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RHYTHM & BLUES...63 Order Terms
5 COUNTRY .......................6 BEAT, 60s/70s ..................71 AMERICANA/ROOTS/ALT. .............22 SURF .............................83 OUTLAWS/SINGER-SONGWRITER .......23 REVIVAL/NEO ROCKABILLY ............85 WESTERN..........................27 PSYCHOBILLY ......................89 WESTERN SWING....................30 BRITISH R&R ........................90 TRUCKS & TRAINS ...................30 SKIFFLE ...........................94 C&W SOUNDTRACKS.................31 AUSTRALIAN R&R ....................95 C&W SPECIAL COLLECTIONS...........31 INSTRUMENTAL R&R/BEAT .............96 COUNTRY AUSTRALIA/NEW ZEALAND....31 COUNTRY DEUTSCHLAND/EUROPE......32 POP.............................103 COUNTRY CHRISTMAS................33 POP INSTRUMENTAL .................136 BLUEGRASS ........................33 LATIN ............................148 NEWGRASS ........................35 JAZZ .............................150 INSTRUMENTAL .....................36 SOUNDTRACKS .....................157 OLDTIME ..........................37 EISENBAHNROMANTIK ...............161 HAWAII ...........................38 CAJUN/ZYDECO ....................39 DEUTSCHE OLDIES ..............162 TEX-MEX ..........................39 KLEINKUNST / KABARETT ..............167 FOLK .............................39 Deutschland - Special Interest ..........167 WORLD ...........................41 BOOKS .........................168 ROCK & ROLL ...................43 BOOKS ...........................168 REGIONAL R&R .....................56 DISCOGRAPHIES ....................174 LABEL R&R -
Grime + Gentrification
GRIME + GENTRIFICATION In London the streets have a voice, multiple actually, afro beats, drill, Lily Allen, the sounds of the city are just as diverse but unapologetically London as the people who live here, but my sound runs at 140 bpm. When I close my eyes and imagine London I see tower blocks, the concrete isn’t harsh, it’s warm from the sun bouncing off it, almost comforting, council estates are a community, I hear grime, it’s not the prettiest of sounds but when you’ve been raised on it, it’s home. “Grime is not garage Grime is not jungle Grime is not hip-hop and Grime is not ragga. Grime is a mix between all of these with strong, hard hitting lyrics. It's the inner city music scene of London. And is also a lot to do with representing the place you live or have grown up in.” - Olly Thakes, Urban Dictionary Or at least that’s what Urban Dictionary user Olly Thake had to say on the matter back in 2006, and honestly, I couldn’t have put it better myself. Although I personally trust a geezer off of Urban Dictionary more than an out of touch journalist or Good Morning Britain to define what grime is, I understand that Urban Dictionary may not be the most reliable source due to its liberal attitude to users uploading their own definitions with very little screening and that Mr Thake’s definition may also leave you with more questions than answers about what grime actually is and how it came to be. -
With Alcohol
