Salt Lake City
Salt Lake City is the capital and the most populous municipality of the U. S. state of Utah. With an estimated population of 190,884 in 2014, the city is the core of the Salt Lake City metropolitan area, which has a population of 1,153,340. Salt Lake City is further situated within a larger metropolis known as the Salt Lake City–Ogden–Provo Combined Statistical Area, a corridor of contiguous urban and suburban development stretched along a 120-mile segment of the Wasatch Front, comprising a population of 2,423,912, it is one of only two major urban areas in the Great Basin. The world headquarters of The Church of Jesus Christ of Latter-day Saints is located in Salt Lake City; the city was founded in 1847 by followers of the church, led by Brigham Young, who were seeking to escape persecution that they had experienced while living farther east. The Mormon pioneers, as they would come to be known, at first encountered an arid, inhospitable valley that they extensively irrigated and cultivated, thereby establishing the foundation to sustain the area's present population.
Salt Lake City's street grid system is based on the north-south east-west grid plan developed by early church leaders, with the Salt Lake Temple constructed at the grid's starting point. Due to its proximity to the Great Salt Lake, the city was named Great Salt Lake City. In 1868, the 17th Utah Territorial Legislature dropped the word "Great" from the city's name. Immigration of international members of the church, mining booms, the construction of the first transcontinental railroad brought economic growth, the city was nicknamed the Crossroads of the West, it was traversed by the Lincoln Highway, the first transcontinental highway, in 1913. Two major cross-country freeways, I-15 and I-80, now intersect in the city. Salt Lake City has developed a strong outdoor recreation tourist industry based on skiing, the city hosted the 2002 Winter Olympics, it is the industrial banking center of the United States. Before settlement by members of the LDS Church, the Shoshone and Paiute had dwelt in the Salt Lake Valley for thousands of years.
At the time of Salt Lake City's founding, the valley was within the territory of the Northwestern Shoshone. One local Shoshone tribe, the Western Goshute tribe, referred to the Great Salt Lake as Pi'a-pa, meaning "big water", or Ti'tsa-pa, meaning "bad water"; the land was treated by the United States as public domain. The first American explorer in the Salt Lake area was Jim Bridger in 1825, although others had been in Utah earlier, some as far north as the nearby Utah Valley. US Army officer John C. Frémont surveyed the Great Salt Lake and the Salt Lake Valley in 1843 and 1845; the Donner Party, a group of ill-fated pioneers, had traveled through the Great Salt Lake Valley in August 1846. The valley's first permanent settlements date to the arrival of the Latter-day Saints in July 1847, they had traveled beyond the boundaries of the United States into Mexican Territory seeking a secluded area to safely practice their religion away from the violence and the persecution they experienced in the Eastern United States.
Upon arrival at the Salt Lake Valley, president of the church Brigham Young is recorded as stating, "This is the right place, drive on." Brigham Young claimed to have seen the area in a vision prior to the wagon train's arrival. They found. Four days after arriving in the Salt Lake Valley, Brigham Young designated the building site for the Salt Lake Temple; the Salt Lake Temple, constructed on the block called Temple Square, took 40 years to complete. Construction started in 1853, the temple was dedicated on April 6, 1893; the temple serves as its centerpiece. In fact, the southeast corner of Temple Square is the initial point of reference for the Salt Lake meridian, for all addresses in the Salt Lake Valley; the pioneers organized a state called State of Deseret, petitioned for its recognition in 1849. The United States Congress rebuffed the settlers in 1850 and established the Utah Territory, vastly reducing its size, designated Fillmore as its capital city. Great Salt Lake City replaced Fillmore as the territorial capital in 1856, the name was shortened to Salt Lake City.
The city's population continued to swell with an influx of converts to the LDS Church and Gold Rush gold seekers, making it one of the most populous cities in the American Old West. Explorer and author Richard Francis Burton traveled by coach in the summer of 1860 to document life in Great Salt Lake City, he was granted unprecedented access during his three-week visit, including audiences with Brigham Young and other contemporaries of Joseph Smith. The records of his visit include sketches of early city buildings, a description of local geography and agriculture, commentary on its politics and social order, essays and sermons from Young, Isaac Morley, George Washington Bradley and other leaders, snippets of everyday life such as newspaper clippings and the menu from a high-society ball. Disputes with the federal government ensued over the church's practice of polygamy. A climax occurred in 1857 when President James Buchanan declared the area in rebellion after Brigham Young refused to step down as governor, beginning the Utah War.
