Freddie Mercury Answer Key Level 5
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Sweet at Top of the Pops
1-4-71: Presenter: Tony Blackburn (Wiped) THE SWEET – Funny Funny ELVIS PRESLEY – There Goes My Everything (video) JIMMY RUFFIN – Let’s Say Goodbye Tomorrow CLODAGH RODGERS – Jack In The Box (video) FAME & PRICE TOGETHER – Rosetta CCS – Walkin’ (video) (danced to by Pan’s People) THE FANTASTICS – Something Old, Something New (crowd dancing) (and charts) YES – Yours Is No Disgrace T-REX – Hot Love ® HOT CHOCOLATE – You Could Have Been A Lady (crowd dancing) (and credits) ........................................................................................................................................................ THIS EDITION OF TOTP IS NO LONGER IN THE BBC ARCHIVE, HOWEVER THE DAY BEFORE THE BAND RECORDED A SHOW FOR TOPPOP AT BELLEVIEW STUDIOS IN AMSTERDAM, WEARING THE SAME STAGE OUTFITS THAT THEY HAD EARLIER WORN ON “LIFT OFF”, AND THAT THEY WOULD WEAR THE FOLLOWING DAY ON TOTP. THIS IS THE EARLIEST PICTURE I HAVE OF A TV APPEARANCE. 8-4-71: Presenter: Jimmy Savile (Wiped) THE SWEET – Funny Funny ANDY WILLIAMS – (Where Do I Begin) Love Story (video) RAY STEVENS – Bridget The Midget DAVE & ANSIL COLLINS – Double Barrel (video) PENTANGLE – Light Flight JOHN LENNON & THE PLASTIC ONO BAND – Power To The People (crowd dancing) (and charts) SEALS & CROFT – Ridin’ Thumb YVONNE ELLIMAN, MURRAY HEAD & THE TRINIDAD SINGERS – Everything's All Right YVONNE ELLIMAN, MURRAY HEAD & THE TRINIDAD SINGERS – Superstar T-REX – Hot Love ® DIANA ROSS – Remember Me (crowd dancing) (and credits) ......................................................................................................................................................... -
Top 5 Underrated Queen Songs Laura Ballinger Explores the Joys Of
Top 5 Underrated Queen Songs Laura Ballinger explores the joys of Queen’s lesser-known tracks Everyone knows the Queen classics, ‘Bohemian Rhapsody’ and ‘Killer Queen’ to name just two. But what about those songs that are less well known and equally as good? Here’s a list of five of Queen’s most underrated songs, with the albums they feature on. 1. One Vision (A Kind of Magic) In top position comes ‘One Vision’. It starts with a slow motion, sci-fi sound, building into a funky beat and a classic Brian May guitar solo. The lyrics are memorable and catchy, with a fun back story as to why they became so iconic. When the band recorded this, they played around with the lyrics, finding alternative versions of ‘one vision’ which would fit the number of syllables. Some examples include, ‘John Deacon’, ‘One sex position’, then drifting into ones that didn’t quite fit, like ‘one shrimp’ and ‘one clam’. They actually settled on ‘fried chicken’ and, if you listen closely, it’s the final line in the song. Despite the comedic aspect, this song has quite a serious and meaningful undertone. It was written following Queen’s performance at Live Aid in 1985 and depicts the joining together of millions of people, united with the ‘one vision’ of making a better world for everyone. For this reason, it makes the top of the list. 2. Death on Two Legs (Dedicated To…) (A Night at the Opera) As one of Queen’s heavier songs, it’s not for everyone. -
Brian May Plays “God Save the Queen” from the Roof of Buckingham Palace to Commemorate Queen Elizabeth II’S Golden Jubilee on June 3, 2002