Faculty of Health Sciences National Drug Research Institute An ethnographic study of recreational drug use and identity management among a network of electronic dance music enthusiasts in Perth, Western Australia Rachael Renee Green This thesis is presented for the Degree of Doctor of Philosophy of Curtin University September 2012 i Declaration To the best of my knowledge and belief this thesis contains no material previously published by any other person except where due acknowledgment has been made. This thesis contains no material which has been accepted for the award of any other degree or diploma in any university. Signature: …………………………………………. Date: ………………………... ii Abstract This thesis explores the social contexts and cultural significance of amphetamine- type stimulant (ATS) and alcohol use among a social network of young adults in Perth, Western Australia. The study is positioned by the “normalisation thesis” (Parker et al . 1998), a body of scholarly work proposing that certain “sensible” forms of illicit drug use have become more culturally acceptable or normal among young people in the United Kingdom (UK) population since the 1990s. Academic discussion about cultural processes of normalisation is relevant in the Australian context, where the prevalence of illicit drug use among young adults is comparable to the UK. This thesis develops the work of Sharon Rødner Sznitman (Rødner, 2005, 2006; Rødner Sznitman, 2008), who argued that normalisation researchers have neglected the “micro-politics that drug users might be engaged in when trying to challenge the stigma attached to them” (Rødner Sznitman, 2008, pp.456-457). Ethnographic fieldwork was conducted among ‘scenesters’ – members of a social network that was based primarily on involvement in Perth’s electronic dance music (EDM) ‘scene’. -
Biography Mark Ronson Is an Internationally Renowned DJ and Five-Time-Grammy-Award-Winning and Golden Globe-Winning Artist and P
Biography Mark Ronson is an internationally renowned DJ and five-time-Grammy-Award-winning and Golden Globe-winning artist and producer. Ronson spent the first eight years of his life growing up in London, England. Having played guitar and drums from an early age, it wasn't until moving to New York City following his parents’ divorce, that he discovered DJ culture. At age 16, and already a fan of artists like A Tribe Called Quest, Run DMC and the Beastie Boys, Ronson began listening to mixtapes released by various hip hop DJs. Inspired, Ronson confiscated his step-father's vinyl collection and tried his hand at mixing. It was the first step in a career highlighted by work on a multi Grammy-winning album by Amy Winehouse, as well as his own Grammy-winning, global smash hit with Bruno Mars, "Uptown Funk." In the late 1990s into the early 2000s, the New York club scene was percolating with booming hip-hop and glitzy R&B. Ronson quickly earned himself a reputation through stints on the decks in downtown clubs before becoming the DJ of choice for many noteworthy parties. Hip-hop mogul Sean "P. Diddy" Combs hired Ronson to DJ his fabled 29th birthday bash. These and other high-profile gigs boosted Ronson's profile and connected him with other artists, many of whom were interested in collaborating. His first production gig came from British soul singer Nikka Costa and he found that his experience of working a club crowd informed his production skills. Fusing his eclectic turntable skills with his knowledge of musical instruments and songwriting, Ronson soon embarked on his first solo record. -
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. -
Our Customers
