The Power of Music

Total Page:16

File Type:pdf, Size:1020Kb

The Power of Music Resilience operation and I was summarily fi red. They just above embody the necessary didn’t want any risk even if this was totally unjust ingredients of successful music, to me. It took a year and a half investigation to of hit songs. It’s the combina- exonerate Columbia and me. It was traumatic tion of great melody and strong and painful, but I knew of my innocence. I lyrics that create the timeless wrote a book, kept silent and felt some sat- copyrights that we call “stan- isfaction when the documentary showed the dards.” Just think of all the great The Power of Music check I received from CBS for $1,000,000 for songs you know and have been “mail order record club rights to the record- affected by and you’ll instantly ings from the brand new record company I had hum the melody and know most just founded, Arista Records.” But starting from of the words. scratch, showing I could successfully lead a Has your work changed as brand new record company, took resilience. It a result of COVID-19 and the took belief in oneself. I knew that at Columbia anti-racist movement across An Interview with Clive Davis, Chief Creative Offi cer, Sony Music I had never outbid anyone for the artists I the U.S. and the world? signed and those artists were all rock artists. I You ask whether my EDITORS’ NOTE In the fi rst phase of from the American Foundation for a surprise, but I could, and would, discover had to hire many new executives who under- approach to my music has his career, Clive Davis was General AIDS Research. In 2002, Mary Schmidt great all-time artists. They would either be stood the rock revolution that we were to help changed during this nightmarish Counsel of Columbia Records and Campbell, dean of the Tisch School of self-contained and wrote or found their own lead. Was there doubt and anxiety? Of course. pandemic. The answer is “no.” rose to become President of the com- the Arts at New York University, and music such as Janis Joplin, Chicago, Santana, But I believed success could be enjoyed again At least half of my listening con- pany. While building the rock ros- Davis, announced a $5 million gift by Bruce Springsteen, Aerosmith, Earth Wind & and, this time, not for a major label but for a tinues to be for the purpose of ter, Davis was also strengthening Davis to the School for the creation of Fire, Billy Joel, Patti Smith and Alicia Keys, or just formed brand new company. It worked. educating my ears so I remain the label’s catalog in all fields of a new Department of Recorded Music. they would need hit songs to explode their Resilience worked! current and don’t “go over the recorded music, achieving historic That same year, Davis was saluted by career like Whitney Houston, Dionne Warwick People have relied on music to pro- hill.” Music changes and what success in the areas of R&B, coun- the New York Landmarks Conservatory and Aretha Franklin, or a combination of both vide comfort in all of the uncertainty and qualifi es as a hit today is much try, jazz and pop music. Davis left as a “Living Landmark” and he also like Barry Manilow or Carlos Santana. With the pain of the last few months. What do you different from what it was five Columbia Records in 1973 and, received the NARAS Heroes Award. absolute thrill of this discovery, music became see as the role that music can play during years ago. There’s no escaping after writing the book, Clive: Inside In 2003, the National Academy my passion. Hard work – a never ending work diffi cult times? the hard work ethic that must be The Record Business, he founded Clive Davis of Popular Music/Songwriters Hall of ethic – and a fear of failure propelled my I defi ne “resilience” as the ability to come held dear if you continue to love Arista Records with Columbia Fame made Davis the recipient of its career efforts coupled with a high standard for back from adversity. There have been several the music business. The other Pictures in the Fall of 1974 and then launched 2003 Hitmaker Award. In 2008, Davis was choosing my team members whose love of hit songs with that theme showing it to be a half of my listening continues to Arista’s Nashville division in 1988. In 1989, he appointed Chief Creative Offi cer for all of Sony music and their own personal work ethic led to very appealing musical theme. Examples are be for pleasure. Songs from the made an agreement with L.A. Reid and Babyface Music Entertainment, a change in operational years of