Exclusive interview Brian May plays “God Save the Queen” from the roof of Buckingham Palace to commemorate Queen Elizabeth II’s Golden Jubilee on June 3, 2002. © 2002 Arthur Edwards 26 Astronomy • September 2012 As a teenager, Brian Harold May was shy, uncer- tain, insecure. “I used to think, ‘My God, I don’t know what to do, I don’t know what to wear, I don’t know who I am,’ ” he says. For a kid who didn’t know who he was or what he wanted, he had quite a future in store. Deep, abiding interests and worldwide success A life in would come on several levels, from both science and music. Like all teenagers beset by angst, it was just a matter of sorting it all out. Skiffle, stars, and 3-D A postwar baby, Brian May was born July 19, 1947. In his boyhood home on Walsham Road in Feltham on the western side of Lon- science don, England, he was an only child, the offspring of Harold, an electronics engineer and senior draftsman at the Ministry of Avia- tion, and Ruth. (Harold had served as a radio operator during World War II.) The seeds for all of May’s enduring interests came early: At age 6, Brian learned a few chords on the ukulele from his father, who was a music enthusiast. A year later, he awoke one morning to find a “Spanish guitar hanging off the end of my bed.” and At age 7, he commenced piano lessons and began playing guitar with enthusiasm, and his father’s engineering genius came in handy to fix up and repair equipment, as the family had what some called a modest income. -
The New Single by Vince James : Out
Adore yourself and start to feel so Magnificent! Vince James Announces New Single ‘Magnificent’ Preview Listen Here - https://trackdmusic.com/VinceJames/magnificent Released February 2nd, 2018 on Listen To This Records/Trackd Music distributed via AWAL and supported by Banders A positive message to kick off the year from our Welsh indie-folk raconteur Vince James who announces his new single ‘Magnificent’ set for release on February 2nd 2018 via Listen To This and collaborative recording app Trackd Music. An instantly noteworthy new voice on the scene, singer-songwriter Vince James brings simple, yet skilfully constructed songs, combined with soulful vocals and insightful storytelling through his lyrics, which are packed with astute observations from growing up in a small town in his native South Wales. ‘Magnificent’ has a very positive message that we are all more powerful than we sometime lead ourselves to believe. With foot stomping skiffle drums, blues guitar licks, hammond organ, raspy vocals and chorus lyrics such as ‘all those times you find trying, hold your head up high and come out fighting, life’s a blast, hard times will pass, let only the memories of good times last’ ‘Magnificent’ is surely an uplifting crowd pleaser of our generation. Vince James tells us to have belief and always remember how resilient we as people can be… on the song he says “The song is really a kind of motivational message, and a reminder to keep believing in what your doing and to appreciate yourself for who you are. It’s a statement to how strong we as people can be in times of struggle, and that we have the ability to choose how things effect us, whether it be good or bad. -
Final Release – 31.10.14
Final release – 31.10.14 Scientists dispel the myth of the ‘X-Factor’ in favour of the ‘Hooked Factor’ – Music that stands the test of time • The Spice Girls and Lou Bega responsible for the nation’s catchiest songs • It takes Brit’s five seconds on average to recognise the UK’s biggest selling records • Double platinum selling record – Shakira’s ‘Hips don’t lie’ is one of the least recognisable songs, despite spending four weeks at number 1 in the UK A man with an excessively high waistband, three months on one of the nation’s biggest TV shows, and a public vote are usually thought to be the formula behind creating a hit. But scientists from the Museum of Science & Industry have spent the last year immersed in data provided by over 12,000 people in the Citizen Science experiment, delving into what really makes a catchy tune that stays with us – dispelling the ‘X-Factor’ in place of the ‘Hooked Factor’. The research conducted as part of the Museum’s #HookedOnMusic online experiment and the 2014 Manchester Science Festival, reveals the most