THE BIG NUMBERS Dream Wife performing at PRS Presents 2017 ANOTHER RECORD YEAR FINANCIAL PERFORMANCE REFLECTS THE ENDURING POPULARITY OF PRS MEMBERS’ MUSIC 14.7% £605.1M INCREASE ON 2016 Paid out in royalties to songwriters, composers and music publishers. M 12.7% £717.0 INCREASE ON 2016 Year-on-year revenue growth represents another high-water mark. OUR TRACK RECORD £510.8M £513.5M £537.4M £621.5M £717.0M 2013 2014 2015 2016 2017 PRS ROYALTY REVENUE 2013 - 2017 THE BUSINESS Elf Kid performing at PRS Presents WHERE THE MONEY COMES FROM STRONG GROWTH ACROSS ALL REVENUE AREAS IN 2017 £107M BROADCAST INTERNATIONAL PUBLIC PERFORMANCE ONLINE £134.6M £261.4M £198.1M £122.9M 8.5%* 5.2%* 8.1%* 52.7%* *INCREASE ON 2016 - ALL FIGURES ON A CONSTANT CURRENCY BASIS HOW THE NUMBERS BREAK DOWN BROADCAST 19% INTERNATIONAL 36% PUBLIC PERFORMANCE 28% ONLINE 17% INTERNATIONAL £261.4M EUROPE - £155.4M NORTH AMERICA - £55.0M ASIA PACIFIC - £28.5M LATIN AMERICA - £9.3M CRUISE LINES & AGENCIES - £9.7M OTHER - £3.5M PUBLIC PERFORMANCE £198.1M PUBS & CLUBS - £46.9M LIVE - £34.5M HOTELS & RESTAURANTS - £26.0M INDUSTRIAL PREMISES - £23.9M SHOPS - £21.1M CINEMAS - £8.5M OTHER - £37.2M BROADCAST £134.6M TV £84.8M RADIO £49.8M ONLINE £122.9M VIDEO-ON-DEMAND £13.8M STREAMING £103.7M DOWNLOADS £5.4M BIG DATA USES OF MUSIC REPORTED TO PRS 2013 136bn 2014 975bn 2015 2.5tn 2016 4.3tn 2017 6.6tn INVESTING IN THE FUTURE 2017 was another record breaking year, seeing our total revenue surpass the £700m mark. -
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. -
MOBO Performers PR
**Embargoed until 00.01 Wednesday September 24, 2008** MOBO AWARDS LINE UP SUPERSTARS ESTELLE AND JOHN LEGEND CONFIRM MOBO PERFORMANCES SUGABABES TEAM UP WITH TAIO CRUZ FOR UNIQUE COLLABORATION Stars from the US and UK will line-up up to play the prestigious MOBO Awards at Wembley Arena on Wednesday October 15 th . British superstar Estelle is determined to steal the show and looks set to shine on the night after receiving 5 nominations for this year’s Awards. The Londoner has achieved huge acclaim on both sides of the Atlantic with her album Shine this year. She will take her place in a line up that also includes her American mentor, label manager and fellow megastar John Legend , who was introduced to Estelle by mutual friend Kanye West. Legend signed the British singer to his Hometown Records label and launched her into the musical stratosphere. For Legend, it is doubly satisfying for Estelle to be the hot favourite on the night, “I am so excited to be able to perform at MOBO and showcase some songs from my new album,” says Legend, “I am so happy that Estelle is nominated 5 times too! She is a huge talent and it has been great to be part of her story.” Legend’s own eagerly awaited new album, Evolver , is released in October and features Estelle, Kanye West and Andre 3000. Bridging the Atlantic is Londoner Taio Cruz , a player in the US music scene where he has written for Usher, Mya and Britney Spears and had his own career mentored by Dallas Austin. -
For Everyone in the Business of Music
FOR EVERYONE IN THE BUSINESS OF MUSIC #5f>%J - .>V# f - 103S APPEARANCESOF COMPETITIONS DURING ACROSS OCTOBER ALL NETWORKS 1NCLUDING PLUS A PERFORMANCE ALL SAINTS WILL ON JO B INC THF 4?miuî?DriTcRVIEWS SCHEDULED TO AIR ON CAPITAL AND ILR NATIONAL OUTDOOR POSTER CAMPAIGN NATIONAL TV ADS MIDUNDS CHANNEL 4 & WNN^WEEK^MMFNr'MG 16TH CHANNEL 4 THROUGHOUT NOVEMBER ANn n^E TI0NALEMBER CHANNEL E PHASETHE THIRD OF THE SINGLE ALBUM 'ALL CAMPAIGN) HOOKED UP' in ,ÏSn.ANUARYil 20001 "-EAOING TH1S WILL TO U NATIONAL PRESS ADS ADS DWILL MAPPEARC INLUDING THE POPthe pdcccdaey .. ^ 5 ri ™ndMUCH more . ' So^sTHEATO S0 I■ NEWS:accelerating The theBl digital \ NEWS: A TV deal wilh NEWS: Sine is || âge under JENNY j Channelal Q 4AWARDS is giving itsthe | clubtargeting scene the in grassrootthe lead- | ■ launchVISKY.withthe of five channels |- Ij| event'shighest 11profile -year in history the up to FATBOV SLIM's I Marketing dotmusic breaks the 1m tyç barrierfor monthlyusers^ ri e a pand Music Week slster li m dotmusicmusic website has outsidebecome ofthe theTis Prst tomonthlyonthly