success in beating the odds. “I Made It through the Rain” and “Looks Like great artists that mark my career to form LaFace Records. In 1994, Davis and pro- responsibility with an expansion of the artists As one of the world’s most successful We Made It” from Barry Manilow. Actually, continue to be prominent. It’s ducer/entrepreneur Sean “Puffy” Combs entered he would creatively be responsible for. Born in producers, you have helped artists express music can be great accompaniment for the still a thrill to hear great voices into a 50/50 joint venture that resulted in the Brooklyn, New York, Davis was a Phi Beta their thoughts through music. What do spirit of coming back. All you have to do is from my past and their wonder- Clive Davis with Aretha Franklin (above) and Whitney Houston (below) creation of Bad Boy Records. The nine-time Kappa graduate of New York University, where you see as the main ingredients in creating sing the musical hook of “The Theme from ful songs and then there are the Grammy winning album, Supernatural, sold he received his BA magna cum laude, and he successful music? Rocky” to understand that. World War II’s Beatles, Cole Porter, Rodgers Without my resilience, I don’t know where over 26 million copies worldwide, produced graduated with honors from Harvard Law First, it greatly helps when the artist not theme “The White Cliffs Of Dover” was very and Hammerstein, Marvin Gaye, Sam Cooke my career would be. I’m so grateful that I the #1 hits “Smooth” and “Maria Maria,” and School. only has hits but is a star in his or her own inspirational. Elton John’s “I’m Still Standing” and Prince. tapped into that resilience because I unexpect- marked the reunion of Carlos Santana and right – that they are true headliners. All the art- and Gloria Gaynor’s “I Will Survive” are still How has your personal resilience helped edly found music to be the great driving passion Clive Davis and the two accepted, as produc- You are involved in many different proj- ists mentioned above are compelling, electrify- other examples. These songs mentioned drive your work? of my life. I still cherish how much I love music ers, the Grammy for Best Album of The Year. ects and efforts. Will you highlight your ing performers who still, after many decades, and how it contributes to my enjoyment of life. Clive Davis was inducted into the Rock and Roll work and areas of focus? lift the audience out of their seats time and I’m very mindful of my continuing obligation to Hall of Fame in 2000 as the only non-performer After a lifetime of discovering new artists time again. The copyrights that they sing have the landmark artists who have passed on. The along with other legends such as Eric Clapton, and successfully relaunching the careers of become standards. The songs live on and will separate legacies of both Whitney and Aretha Earth, Wind & Fire and James Taylor. Almost major artists who looked as though they had be sung by audiences forever. So, bottom line, are very important to me. I’m co-producing the simultaneously, it was announced that the cel- peaked, I am now Chief Creative Officer of in creating successful music, you start with the biopic on the life of Whitney Houston. I’ve dis- ebrated Arista chief would be the recipient of Sony Music. My two biggest current projects song. If the song, the copyright, is special in liked as one dimensional both documentaries the Trustees Lifetime Achievement award by are co-producing the Whitney Houston Biopic melody and lyric it will live on forever and if that have come out on Whitney. Without white- NARAS at the Grammy Awards. In 2000, Davis with Anthony McCarten (Bohemian Rhapsody), it is performed by a true star, that star’s career washing any of the battles she bravely faced for began a new phase in his career, announc- and executive producing the eight-part tele- can last for 50 years or more. survival, the movie will also show her musical ing the formation of J Records which had plati- vision series for Disney on the life of Aretha How do you define resilience and genius and why she inspired millions all over num success story after success story beginning Franklin. what do you see as the role of music in the world. I’m also executive producing an with Alicia Keys followed by Maroon 5, Annie You have achieved great success in resilience? eight-part television series for Disney on the life Lennox, Luther Vandross and Rod Stewart. your career. What have been the keys As the documentary on my life the Ridley of Aretha Franklin.