memorable songs, pinpointing the time it takes to recognise them, and identifying the most recognisable fragment or hook within the hit. The #HookedOnMusic concept was originally designed by computational musicologist, Dr John Ashley Burgoyne and colleagues at University of Amsterdam and Utrecht University. The Museum's web based version of the experiment was designed to be engaging, accessible and fun, built by The Reading Room in close collaboration with MOSI, Dr John Ashley Burgoyne and Wellcome Trust Engagement Fellow, Dr Erinma Ochu, a citizen science expert based at The University of Manchester. -
Glam Rock by Barney Hoskyns 1
Glam Rock By Barney Hoskyns There's a new sensation A fabulous creation, A danceable solution To teenage revolution Roxy Music, 1973 1: All the Young Dudes: Dawn of the Teenage Rampage Glamour – a word first used in the 18th Century as a Scottish term connoting "magic" or "enchantment" – has always been a part of pop music. With his mascara and gold suits, Elvis Presley was pure glam. So was Little Richard, with his pencil moustache and towering pompadour hairstyle. The Rolling Stones of the mid-to- late Sixties, swathed in scarves and furs, were unquestionably glam; the group even dressed in drag to push their 1966 single "Have You Seen Your Mother, Baby, Standing in the Shadow?" But it wasn't until 1971 that "glam" as a term became the buzzword for a new teenage subculture that was reacting to the messianic, we-can-change-the-world rhetoric of late Sixties rock. When T. Rex's Marc Bolan sprinkled glitter under his eyes for a TV taping of the group’s "Hot Love," it signaled a revolt into provocative style, an implicit rejection of the music to which stoned older siblings had swayed during the previous decade. "My brother’s back at home with his Beatles and his Stones," Mott the Hoople's Ian Hunter drawled on the anthemic David Bowie song "All the Young Dudes," "we never got it off on that revolution stuff..." As such, glam was a manifestation of pop's cyclical nature, its hedonism and surface show-business fizz offering a pointed contrast to the sometimes po-faced earnestness of the Woodstock era. -
Radio 1 Live Lounge
GCSE MEDIA STUDIES Factsheet Radio: Industry and Audience – Radio 1 Live Lounge DISCLAIMER This resource was designed using the most up to date information from the specification at the time it was published. Specifications are updated over time, which means there may be contradictions between the resource and the specification, therefore please use the information on the latest specification at all times. If you do notice a discrepancy please contact us on the following email address: [email protected] www.ocr.org.uk/mediastudies Industry: Production and distribution The Radio One Live Lounge is a live music series that is hosted on BBC Radio 1 and BBC Radio 1Xtra (known as 1XTra) by Clara Amfo (since May 2015). It was initially hosted by Jo Whiley on her mid- morning radio show until 2009, when Fearne Cotton took over. 2009 also saw Trevor Nelson hosting Live Lounges on his Radio 1Xtra Show, but he has since been replaced by DJ Ace (2017). 1Xtra is a digital radio channel, whereas Radio 1 is available both via analogue and digitally. Clara Amfo has a background as a presenter for Nickelodeon and CBBC. She interned in marketing at KISS FM and was nominated in 2012 for a Sony Radio Award as a ‘Rising Star’. She joined BBC Radio 1Xtra as a host of the weekend breakfast show and joined the MTV chart shows. In 2015 she became the host of The Official Chart on BBC Radio 1 - crossing over from 1Xtra - and later went on to host the Live Lounge (hosted on both Radio 1 and 1Xtra). -
Bohemian Rhapsody”: a Study of Deconstruction
