DOCSLIB.ORG

New Entry Did It

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
New Entry Did It the REPORT Issue 345 | 25 June 2014 Streaming finally counts towards the UK charts Contents: Also in this issue: from next month. And not before time given that the floor is starting to fall away from under the feet of downloads – the very format that a PAGE 6: PAGE 5: decade ago brought the singles market back to Beyond music:Beyond music: glorious life. Best in Glass?Unconsole » yourselves » A streaming chart is, however, not new as there PAGE 7: was a standalone chart launched in May 2012 Pinboard: PAGE 6: that had echoes of the 2004 chart that initially Stats, deals, Pinboard: isolated download sales before they were fully startups andStats, more deals, » folded into the singles (and then albums) chart startups and more » in 2005. PAGE 8: But rolling downloads into the UK chart was not Country profile:PAGE 7: such a big stretch no matter how slowly and United KingdomCountry » profile: tentatively the Official Charts Company (OCC) Japan » New entry did it. Buying a download was not that different from buying a CD single or a cassette. Streaming crashes into UK chart Streaming, however, marks something very, very different. It symbolises the start of the end for the unit-based obsession that has dominated The UK singles chart will contain streaming data from the British record business and, hence, the chart for over 60 years. Labels didn’t really care how next month, bringing it in line with markets like Sweden often a consumer played a song in their lifetime and the US where the very architecture of their charts – they just cared that they bought it. One play or 20,000 plays – it was all the same to them as have changed. The UK can expect tracks to take longer they’d got paid upfront. to get into the charts but, once there, to hang around. Now, however, it is all about the long game. It’s all about repeat plays as both the revenue model This will change both A&R and marketing, with new and (slowly) the chart wrap their collective head techniques deployed to get chart placings. With around access versus ownership. This issue of weighting was one that delayed the inclusion download sales now in decline, the biggest change to the of streaming into the full chart. Just how many UK chart since its inception could not be more timely. streams were the equivalent of a sale? We have COVER FEATURE the REPORT | 25 June 2014 | Page 2 continued... an answer now. It’s 100. But, as we shall see, this But the UK is nowhere near as far down the road the markets in line with the US (more of which is a number that is likely to change as streaming as Sweden. Last year, streaming accounted for below), which does include YouTube data. becomes more mainstream. just shy of 10% of UK label income according to the BPI. Downloads and CDs might be The most notable impact on the Swedish chart The UK lags behind the other markets in terms of faltering, but they make up the lion’s share of the appears to have been the elimination of singles modernising here. The US chart has historically British record business revenue so that is why zipping up the chart on week of release and been a complex cocktail of sales and airplay streaming is only tentatively counting now. tumbling back down again just as swiftly. The anyway whereas the UK chart was defiantly chart dynamic is now a lot slower and a lot sales-only. In March 2012, streaming went into the So, given that streaming is finally in the mixing steadier. US singles chart and by February 2013 YouTube bowl, what can the UK – a country where streams were also counting. It might be the consumers are arguably most interested in who “For the singles chart, it takes time to chart well,” biggest music streaming service out there but it’s is #1, if only just at Christmas – expect to happen explains Andreas Ahlenius, commercial director not counting towards the UK chart. Yet. to its beloved chart? We spoke to industry at Universal Music Sweden. “It is very different executives in the US and Sweden to ask them from the UK chart where you build a certain Nor is YouTube counting towards the Swedish level of hype, you hold everything back and how their charts have changed and what it is the reason for this is that it was worked out initially charts. For now. It is fitting that Sweden – the then release the single so the first week is very UK must prepare itself for now. in value terms – namely how many streams birthplace of Spotify, the service that arguably important – and then it usually drops from there. would be needed to generate the same value to most forced the hands of assorted national The Swedish situation: tracks will Whereas in Sweden it takes time to build up the a label as a standard download. As more people charts to jump into the streaming age – was an become slow builders and marketing number of streams that are needed to chart well in Sweden pay for Spotify (and, in its home early adopter of streaming into its charts. Back will have to evolve as it’s about listening rather than purchases. So it in October 2010, streaming started to count market, it really is the only game in town for the It makes most sense to look at Sweden first as it takes more time.” towards the singles chart and in September 2013 industry) that has made the average stream go is the most advanced market for streaming and streaming went into the album chart. This is only up in value with the net result being that fewer The most pronounced impact has been on one that adapted its singles chart four years ago fitting given that streaming accounted for 70% streams now equate, in value terms, to a single the singles chart but it is still early days for to incorporate streaming data. of label revenue in Sweden last year. It would download. streaming impacting on the album chart in Sweden. In September last year, streams started be ludicrous to not have streaming count in a When asked how they weighted streaming, An anonymous source Music