Recommended publications
  • “Clive Davis Said to Me, 'When Are You Going to Get Garth out of No. 1 So I
    Turning Twenty he “good ol’ days” typically get a lot better press than they deserve. Unless, pretty easy to see where the potential on the roster was. of course, you’re talking about 1989, country music and Country radio. The Nobody knew big numbers here. I marketed the first album right along with the second one, which was what nobody got. NFL may have the quarterback class of ‘83 – Elway, Marino, Kelly, et al. – but When a new record comes out you force them to do catalog Nashville’s “Class of ‘89” tops even that illustrious group. and market them side-by-side. I was getting reorders of a T million units from one account. Amazing. You made them, “I remember this kind of stocky kid who kept coming into DuBois says. “I’d never run a record label so I can’t say it you shipped them and they disappeared.” the station because he had nothing else to do during the day,” changed all of a sudden, but radio was just so open to new The balloon was on the way up. “That Class of ‘89 says former KPLX/Dallas GM music. I used to call it the giant flush. All of a sudden there morphed into the ‘New Country’ explosion,” DuBois says. Dan Halyburton. “Garth Brooks in ‘89 and ‘90 there were a ton of artists, who had previously “I remember going from doing country fan rag interviews to would literally just hang out before been occupying chart positions, that just went away. When taking calls from Forbes and doing interviews with Business he played at a little honkytonk that that happened there was room for all this new stuff.” Week.
    [Show full text]
  • To Download a PDF of a Letter from Clive Davis, Chief Creative Officer, Sony
    Letters From Leaders Life doesn’t just go up, up and up. We all have to confront and deal with adversity at different times in our life. Determination to get through it is very important as is belief that you will get through it. I faced my toughest challenge in my life when both my parents passed away, within a year of each other, when I was 18. I had to leave my home in Brooklyn during my sophomore year at N.Y.U and go to live with my sister, her husband and their one-year-old daughter in Bayside, Queens. Because of them and an active support group of friends at N.Y.U – where I became President of the college’s Student Council – I didn’t face my loneliness and feelings of being an “orphan” until I was living alone at Harvard Law School a few years later. Given I had a lifetime aggregate sum of $4,000 to my name, I was dependent on a full tuition scholarship which I would lose if I didn’t maintain at least a “B” average. With no one from my support group present to help me get through this period of deep anxiety, I turned to the law school’s psychiatrist for a year to help get me through this dark transitional period. During this time, I learned a critical life lesson: it is certainly no sign of weakness to get professional help when needed. My next major life turning point occurred in the year 1960. I was an associate at the law fi rm of Rosenman, Colin, Petschek and Freund servicing clients such as CBS, CBS founder William Paley and other major corporations.
    [Show full text]
  • Countrybreakout Chart Covering Secondary Radio Since 2002
    COUNTRYBREAKOUT CHART COVERING SECONDARY RADIO SINCE 2002 Thursday, October 26, 2017 NEWS CHART ACTION Kid Rock Announces November Album Release, New On The Chart —Debuting This Week Artist/song/label—chart pos. Tour Set For 2018 Ross Clayton/Turn Up Again/Big Palm Entertainment — 71 Brad Paisley/Heaven South/Arista Nashville — 73 Smith & Wesley/Superman For A Day/Dream Walkin' Records — 77 Greatest Spin Increase Artist/song/label—Spin Increase Midland/Make A Little/Big Machine — 253 Brett Young/Like I Loved You/BMLG — 208 Tim McGraw & Faith Hill/The Rest Of Our Life/Arista Nashville — 201 Russell Dickerson/Yours/Triple Tigers Records — 189 LANCO/Greatest Love Story/Arista Nashville — 178 Jon Pardi/She Ain't In It/Capitol Nashville — 171 Chris Young/Losing Sleep/Sony Music — 168 Blake Shelton/I'll Name The Dogs/Warner Bros. — 160 Most Added Artist/song/label—No. of Adds Jon Pardi/She Ain't In It/Capitol Nashville — 16 Tim McGraw & Faith Hill/The Rest Of Our Life/Arista Nashville — 12 Chris Lane feat. Tori Kelly/Take Back Home Girl/Big Loud — 12 Brad Paisley/Heaven South/Arista Nashville — 10 Kid Rock will release his debut album for BBR Music Group, titled Sweet Dustin Lynch/I’d Be Jealous Too/Broken Bow Records — 7 Southern Sugar, on Nov. 3. The eclectic album marks the irst Kid Rock has Russell Dickerson/Yours/Triple Tigers Records — 5 recorded in Nashville, and includes his recent single “Tennessee Mountain Shenandoah/Noise — 5 Top.” To read the full article, click here. Lady Antebellum/Heart Break/Capitol — 5 Brett Eldredge/The Long Way/Atlantic/Warner Music Nashville/WEA Kelsea Ballerini, Reba, Maren Morris, Naill Horan Radio & Streaming — 5 Set For CMA Awards Collaborations Maren Morris feat.