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI THE MEANING OF FREDDIE MERCURY’S “BOHEMIAN RHAPSODY”: A STUDY OF DECONSTRUCTION A SARJANA PENDIDIKAN RESEARCH PAPER Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education By Alexander Angga Pramudya Student Number: 111214104 ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2018 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI THE MEANING OF FREDDIE MERCURY’S “BOHEMIAN RHAPSODY”: A STUDY OF DECONSTRUCTION A SARJANA PENDIDIKAN RESEARCH PAPER Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education By Alexander Angga Pramudya Student Number: 111214104 ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2018 i PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI DEDICATION PAGE I dedicate this paper to: Fransiskus Xaverius Suwarna Chatarina Werdiyati Silvester A. Pramuditya “It doesn’t matter one tiny bit how unfair you think the world is. It’s only what you do, right here, right now, right this instant that matters. It’s your choice to sink or swim.” Lamb of God – Delusion Pandemic “Per aspera ad astra. Through hardships to the stars.” Latin proverb “Not all treasure is silver and gold, mate.” Jack Sparrow (Pirates of The Carriben: The Curse of the Black Pearl) iv PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ABSTRACT Pramudya, Alexander Angga. -
Magazin 02-2003
2 Oldie Markt 02/03 Plattenbörsen Plattenbörsen 2003 Datum Stadt/Land Veranstaltungs-Ort Veranstalter / Telefon 2. Februar Braunschweig TU-Mensa Jürgen Schwarz ¤ (05 31) 35 18 92 2. Februar Köln Die Kantine Wolfgang W. Korte ¤ (061 01) 12 86 62 2. Februar Siegen Siegerlandhalle JoKo-Promotion ¤ (02 71) 23 20 00 2. Februar Münster Halle Münsterland ReRo ¤ (02 34) 30 15 60 8. Februar Stuttgart Liederhalle Wolfgang W. Korte ¤ (061 01) 12 86 62 8.. Februar Berlin Berlin Arena Stefan Meiner ¤ (03 41) 699 56 80 9. Februar Düsseldorf WBZ ReRo ¤ (02 34) 30 15 60 9. Februar Castrop-Rauxel Stadthalle JoKo-Promotion ¤ (02 71) 23 20 00 15. Februar Karlsruhe Badnerlandhalle Ludwig Reichmann ¤ (01 79) 697 43 12 15. Februar Kiel Legienhof Aftermath ¤ (04 31) 80 19 31 16. Februar Bochum Ruhrlandhalle ReRo ¤ (02 34) 30 15 60 22. Februar Innsbruck/A Volkshaus Reichenau Discpoint ¤ (00 43) 19 67 75 50 23. Februar Heilbronn Harmonie Wolfgang W. Korte ¤ (061 01) 12 86 62 23. Februar Nürnberg Meistersingerhalle Stefan Meiner ¤ (03 41) 699 56 80 23. Februar Darmstadt Orangerie ReRo ¤ (02 34) 30 15 60 23. Februar Bregenz/A Blumeneggsaal Discpoint ¤ (00 43) 19 67 75 50 23. Februar Den Haag/NL Atrium ARC ¤ (00 31) 229 21 38 91 27. Februar Berlin Statthaus Böcklerpark Kurt Wehrs ¤ (030) 692 61 39 Die Veröffentlichung von Veranstaltungshinweisen auf Schallplattenbörsen ist eine kostenlose Service-Leistung von Oldie-Markt. Ein Anspruch auf Veröffentlichung in obenstehendem Kalender besteht nicht. Internationale Schallplatten & CD - Börsen r l r erstmaligerstmalig 2-Tage2-Tage inin Berlin'sBerlin's grgrößößterter VeranstaltungshalleVeranstaltungshalle u a h a 3.3. -
Absence and Presence: Top of the Pops and the Demand for Music Videos in the 1960S
Absence and Presence: Top of the Pops and the demand for music videos in the 1960s Justin Smith De Montfort University Abstract Whilst there is a surprising critical consensus underpinning the myth that British music video began in the mid-1970s with Queen’s video for ‘Bohemian Rhapsody’, few scholars have pursued Mundy’s (1999) lead in locating its origins a decade earlier. Although the relationship between film and the popular song has a much longer history, this article seeks to establish that the international success of British beat groups in the first half of the 1960s encouraged television broadcasters to target the youth audience with new shows that presented their idols performing their latest hits (which normally meant miming to recorded playback). In the UK, from 1964, the BBC’s Top of the Pops created an enduring format specifically harnessed to popular music chart