offlciaTiy"break usetuse[ mark. thrôûitmreTïn electronlc,The figure, was auditedrecorded by across ABC July.1,254,679 dotmusic unique usersregistered and long-runningBrits TV will Brits initially organiser be staffed lisa by the16,762,198 period. pageUset impressionsnumbers have for ofAnderson, executive who producer, takes on theand positionformer DecemberIncreased by1999 70% figureslnce theof lunching Brits TV 740,964, and five-fold slnce May Awards brand could be tied to, the opportunitiescreated that in récognitionnew technolo- of lntr duci show'sIts launch links with effectively Initial TV, severs which hasthe thishave ail a yeardedicated round." i jazz-relatedalthough it isshows thought are that Wio dance- options and gyevolvingthe and new média brand," présent he says. -
Phil Sumpter Dir
Contact: Phil Sumpter Dir. of Marketing & Communications 215.925.9914 ext. 15 FOR IMMEDIATE RELEASE: April 16, 2011 UK’S SOWETO KINCH TOURS US/DEBUTS PHILLY WITH LATEST BEBOP- HIP-HOP HYBRID; SHOW SERVES AS BRIDE’S SEASON FINALE Philadelphia, PA – Painted Bride Art Center presents award-winning British-based saxophonist and MC Soweto Kinch and his latest bebop/ hip-hop hybrid release The New Emancipation. Soweto leads his quartet to the Bride’s stage to perform on Saturday, June 11 at 8pm serving as the venue’s 2011 season finale. WRTI’s J. Michael Harrison, host to the cutting- edge jazz program The Bridge, joins the Bride’s for this special presentation. “Soweto Kinch raps like a champion and plays like a dream.” – London Evening Standard Birmingham-raised, Oxford-educated saxophonist and rapper Soweto Kinch is considered the most exciting and versatile young musicians in both the British jazz and hip hop scenes. This is because of his bar none ability to weave together such diverse influences as Charlie Parker, Madlib, Ornette Coleman, Stevie Wonder and Duke Ellington with high energy and polished style. His impressive list of accolades and awards includes a Mercury Music Prize nomination, two UMA Awards, and two MOBO Awards for best Jazz Act. At the O2 Arena, London he was announced as the winner in the Best Jazz Act category- fending off stiff competition from the likes of Wynton Marsalis. His skills as a hip hop MC and producer are highly respected by the likes of KRS ONE, Dwele and TY, and he is being championed by the likes of Mos Def, Rodney P and BBC 1-Xtra’s Twin B. -
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. -
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F#m D # œ ## œ œ œ œ œ œ œ œ œ œ œ œ œ & ‰ œ œ œ œ ‰ It’s the risk that I’m tak - ing I ain’t nev - er gon - na shut you out. # œ œ œ œ œ œ œ œ œ œ ? ## œ œ œ œ œ œ œ œ œ Œ & # ? ## Œ [19] w ˙. A Bm # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # Œ ‰ & Ev - ’ry-where I’m look - ing now I’m sur-round-ed by your em - brace. Rockschool Grade Pieces # # Halo # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? # # Beyoncé | Halo [21] # w w w w SONG TITLE: HALO ALBUM: œ œ I FAM…m SACHA FIERCE D œ œ œ RELEASED: 2009# 4 œ œ œ œ œ THE MUSICAL STAVE shows pitches and & 4 œ œ œ LABEL: COLUMBIA rhythms and is divided by lines into bars. œCDœ EFG ABC DEFGABC Pitches are named aer the rst seven letters # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ GENRE: # POPœ œ œ of the alphabet. # Œ œ œ œ ≈ œ œ œ œ & ? 4 œ œ œ œ Ba - by, I can see your ha - lo. You know you’re my sav - ing grace. 4 œ œ œ VOCALS: BEYONCE œ œ œ œ PIANO: RYAN TEDDER DRUMS: JENS GAD, STEVEN JORDAN, Grace Note: Play the grace note on Pedal Marking: Depress and then release the # # or before the beat depending on the sustain pedal.