    [Show full text]
  • July 23, 2021 the Musicrow Weekly Friday, July 23, 2021
    July 23, 2021 The MusicRow Weekly Friday, July 23, 2021 Taylor Swift’s Fearless (Taylor’s Version) SIGN UP HERE (FREE!) Will Not Be Submitted For Grammy, CMA Award Consideration If you were forwarded this newsletter and would like to receive it, sign up here. THIS WEEK’S HEADLINES Fearless (Taylor’s Version) Will Not Be Submitted For Grammy, CMA Awards NSAI Sets Nashville Songwriter Awards For September Big Loud Records Ups 5, Adds 2 To Promotion Team Dylan Schneider Signs With BBR Music Group Taylor Swift will not be submitting Fearless (Taylor’s Version), the re- recorded version of her 2008 studio album that released earlier this year, Dan + Shay Have Good for Grammy or CMA Awards consideration. Things In Store For August “After careful consideration, Taylor Swift will not be submitting Fearless (Taylor’s Version) in any category at this year’s upcoming Grammy and Scotty McCreery Shares CMA Awards,” says a statement provided to MusicRow from a Republic Details Of New Album Records spokesperson. “Fearless has already won four Grammys including album of the year, as well as the CMA Award for album of the Chris DeStefano Renews year in 2009/2010 and remains the most awarded country album of all With Sony Music Publishing time.” Natalie Hemby Announces The statement goes on to share that Swift’s ninth studio album, Evermore, New Album released in December of 2020, will be submitted to the Grammys for consideration in all eligible categories. Niko Moon’s Good Time Slated For August Release Evermore arrived only five months after the surprise release of Folklore, Swift’s groundbreaking eighth studio album.
    [Show full text]
  • Rekha Malhotra CV 12.31.2018
    Rekha Malhotra 37-31 73rd Street, Apt 9R, Jackson Heights, NY 11372 [email protected] www.diasporaspin.com 917.287.1917 EDUCATION Massachusetts Institute of Technology, Masters of Science in Comparative Media Studies Expected June 2019 Podcast School, Union Docs, Brooklyn, NY August 2016 Radio Bootcamp, Union Docs, Brooklyn, NY June 2015 Ableton, Dubspot, NY, NY Summer 2009 Producing Hip-Hop and Rap Music, New School For Social Research, NY, NY Spring 2001 CUNY Queens College, B.A., Urban Studies, Flushing, NY September 1998 WORK EXPERIENCE Creative Director, Sangament Media LLC f/k/a Sangament, Inc.: Entertainment Company 2000-present Consultant for India Launch, Spotify 2018 Producer, Community Connect, Inc.: owner of blackplanet.com, asianavenue.com, migente.com 2000-2001 Finance Assistant, American Documentary, Inc.: Producers of POV, PBS TV Series 1998-1999 CURATING/PRESENTING EXPERIENCE MIT DISSOLVE MUSIC CONFERENCE, Keynote Panel and Music Program, Cambridge, MA March 2018 CENTRAL PARK SUMMERSTAGE, Basement Bhangra Final Mic, Apache Indian, Panjabi MC and Guests, NY, NY August 2018 BASEMENT BHANGRA UNPLUGGED, New York University, NY, NY July 2017 BASEMENT BHANGRA, Monthly club night, Le Poisson Rouge and SOB's, NY, NY 1997-2017 BOLLYWOOD DISCO, Various Club Locations in New York City 2002-2017 OFFICIAL TRIBUTE FOR STATE OF BENGAL, Baby's All Right, Brooklyn, NY May 2015 5 RIVERS TO 5 BOROUGHS: History of Contemporary Bhangra Music, Exhibit, Panel & Performance, NY, NY March 2011 MUTINY CLUB NIGHT, Various Club Locations in