A division of the United States Army, comman
Warner Bros. Records
Warner Bros. Records Inc. is an American record label owned by Warner Music Group and headquartered in Burbank, California. It was founded in 1958 as the recorded music division of the American film studio Warner Bros. and was one of a group of labels owned and operated by larger parent corporations for much of its existence. The sequence of companies that controlled Warner Bros. and its allied labels evolved through a convoluted series of corporate mergers and acquisitions from the early 1960s to the early 2000s. Over this period, Warner Bros. Records grew from a struggling minor player in the music industry to one of the top record labels in the world. In 2004, these music assets were divested by their owner Time Warner and purchased by a private equity group; this independent company traded as the Warner Music Group and was the world's last publicly traded major music company before being bought and privatized by Access Industries in 2011. Warner Music Group is the smallest of the three major international music conglomerates that include Universal Music Group and Sony Music Entertainment.
Max Lousada oversees recorded music operations of the company. Notable artists signed to Warner Bros. Records have included Prince, Kylie Minogue, Goo Goo Dolls, Sheryl Crow, Lil Pump, Green Day, Adam Lambert, Bette Midler, Duran Duran, Fleetwood Mac, Liam Gallagher, Fleet Foxes, Jason Derulo, Lily Allen and Sara, Dua Lipa, Linkin Park, Nile Rodgers, Red Hot Chili Peppers, the Black Keys, My Chemical Romance, Mr. Bungle, Regina Spektor, Van Halen. At the end of the silent movie period, Warner Bros. Pictures decided to expand into publishing and recording so that it could access low-cost music content for its films. In 1928, the studio acquired several smaller music publishing firms which included M. Witmark & Sons, Harms Inc. and a partial interest in New World Music Corp. and merged them to form the Music Publishers Holding Company. This new group controlled valuable copyrights on standards by George and Ira Gershwin and Jerome Kern and the new division was soon earning solid profits of up to US$2 million every year.
In 1930, MPHC paid US$28 million to acquire Brunswick Records, whose roster included Duke Ellington, Red Nichols, Nick Lucas, Al Jolson, Earl Burtnett, Ethel Waters, Abe Lyman, Leroy Carr, Tampa Red and Memphis Minnie, soon after the sale to Warner Bros. the label signed rising radio and recording stars Bing Crosby, Mills Brothers, Boswell Sisters. For Warner Bros. the dual impact of the Great Depression and the introduction of broadcast radio harmed the recording industry—sales crashed, dropping by around 90% from more than 100 million records in 1927 to fewer than 10 million by 1932 and major companies were forced to halve the price of records from 75c to 35c. In December 1931, Warner Bros. offloaded Brunswick to the American Record Corporation for a fraction of its former value, in a lease arrangement which did not include Brunswick's pressing plants. Technically, Warner maintained actual ownership of Brunswick, which with the sale of ARC to CBS in 1939 and their decision to discontinue Brunswick in favor of reviving the Columbia label, reverted to Warner Bros.
Warner Bros. sold Brunswick a second time, this time along with the old Brunswick pressing plants Warner owned, to Decca Records in exchange for a financial interest in Decca. The studio stayed out of the record business for more than 25 years, during this period it licensed its film music to other companies for release as soundtrack albums. Warner Bros. returned to the record business in 1958 with the establishment of its own recording division, Warner Bros. Records. By this time, the established Hollywood studios were reeling from multiple challenges to their former dominance—the most notable being the introduction of television in the late 1940s. Legal changes had a major impact on their business—lawsuits brought by major stars had overthrown the old studio contract system by the late 1940s. Pictures sold off much of its film library in 1948 and, beginning in 1949, anti-trust suits brought by the US government forced the five major studios to divest their cinema chains. In 1956, Harry Warner and Albert Warner sold their interest in the studio and the board was joined by new members who favoured a renewed expansion into the music business—Charles Allen of the investment bank Charles Allen & Company, Serge Semenenko of the First National Bank of Boston and investor David Baird.