Ally spoke to about to count towards album chart positions but what market shaped thus. IFPI Sweden said that they cannot make this this said, “We have had to change it over time is happening there is, for now, distinct from what public due to European to make it more relevant because the market is happening for singles. UK chart rules for streaming competition law but it is has changed. And it will continue to change.” So, understood that currently as streaming grows in the UK, we can expect a “To be honest it is all Spotify figures that make 100 streams = one download for tabulation purposes 100 streams “equal” a sale similar recalibration. up the singles chart whereas the album chart for tabulation purposes. is [a mix of] physical and Spotify,” explains As with the UK, it is only data from dedicated What is perhaps more Ahlenius. “Physical on a big release is maybe 30 seconds = length a track must be played for to qualify and licensed subscription and ad-supported interesting is the fact that 50% of the value in the chart whereas in the services that count in Sweden. So, for now, that this number has changed singles chart it is all Spotify. So that is more means YouTube streams do not count. There is 10 plays = cap on number of specific track plays by streamers (and fallen) a number dynamic and it changes more quickly.” of times since 2010. The no indication of when or if they could to bring COVER FEATURE the REPORT | 25 June 2014 | Page 3 continued... The other big impact, and related to the points streaming would have a significant impact on Chart facts (UK) raised above, is that international acts are now the chart.” 30m – 2003 single sales in the UK (25.4m/82.3% performing better in the album charts because He adds, “Since then, what I have noticed – and of them CD singles). of the recent changes. this is largely anecdotal – is that a lot of the 47.8m – 2005 single sales in the UK (55.1% of “You might have an R&B or dance act where the records that are performing very well for us are them downloads). fans don’t buy physically but they are listening rocketing up the Billboard Hot 100 chart and 183.3m – 2012 single sales in the UK (97.2% of to it on Spotify which means these acts are having an opportunity to dislodge some very them were single track downloads). now able to chart,” says Ahlenius. “A few years heavyweight competition. In the Hot 100 now you’ll see a good mix of young and new artists 3.7bn – audio streams delivered in the UK in 2012. ago it would have been very hard for an act like Rihanna, who has an audience that is young and The booking agents for live do the same.” whose records are performing incredibly well on 182m – 2013 single sales in the UK (96.4% of them streaming now having the opportunity to chart.” were single track downloads). urban, [to get high in the charts]. In a market The US situation: where YouTube like Sweden it is difficult to sell CDs – even for a Unlike the slow build of tracks that Ahlenius 7.4bn – audio streams delivered in the UK in 2013.
Load more

Recommended publications
  • Modern Dance Choreography: Beyond the Movement an Analysis Between Lyrics and Movement
    ARECLS, VOL. 16, 2019, P.65-107 Modern Dance Choreography: Beyond the Movement an Analysis between Lyrics and Movement Can identities be developed through modern dance choreography? Hayley Elizabeth Powell NEWCASTLE UNIVERSITY Abstract The following study aims to discover how narrative identities are created through modern dance choreography. In order to properly analyse this notion several methodologies are used as a means to do so. Inclusion of discourse and multimodal discourse analysis are supplemented by Laban movement analysis. Data includes a collection of modern dance videos accompanied by the song lyrics personally chosen by the researcher. The dance collection is limited to modern dance as modern dance allows for an opportunity to gain a creative insight into the abstract movements found within. In order to identify just how narratives are created sub-questions addressing audience perception of the lyrics and dance as well as the contributing factors found within costuming, location and scenery are addressed. Once all data was analysed a comparison was done to note where and when themes were seen in contributing to a narrative identity. Keywords: Modern Dance, Laban Movement Analysis, Narrative Identity, Discourse, Choreography INTRODUCTION Recognized as a universal form of communication, dance brings to life more than the spoken “word.” Within dance, most prominently, nonverbal communication serves as the element for conversing with the audience and fellow dancers. Igniting countless emotions through movement, the opportunity for narrative construction through observation and action occur. “Dance is culturally sequence patterns of human movement created and expressed for an aesthetic and/or instrumental purpose” (Pines and Giles, 2017, pg 1).
    [Show full text]
  • Official Albums Chart Rules
    Rules for Chart Eligibility Albums January 2020 Official Charts Operations Team 020 7620 7450 [email protected] www.officialcharts.com Rules for Chart Eligibility January 2020 INTRODUCTION The following Chart Rules exist to determine eligibility for entry into the Official UK Album 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 equally to all companies issuing and/or distributing recordings. They set out the conditions on which an album will be eligible for inclusion in the Chart. The rules also apply to the UK’s Official genre charts, subject to variation where appropriate. 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) under the supervision of the Official Charts Company board. 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 Official Charts Company may, at its discretion, refer any matter concerning the interpretation of the Chart Rules with respect to one or more recordings to the CSC, a designated sub-committee of the CSC or the board, for a decision. The decision of the board will be final.