    [Show full text]
  • THE SWGRL SPOTLIGHT VOLUME 6, ISSUE 1 Page 6
    Southwest Georgia Regional Library System Presents: The SWGRL SPOTLIGHT VOLUME 6, ISSUE 1 INSIDE THIS ISSUE: Southwest Georgia 1 Regional Library to Offer A monthly E-News and Information Publication of the Southwest Georgia Regional Library System August, 2013 Downloadable Music from their Website Deposit Collections 2 Available SOUTHWEST GEORGIA REGIONAL LIBRARY TO OFFER Back to School 2 Bookmobile Schedule 3 DOWNLOADABLE MUSIC FROM THEIR WEBSITE Discuss Interesting Reads 3 The Southwest Georgia available in the Apple® App providing digital content to all Autism Spectrum Parent 4 Regional Library has joined Store and Google Play®. kinds of libraries, and is located Meeting Library Ideas™ network of in Fairfax, Virginia. The “We are very excited to offer 4 Public Library websites that Company offers music, eBook Learn to Use a Computer offer access to over 7 million a service like this that delivers and language learning solutions Toddler Time! 5 songs including Sony Music’s great music, compatibility to libraries as part of its with lots of devices and 5 developing product suite. Learn Microsoft Excel catalog of legendary artists. simplicity of use. We think 2010 Library Ideas was named “One The Freegal™ Music Service this will be incredibly popular 6 of the Top 100 Companies in Legos and Games will allow the Southwest with our patrons and will help the Digital Content Industry for Georgia Regional Library to the library in marketing all its iPads and iPhones 6 increase the size and diversity services to the community,” 2011-12” by EContent Magazine. School Craft 7 of its collection by offering said Catherine Vanstone, About Sony Music access to over 28,000 music Assistant Director.
    [Show full text]
  • Market Segmentation and Selective Exposure in Online News
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2013 Broken News: Market Segmentation and Selective Exposure in Online News Deidra Lee Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Interdisciplinary Arts and Media Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/564 This Dissertation is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © 2013 Deidra J. Lee All Rights Reserved BROKEN NEWS: MARKET SEGMENTATION AND SELECTIVE EXPOSURE IN ONLINE NEWS A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy at Virginia Commonwealth University By DEIDRA J. LEE B.A. Virginia State University M.A. Old Dominion University Marcus Messner, Ph.D. Assistant Professor of Journalism, VCU School of Mass Communications Ann Creighton-Zollar, Ph.D. VCU College of Humanities and Sciences, Emerita Richard Fine, Ph.D. Professor of English, VCU College of Humanities and Sciences Judy VanSlyke-Turk, Ph.D. VCU School of Mass Communications, Emerita Sara Wilson McKay, Ph.D. Art Education Chair, VCU School of the Arts Virginia Commonwealth University November 2013 ii Acknowledgements First and foremost, I thank God for supplying me with the spiritual strength to endure this entire doctoral process and for blessing me with a wonderful family. None of my accomplishments would be possible without Monroe, Eleanor, Vincent, Marie, David, Patricia and Daphne.
