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100 Years: a Century of Song 1970S
100 Years: A Century of Song 1970s Page 130 | 100 Years: A Century of song 1970 25 Or 6 To 4 Everything Is Beautiful Lady D’Arbanville Chicago Ray Stevens Cat Stevens Abraham, Martin And John Farewell Is A Lonely Sound Leavin’ On A Jet Plane Marvin Gaye Jimmy Ruffin Peter Paul & Mary Ain’t No Mountain Gimme Dat Ding Let It Be High Enough The Pipkins The Beatles Diana Ross Give Me Just A Let’s Work Together All I Have To Do Is Dream Little More Time Canned Heat Bobbie Gentry Chairmen Of The Board Lola & Glen Campbell Goodbye Sam Hello The Kinks All Kinds Of Everything Samantha Love Grows (Where Dana Cliff Richard My Rosemary Grows) All Right Now Groovin’ With Mr Bloe Edison Lighthouse Free Mr Bloe Love Is Life Back Home Honey Come Back Hot Chocolate England World Cup Squad Glen Campbell Love Like A Man Ball Of Confusion House Of The Rising Sun Ten Years After (That’s What The Frijid Pink Love Of The World Is Today) I Don’t Believe In If Anymore Common People The Temptations Roger Whittaker Nicky Thomas Band Of Gold I Hear You Knocking Make It With You Freda Payne Dave Edmunds Bread Big Yellow Taxi I Want You Back Mama Told Me Joni Mitchell The Jackson Five (Not To Come) Black Night Three Dog Night I’ll Say Forever My Love Deep Purple Jimmy Ruffin Me And My Life Bridge Over Troubled Water The Tremeloes In The Summertime Simon & Garfunkel Mungo Jerry Melting Pot Can’t Help Falling In Love Blue Mink Indian Reservation Andy Williams Don Fardon Montego Bay Close To You Bobby Bloom Instant Karma The Carpenters John Lennon & Yoko Ono With My -
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. -
Following Hit Trail
August 4, 1962 50 Cents B1ILLE31:1A11:11111 IN/R..11910 WEEK Music -Phonograph Merchandising Radio -Tv Programming Coin Machine Operating Teen -Angle Albums MUSICBILLBOARD WEEK PAGE ONE RECORDS PAGE ONE RECORD Following Hit Trail SINGLES ALBUMS Blazed by Singles The slight pickup in LP sales which started in mid -July continued last week, sparked mainly by hit LP's with pop * NATIONAL BREAKOUTS * NATIONAL BREAKOUTS artists and a number of movie sound tracks. Though this was true in most markets there were a number of areas where LP SHE'S NOT YOU, ElvisPresley, RCA Victor MONO sales were still sluggish. Where LP business ranged from good 8041 to strong it was the fast sales pace of the hit items, especially ROSES ARE RED, Bobby Vinton, Epic LN 24020 the newer LP's, that created most of thetraffic.Hit LP's appear to be jumping to the top of charts at a much faster rate than they used to, and grabbing sales immediate?), upon STEREO release instead of after a month or two on the market. More and more the LP business, according to dealers,is following * REGIONAL BREAKOUTS No Breakouts This Week. the hit trend of the singles record market, perhaps because so These new records, not yet on BMW's Hot 100, have many of the new albums are teen -oriented. been reported getting strong sales action by dealers Meanwhile, singles business continued to flow its happy in major market(s)listedinparenthesis. way, with dealers and rackers reporting that this summer's 45 * NEW ACTION LP'S sales are the best in the last three summers. -
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. -
Andrew Loog Oldham by Rob Bowman As the Rolling Stones’ Manager and Producer, He Played a Seminal Role in the Creation of Modern Rock & Roll
Andrew Loog Oldham By Rob Bowman As the Rolling Stones’ manager and producer, he played a seminal role in the creation of modern rock & roll. IN 1965, TOM WOLFE FAMOUSLY DUBBED PHIL SPECTOR America’s first tycoon of teen. Great Britain in the 1960s had its own version with Andrew Loog Oldham. Similarly eccentric, Oldham sported a one-of-a-kind mix of flamboyance, fashion, attitude, chutz pah, vision, and business smarts. As comanager of the Rolling Stones from May 1963 to September 1967, and founder and co-owner of Im mediate Records from 1965 to 1970, he helped shape the future of rock, and certainly turned the music industry in the United Kingdom on its head. Along the way, between the ages of 19 and 23, he pro duced some of the greatest records in rock & roll history, leading Bill board to describe him as one of the top five producers in the world, and Cashbox to declare him a musical giant. ^ He was born in Lon don on January 29, 1944, during the Germans’ nightly bombard ment of England. His father, whom he never met, was Texas airman Andrew Loog, killed in June 1943 when his B-17 bomber was shot down over France. Raised by his mother, Celia Oldham, the preco cious teenager began working for Mary Quant during the day, at Ronnie Scott’s jazz club in the evening, and at the fabled Flamingo club after midnight. He also found time to form a (short-lived) pub lic relations firm with Pete Meaden, the future manager of the Who. -
(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.