    [Show full text]
  • John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
    THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums.
    [Show full text]
  • Years and Years
    Years and Years Years & Years are a three-piece synthpop band, founded in London. Years & Years’ music has been described as electropop, mixing R&B and 1990s house elements. The band’s first studio album,Communion , debuted at number one on the UK Albums Chart in July 2015 and was the fastest-selling debut album of the year from a UK signed band. Their biggest hit single King reached number one in the UK Singles Chart in March 2015, and peaked within the top ten of the charts in Australia, Austria, Bulgaria, Denmark, Germany, Luxembourg, the Netherlands, Ireland and Switzerland. Martha Kinn of Machine Management reflects on how Momentum made a difference to the rapid success of Years & Years. We were at a point where we’d reached the end of the line in terms of what we could do with our own resources. We had a real vision. We had a bit of a fan-base forming; they started to write amazing songs. We wanted to keep going independently. I remember the question (in the Momentum form) “where do you see the band in 3 years time”? We achieved that and more… Momentum funding enabled the band – then unsigned - to go on tour and campaign to further build their audience and profile. The vision was: To have a top ten single and album; to be commercially and creatively credible. We wanted to sell out Brixton. We ended up doing Brixton twice. Martha sees Momentum funding as giving the band additional space and time to develop – its sound, audience and profile – before being signed by a label: The funding gave us an extended life of independence.
    [Show full text]
  • INTRODUCTION: BLUE NOTES TOWARD a NEW JAZZ DISCOURSE I. Authority and Authenticity in Jazz Historiography Most Books and Article
    INTRODUCTION: BLUE NOTES TOWARD A NEW JAZZ DISCOURSE MARK OSTEEN, LOYOLA COLLEGE I. Authority and Authenticity in Jazz Historiography Most books and articles with "jazz" in the title are not simply about music. Instead, their authors generally use jazz music to investigate or promulgate ideas about politics or race (e.g., that jazz exemplifies democratic or American values,* or that jazz epitomizes the history of twentieth-century African Americans); to illustrate a philosophy of art (either a Modernist one or a Romantic one); or to celebrate the music as an expression of broader human traits such as conversa- tion, flexibility, and hybridity (here "improvisation" is generally the touchstone). These explorations of the broader cultural meanings of jazz constitute what is being touted as the New Jazz Studies. This proliferation of the meanings of "jazz" is not a bad thing, and in any case it is probably inevitable, for jazz has been employed as an emblem of every- thing but mere music almost since its inception. As Lawrence Levine demon- strates, in its formative years jazz—with its vitality, its sexual charge, its use of new technologies of reproduction, its sheer noisiness—was for many Americans a symbol of modernity itself (433). It was scandalous, lowdown, classless, obscene, but it was also joyous, irrepressible, and unpretentious. The music was a battlefield on which the forces seeking to preserve European high culture met the upstarts of popular culture who celebrated innovation, speed, and novelty. It 'Crouch writes: "the demands on and respect for the individual in the jazz band put democracy into aesthetic action" (161).
    [Show full text]
  • “A Powerful and Thrilling Blend of Punk, Rock, Indie and Hardcore That’Ll Get the Teeth in Your Skull Rattling.” - NME ​
    “a powerful and thrilling blend of punk, rock, indie and hardcore that’ll get the teeth in your skull rattling.” - NME ​ "they're in a field of their own... this is one of the albums of the year" - KERRANG! (5/5) ​ ​ “A debut as savage and unrelenting as their name suggests… the trio are kicking up dust and throwing it in the eyes of all that is inane and boring” - Upset (5/5) ​ ​ "post-punks making the brutal beautiful" - Total Guitar ​ ​ “A distinctive shot at post-hardcore… Brutus contribute an intriguing new voice to underground music” Rocksound ​ ​ “exciting, expansive and full of surprises” - Louder Than War (9/10) ​ ​ “‘Burst’ is a truly stunning record allowing two hostile genres (Punkrock and Postrock) to become real friends with apparent ease” - VISIONS (9/12) ​ ​ "Brutus prove they know exactly what they are doing. With this amazing debut, they deserve to get attention!" - FUZE ​ ​ “..if they were British or American, Brutus would’ve already qualified to grace the covers of Rock Sound and Kerrang!” - Record Collector (4/5) ​ ​ “Short sharp burst of genre-jumping heavy rock” - CMU ​ ​ ​ “With Burst, Brutus claims their unique spot in the Belgian rock-scene. There is no other band that sounds like this trio.” - Damusic ​ ​ “They better start packing for a tour along the world’s biggest metropolises.”- Focus Knack ​ (4/5) “‘Explosive' is the most fitting label for Brutus' debut album - 'Burst' carries masses of energy, catchy hooks and emotional melodies alike.” - Eclipsed (8.5/10) ​ ​ "The trio from Belgium releases an extraordinarily good album on Hassle Records.