    [Show full text]
  • DENNIS KOOKER President, Global Digital Business and U.S
    Before the UNITED STATES COPYRIGHT ROYALTY JUDGES Library of Congress Washington, D.C. ) In re ) ) DETERMINATION OF ROYALTY ) DOCKET NO. 14-CRB-0001-WR RATES AND TERMS FOR ) (2016-2020) EPHEMERAL RECORDING AND ) DIGITAL PERFORMANCE OF SOUND ) RECORDINGS (WEB IV) ) ) TESTIMONY OF DENNIS KOOKER President, Global Digital Business and U.S. Sales, Sony Music Entertainment PUBLIC VERSION Witness for SoundExchange, Inc. PUBLIC VERSION TESTIMONY OF DENNIS KOOKER BACKGROUND My name is Dennis Kooker. I have been employed in the recorded music business for approximately 20 years. Since 2012, I have served as President, Global Digital Business and U.S. Sales, for Sony Music Entertainment (“Sony Music”), a wholly owned subsidiary of Sony Corporation, and currently the second largest record company in the United States. In this capacity, I am responsible for overseeing all aspects of the Global Digital Business Group and the U.S. Sales Group. The Global Digital Business Group handles business and partner development and strategy for the digital business around the world. The U.S. Sales Group oversees sales initiatives on behalf of each of Sony Music’s various label groups in the United States. The areas within the organization that report to me include Business Development & Strategy, Partner Development, Digital Finance, Digital Business & Legal Affairs, U.S. Sales, and Sony Music’s distribution service company, RED Distribution. From 2007-2012, I held two different positions at Sony Music. First, I was Executive Vice President, Operations, for the Global Digital Business and U.S. Sales, and oversaw physical sales, aspects of marketing and finance for the division, new product development, and customer relationship management activities in relation to Sony Music’s artist websites.
    [Show full text]
  • American Foreign Policy, the Recording Industry, and Punk Rock in the Cold War
    Georgia State University ScholarWorks @ Georgia State University History Dissertations Department of History Spring 5-10-2017 Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War Mindy Clegg Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/history_diss Recommended Citation Clegg, Mindy, "Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War." Dissertation, Georgia State University, 2017. https://scholarworks.gsu.edu/history_diss/58 This Dissertation is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. MUSIC FOR THE INTERNATIONAL MASSES: AMERICAN FOREIGN POLICY, THE RECORDING INDUSTRY, AND PUNK ROCK IN THE COLD WAR by MINDY CLEGG Under the Direction of ALEX SAYF CUMMINGS, PhD ABSTRACT This dissertation explores the connections between US foreign policy initiatives, the global expansion of the American recording industry, and the rise of punk in the 1970s and 1980s. The material support of the US government contributed to the globalization of the recording industry and functioned as a facet American-style consumerism. As American culture spread, so did questions about the Cold War and consumerism. As young people began to question the Cold War order they still consumed American mass culture as a way of rebelling against the establishment. But corporations complicit in the Cold War produced this mass culture. Punks embraced cultural rebellion like hippies.
    [Show full text]
  • June 28, 2021