rankings. The argument follows that this format created a demand for the top British artists’ regular studio presence which their busy touring schedules could seldom accommodate; American artists achieving British pop chart success rarely appeared on the show in person. This frequent absence then, coupled with the desire by broadcasters elsewhere in Europe and America to present popular British acts, created a demand for pre-recorded or filmed inserts to be produced and shown in lieu of artists’ appearance. Drawing on records held at the BBC’s Written Archives and elsewhere, and interviews with a number of 1960s music video directors, this article evidences TV’s demand-driver and illustrates how the ‘pop promo’, in the hands of some, became a creative enterprise which exceeded television’s requirement to cover for an artist’s studio absence. -
Top of the Pops 18/04/68
TOP OF THE POPS 18/04/68 TOP OF THE POPS 13/06/68 Introduced by Alan Freeman & Stuart Henry Introduced by Pete Murray Englebert Humperdinck - A Man Without Love (Studio) Des O’Connor - I Pretend (Studio) (rpt) John Rowles - If I Only Had Time (Studio) Don Partridge - Blue Eyes (Studio) (rpt) Reparata & The Delrons - Captain Of Your Ship (Studio) (rpt) Donovan - Hurdy Gurdy Man (Studio) Spanky & Our Gang - Like To Get To Know You (Studio) Esther & Abi Ofarim - One More Dance (Studio) Box Tops - Cry Like A Baby (Disc/Dancers) John Rowles - Hush Not A Word To Mary (Studio) Kinks - Wonderboy (Studio) Julie Driscoll, Brian Auger & The Trinity - This Wheel’s On Fire (Studio) (rpt) Paper Dolls - Something Here In My Heart (Studio) Marmalade - Lovin’ Things (Studio) Showstoppers - Ain’t Nothing But A Houseparty (Studio) Gary Puckett & The Union Gap - Young Girl (Promo) Louis Armstrong - What A Wonderful World (Promo) TOP OF THE POPS 20/06/68 TOP OF THE POPS 25/04/68 Introduced by Stuart Henry Introduced by Jimmy Savile Cliff Richard - I’ll Love You Forever Today (Studio) 1910 Fruitgum Co - Simon Says (Disc) Des O’Connor - I Pretend (Studio) (rpt) Honeybus - I Can’t Let Maggie Go (Studio) (rpt) Don Partridge - Blue Eyes (Studio) (rpt) Jacky - White Horses (Studio) Lulu - Boy (Studio) (rpt) Sandie Shaw - Don’t Run Away (Studio) Marmalade - Lovin’ Things (Studio) Scott Walker - Joanna (Studio) Equals - Baby Come Back (Studio) Herd - I Don’t Want Our Loving To Die (Studio) (rpt) Rolling Stones - Jumping Jack Flash (Disc/Dancers) Hollies - Jennifer -
The Top of the Poppers Sing and Play Punk
Title The Top of the Poppers sing and play punk Type Article URL https://ualresearchonline.arts.ac.uk/id/eprint/14980/ Dat e 2 0 1 9 Citation Bestley, Russ (2019) The Top of the Poppers sing and play punk. Punk & Post Punk, 8 (3). pp. 399-421. ISSN 2044 1 9 8 3 Cr e a to rs Bestley, Russ Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author The Top of the Poppers sing and play punk Russ Bestley, London College of Communication By the mid-1970s, the music industry had a long history of accommodating and recuperating teenage rebellion, and punk’s defiant message of radical change also offered new opportunities for commercial enterprise. A rush to sign new bands who could be (broadly) associated with punk, and the concomitant shift toward ‘new wave’ styles, led to a degree of UK chart success for a number of groups. The inclusion of punk and new wave songs on a series of low-budget compilations featuring cover versions of contemporary hits strikes a particularly discordant tone with punk’s self-styled image of a break with traditional music industry conventions. The albums released on the longstanding budget compilation series Top of the Pops between mid-1977 and early 1982 tell an interesting story about the cultural recuperation of punk, new wave and post-punk, and ask questions, perhaps, about the legitimacy of punk’s often mythologised ‘outsider status’.