    [Show full text]
  • 1 "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music S
    "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music Studies, 20, 3, 2008, 276-329 This story begins with a skinny white DJ mixing between the breaks of obscure Motown records with the ambidextrous intensity of an octopus on speed. It closes with the same man, debilitated and virtually blind, fumbling for gospel records as he spins up eternal hope in a fading dusk. In between Walter Gibbons worked as a cutting-edge discotheque DJ and remixer who, thanks to his pioneering reel-to-reel edits and contribution to the development of the twelve-inch single, revealed the immanent synergy that ran between the dance floor, the DJ booth and the recording studio. Gibbons started to mix between the breaks of disco and funk records around the same time DJ Kool Herc began to test the technique in the Bronx, and the disco spinner was as technically precise as Grandmaster Flash, even if the spinners directed their deft handiwork to differing ends. It would make sense, then, for Gibbons to be considered alongside these and other towering figures in the pantheon of turntablism, but he died in virtual anonymity in 1994, and his groundbreaking contribution to the intersecting arts of DJing and remixology has yet to register beyond disco aficionados.1 There is nothing mysterious about Gibbons's low profile. First, he operated in a culture that has been ridiculed and reviled since the "disco sucks" backlash peaked with the symbolic detonation of 40,000 disco records in the summer of 1979.
    [Show full text]
  • The Semiotics of Internet Celebrity: Gangnam Style Case
    Paper The Semiotics of Internet Celebrity: Gangnam Style Case by © Mingyi Hou (Tilburg University) [email protected] © November 2013 The Semiotics of Internet Celebrity: Gangnam Style Case Mingyi Hou Abstract: In academia, celebrity study remains an ever growing interest, especially in media and culture studies. However, few researchers have expanded their scope of exploration to the celebrities who gain stardom across national and cultural borders. The current study considers Psy and his music video Gangnam Style as a site for examining globalized language and cultural contacts. Its primary concern is to investigate Internet celebrity in the context of multimodal media representation and superdiverse semiotic repertoires. The study identified lyrics, beats, dance gestures, characters, objects and places as the major semiotic modes of expression in the video. More meanings are added while they are produced into the materialized forms. Guided by the audiences’ replies to the journalistic commentaries on Gangnam Style, the study found that the music video is a heterogeneous construct, whose semiotic resources are ordered polycentricically to resonate with different audiences. Key words: Gangnam Style, Internet celebrity, semiotic resources, multimodal discourse analysis, online ethnography 1. Introduction The current research considers “Internet celebrity” as a site for studying globalized language and culture contact. Its primary concern is to investigate Internet celebrity from the perspective of superdiverse semiotic repertoire (Blommaert and Rampton, 2011). The first purpose of the research is to identify the various modes such as lyrics and place references employed in the music video. The second purpose is to discern the audiences’ interpretations of the contents of the video ethnographically.
    [Show full text]
  • Alex Harvey and “The Tomahawk Kid”: Mode and Interpretation
    Alex Harvey and “The Tomahawk Kid”: Mode and Interpretation David Montgomery Abstract: Alex Harvey and the Sensational Alex Harvey Band achieved only marginal popularity during Harvey’s lifetime. Yet an examination of Harvey’s “The Tomahawk Kid,” based on Robert Louis Stevenson’s Treasure Island, shows an idiosyncratic musical style that combines rock and Scottish Celtic influences, subtle textual interpretation, unique compositional choices, and modal tonalities. Introduction The academic study of popular music oscillates between two preoccupations. On one hand, the dogmas of sub-cultural theory still influence popular music discourse and general cultural theory to a great degree. On the other hand, this discourse cannot escape the parameters of its label— popular. In essence, the two poles may be staked as cultural theory versus popular appreciation; but in a way difficult to describe, the application of critical theory has begun to seem more like an attempt to avoid an aesthetic conundrum— a kind of elevation of the demotic artefact to a height it cannot bear. Ever resourceful, the practitioners of popular music studies have wriggled out of this quandary and into the at least temporarily secure embrace of post­ feminist studies, world pop, and the ethnography of locale; in other words, into areas where inquiry is either of self-evident importance, exotic, or comfortably esoteric. Even if the locale is no more exotic than Glasgow, Scotland or Montgomery, Alabama, or the object mundane, the conceit of the critical stance has proven sufficient. Things change, canons crumble, time has done its work. The difficult “aesthetics” of popular music studies, the indeterminate nature of its aims, is a nagging problem.