    MMI PROFILE RON FAIR JUNE 28, 2021 JUNE 28, 2021 Tab le o f Contents 5 #1 Songs This Week 6 powers 8 action/ recurrents 9 hotzone / developing 10 pro-file 1 2 video streaming 14 country callout 16 future tracks 18 intelescope 19 intelevision 20 methodolgy 21 the back page Songs this week #1 BY MMI COMPOSITE CATEGORIES 6.28.21 ai r p lay DIERKS BENTLEY “Gone” retenTion MIRANDA LAMBERT “Settling Down” callout LUKE COMBS “Forever After All” audio LUKE COMBS “Forever After All” VIDEO LUKE COMBS “Forever After All” SALES NELLY & FLORIDA GEORGIA LINE “Lil’ Bit” COMPOSITE LUKE COMBS “Forever After All” MondayMorningIntel.com CLICK HERE to E-MAIL Monday Morning Intel with your thoughts, suggestions, or ideas. mmi-powers 6.28.21 Weighted Airplay, Retention Scores, Streaming Scores, and Sales Scores this week combined and equally weighted deviser Powers Rankers. TW RK TW RK TW RK TW RK TW RK TW RK TW COMP AIRPLAY RETENTION CALLOUT AUDIO VIDEO SALES RANK ARTIST TITLE LABEL 2 8 1 1 1 2 1 LUKE COMBS Forever After All River House/Columbia Nash 3 4 3 3 5 3 2 CHRIS YOUNG & KANE BROWN Famous Friends RCA Nashville 4 2 7 18 16 10 3 COLE SWINDELL Single Saturday Night Warner/WMN 5 6 8 6 14 18 4 JASON ALDEAN Blame It On You Macon Music/Broken Bow 7 1 17 7 13 15 5 MIRANDA LAMBERT Settling Down RCA Nashville 1 3 9 5 30 23 6 DIERKS BENTLEY Gone Capitol Nashville 8 5 13 13 21 11 7 BLAKE SHELTON Minimum Wage Warner/WMN 12 10 14 12 11 14 8 LAINEY WILSON Things A Man Oughta Know Broken Bow 10 13 5 4 22 16 9 DAN + SHAY Glad You Exist Warner/WAR 14 15 22 11 9 9 10 KEITH URBAN WITH P!NK One Too Many RCA/Capitol Nashville 48 x x 2 2 1 11 NELLY & FLORIDA GEORGIA LINE Lil Bit BMLGR/RECORDS/Columbia 18 12 10 30 7 13 12 ELVIE SHANE My Boy Wheelhouse 6 7 24 8 24 31 13 JORDAN DAVIS Almost Maybes MCA Nashville 45 x x 10 3 4 14 ELLE KING & MIRANDA LAMBERT Drunk (And I Don’t Wanna Go..) RCA/Columbia Nashville 9 16 2 16 32 22 15 CHASE RICE F/F.G.L.
    [Show full text]
  • LWTW Artist / Song Title / Label Spins
    L T Wks On Spins + Stations Adds W W - Chart Artist / Song Title / Label 2 1 LUKE COMBS/Forever After All/River House / Columbia Nashville 3770 239 130 1 11 1 2 JAKE OWEN/Made For You/Big Loud Records 3674 -141 127 0 55 3 3 SAM HUNT/Breaking Up Was Easy In The 90's/MCA Nashville 3564 99 120 1 31 4 4 ERIC CHURCH/Hell Of A View/EMI Records Nashville (UMGN) 3493 184 128 0 27 7 5 DIERKS BENTLEY/Gone/Capitol Records Nashville 3047 236 129 0 29 6 6 BLAKE SHELTON/Minimum Wage/Warner Music Nashville 2915 -14 131 0 17 8 7 CHRIS YOUNG & KANE BROWN/Famous Friends/RCA Nashville (SMN) 2875 190 131 0 20 9 8 JASON ALDEAN/Blame It On You/Broken Bow Records (BBRMG) 2800 147 129 0 27 11 9 MIRANDA LAMBERT/Settling Down/Vanner Records / RCA Nashville (SMN) 2595 144 134 0 35 13 10 DYLAN SCOTT/Nobody/Curb Records 2493 103 125 0 64 15 11 JORDAN DAVIS/Almost Maybes/MCA Nashville 2327 2 123 0 50 14 12 KEITH URBAN AND P!NK/One Too Many/Capitol Records Nashville 2306 -60 121 0 33 17 13 COLE SWINDELL/Single Saturday Night/Warner Music Nashville/WEA 2198 183 124 0 46 16 14 JUSTIN MOORE/We Didn't Have Much/Valory Music Co. (BMLG) 2136 -1 133 1 29 18 15 CARLY PEARCE/Next Girl/Big Machine Records 2031 101 129 0 34 20 16 THOMAS RHETT/Country Again/Valory Music Co. (BMLG) 1953 267 122 7 3 19 17 TIM MCGRAW & TYLER HUBBARD/Undivided/Big Machine Records 1892 -26 125 0 17 21 18 LUKE BRYAN/Waves/Capitol Records (UMG) 1835 205 123 3 4 10 19 RASCAL FLATTS/How They Remember You/Big Machine Records (BMLG) 1724 -751 125 0 46 24 20 ELVIE SHANE/My Boy/Wheelhouse (BBRMG) 1707 180 116 5 30 22 21 LAINEY WILSON/Things A Man Oughta Know/Broken Bow Records (BBRMG) 1618 39 119 2 23 23 22 DAN + SHAY/Glad You Exist/Warner Bros.
    [Show full text]
  • The Evolution of Commercial Rap Music Maurice L
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research.
    [Show full text]