced, marketed well, promoted by concert and radio programmes such as Radio 1 and provided by record companies to make money *A ‘hit’ is a song that sells many copies and latest Brit Awards… hits are listed in the charts. To get in the charts, a song must be released as a single There are many music awards that celebrate musical achievement. The BRIT Awards cele- *Pop music changes over time. brate British popular music. In 2020, Stormzy *Pop music incorporates many styles such as R and won the award for Best Male Solo artist and B, rap, funk, soul, dance, rock and country Mabel for Best Female Solo artist. Lewis *Michael Jackson is often referred to Capaldi won awards for Best Song of the as the King of Pop and Madonna as the Year with Someone You Loved and also Best Queen of Pop New Artist. Ten years ago, Dizzee Rascal and Lily Allen won the award The Pop Music Formula... for Best Male and Female Solo artists. The BRIT Songs have a good rhythm, a catchy melody, are easy to remember and sing along to Awards have been going since the 70s. Robbie Songs usually have a chorus that repeats several times and two or more verses Williams holds the record for the most BRIT Awards.