    [Show full text]
  • The Witness Is a Monthly Publication of the First Church of Christ, Congregational, U.C.C
    The First Church of Christ, Congregational Non-Profit Org. United Church of Christ U.S. POSTAGE 81 High St. PAID HE ITNESS Suffield, CT 06078 Permit No. 328 T W Over 300 years in the heart of the community Enfield, CT for the heart of the community. Address Correction Requested Worship at First Church All worship services are at 10:00 a.m. unless otherwise noted. In This Issue September/October 2014 Pastor’s Message pg. 2 (Please join us for Coffee Hour immediately Call to Special Congregational Vote pg. 3 following the morning service in the Associate Pastor Search Comm.Update pg. 4 Ebenezer Gay Room for Women’s Fellowship News pg. 5 fellowship and conversation.) Christmas in Suffield pg. 6 Wednesday Morning Bible Study pg. 7 Mark These Dates On Your Calendar!! Way of Life & Confirmation News pg. 8 2014 Graduates pg. 9 Sept. 7 - Recovenanting Sunday Painting the Stars pg. 11 (Don’t forget to bring your school Faith Development News pg. 12 & work backpacks to church.) UCC 2014 Annual Meeting pg. 14 Sept. 14 - Church School Begins Celebrating Rick Huleatt’s Ministry pg. 15 Our Fall Kick Off (Traveling Deacons’ Corner pg. 16 with God) will be held after Church School Times pg. 17 morning worship in Vision Statement: Teachers Needed pg. 18 Fellowship Hall With God’s guidance, challenged by the lessons of Jesus’ life, we strive to be a welcoming 2014 Family Kick-Off pg. 19 Sept. 21 - Dedication of the Parsonage faith community, seeking inspiration through the Word of God. From the Music Disk pg.
    [Show full text]
  • Venturing in the Slipstream
    VENTURING IN THE SLIPSTREAM THE PLACES OF VAN MORRISON’S SONGWRITING Geoff Munns BA, MLitt, MEd (hons), PhD (University of New England) A thesis submitted for the degree of Doctor of Philosophy of Western Sydney University, October 2019. Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. .............................................................. Geoff Munns ii Abstract This thesis explores the use of place in Van Morrison’s songwriting. The central argument is that he employs place in many of his songs at lyrical and musical levels, and that this use of place as a poetic and aural device both defines and distinguishes his work. This argument is widely supported by Van Morrison scholars and critics. The main research question is: What are the ways that Van Morrison employs the concept of place to explore the wider themes of his writing across his career from 1965 onwards? This question was reached from a critical analysis of Van Morrison’s songs and recordings. A position was taken up in the study that the songwriter’s lyrics might be closely read and appreciated as song texts, and this reading could offer important insights into the scope of his life and work as a songwriter. The analysis is best described as an analytical and interpretive approach, involving a simultaneous reading and listening to each song and examining them as speech acts.
    [Show full text]
  • Transcript for October 4, 2020 Prelude (Matt Mccleskey, Guitar and Vocals)
    Worship transcript for October 4, 2020 Prelude (Matt McCleskey, guitar and vocals) “This Land Is Your Land” (Woody Guthrie) This land is your land, and this land is my land From the California, to the New York Island From the Redwood Forest, to the Gulf stream waters This land was made for you and me As I went walking that ribbon of highway I saw above me that endless skyway Saw below me the golden valley This land was made for you and me I roamed and rambled, and I’ve followed my footsteps To the sparkling sands of her diamond deserts All around me a voice was sounding This land was made for you and me When the sun come shining, then I was strolling And the wheat fields waving and the dust clouds rolling A voice was chanting as the fog was lifting This land was made for you and me This land is your land, and this land is my land From California to the New York Island From the Redwood Forest, to the Gulf stream waters This land was made for you and me Call to Worship and Chalice Lighting (Rev. Rob Keithan) Friends, we live in strange and challenging times. To get through it all, let us hold fast to our values, to our calling, and to each other. Come, let us worship together. The words for our chalice lighting come from Leslie Pohl-Kosbau, a lifelong Unitarian Universalist layperson from the First Unitarian Church of Portland, OR. Flame of fire, spark of the universe That warmed our ancestral hearth, Bringer Agent of life and death, Symbol of truth and freedom.
    [Show full text]