Semenenko in particular had a strong professional interest in the entertainment business and he began to push Jack Warner on the issue of setting up an'in-house' record label. With the record business booming - sales had topped US$500 million by 1958 - Semnenko argued that it was foolish for Warner Bros. to make deals with other companies to release its soundtracks when, for less than the cost of one motion picture, they could establish their own label, creating a new income stream that could continue indefinitely and provide an additional means of exploiting and promoting its contract actors. Another impetus for the label's creation was the brief music career of Warner Bros. actor Tab Hunter. Although Hunter was signed to an exclusive acting contract with the studio, it did not prevent him from signing a recording contract, which he did with Dot Records, owned at the time by Paramount Pictures. Hunter scored several hits for Dot, including the US #1 single, "Young Love", to Warner Bros.' chagrin, reporters were asking about the hit record, rather than
Jet Set (Alphaville song)
Jet Set is the fourth and last single from Alphaville's first album, Forever Young, was released in March 1985. Re-recorded and released after founding band member Frank Mertens left the band, the 7" version drops the word'The' from the song's title and is mildly different from the original album version. Marian Gold said. 7" single"Jet Set" — 3:40 "Golden Feeling" — 3:5012" single"Jet Set" — 6:28 "Jet Set" — 5:07 "Golden Feeling" — 3:50Promotional 12" single"Jet Set" - 6:28 "Jet Set" - 5:05The "Vocal/Jellybean Mix" on the promotional 12" is identical to the regular 12" single's "Jellybean" mix A demo of the B-side "Golden Feeling" appeared on 1999's Dreamscapes Versions of this song have appeared on a variety of other Alphaville releases, including: Dreamscapes Forever Pop Little America First Harvest 1984-92 The original 12" version and the b-side "Golden Feeling" were both released on 2014's so80s presents Alphaville. Lyrics of this song at MetroLyrics
Big in Japan (Alphaville song)
"Big in Japan" is the debut single of the German band Alphaville. It is from their 1984 album Forever Young; the single was a success in many countries, including Switzerland and Sweden. It was the group's only UK Top 75 hit, reaching No. 8 on the UK Singles chart. The song reached number one on the Hot Dance Club Play in December 1984; the title comes from the phrase "Big in Japan", used to describe Western bands who are popular with Japanese audiences while garnering little attention in their home country. In 1986, Marian Gold recalled that he "bought an album of an unknown British band named Big in Japan; as you know, there's a considerable musical market in Japan. If you wanted to become famous, what you should do was to form a hard rock group and release an album over there; the statement fitted well to my storyline about a couple of drug addicted lovers and moreover provided the title for the prospective song."The video was directed by Yello's Dieter Meier. 7" single"Big in Japan" – 3:52 "Seeds" – 3:1512" maxi"Big in Japan" – 3:52 "Seeds" – 3:1512" maxi Germany & France WEA 249417-0"Big in Japan" – 7:25 "Big in Japan" – 6:1012" maxi US WEA 0-86947"Big in Japan" – 7:25 "Big in Japan" – 6:10 "Big in Japan" – 3:58The "Extended Vocal" is the same as the "Extended Remix" and the "Extended Instrumental" is the same as the "Instrumental Version."
The 7" version is a different studio recording from the one released on the album. The original 7" version was made available on Alphaville's First Harvest 1984–92 best-of release. Two newly remixed. In 1999, Alphaville released Dreamscapes, which included an early demo version of this song as well as the "FFF Time Warp" mix. 2001's Forever Pop contained two more newly remixed versions. The original 12" and instrumental version were made available for the first time on CD on the So80s presents Alphaville. "Seeds", the B-side to this single, appears on Dreamscapes and History as "Leben Ohne Ende". A new remix of "Seeds" appears on Dreamscapes; the original version of the song appears on So80s presents Alphaville. Alphaville re-released the song, with new remixes, in 1992 to coincide with the release of their compilation album First Harvest 1984–92. EU CD single "Big in Japan 1992 A. D.""Big in Japan 1992 A. D. Freedom Mix" – 3:14 "Big in Japan The Mix" – 4:14 "Big in Japan 1992 A. D. Freedom Mix" – 4:51 "Big in Japan The Mix" – 6:05"The Mix" is the same as the "Culture Mix" from First Harvest 1984–92.
EU CD single "Big in Japan Swemix Remix""Big in Japan" – 3:57 "Big in Japan" – 8:27 "Big in Japan" – 6:44EU 12" vinyl single "Big in Japan 1992 A. D.""Big in Japan 1992 A. D. Freedom Mix" – 4:51 "Big in Japan 1992 A. D. Freedom Dub" – 4:56 "Big in Japan The Mix" – 6:05The 12" single was printed on white vinyl and contains the unique "Dub" version of the Freedom remix "Big in Japan 1992 AD" reached number two in Finland and number 15 in Sweden. In 2000, Guano Apes released a cover version as their lead single for their second album Don't Give Me Names on 12 April 2000; the music video shows the band performing in an empty arena, followed by a fan trying to locate the band. Big In Japan – 2:49 Gogan – 2:47 I Want It – 3:17 Big In Japan – 2:48 I Want It – 3:15 Big In Japan – 2:49 Gogan – 2:47 I Want It – 3:17 La Noix – 2:19 Big In Japan – 4:32 "Big in Japan" was covered by German singer Sandra in 1984, she sang the song in German, as "Japan ist weit". The song was produced by her future husband Michael Cretu and was Sandra's first try as a solo artist after she separated from the trio Arabesque.
The song was not successful. List of European number-one hits of 1984 List of number-one hits of 1984 List of number-one singles and albums in Sweden List of number-one singles of the 1980s List of number-one dance singles of 1984 Lyrics of this song at MetroLyrics
Synth-pop is a subgenre of new wave music that first became prominent in the late 1970s and features the synthesizer as the dominant musical instrument. It was prefigured in the 1960s and early 1970s by the use of synthesizers in progressive rock, art rock and the "Krautrock" of bands like Kraftwerk, it arose as a distinct genre in Japan and the United Kingdom in the post-punk era as part of the new wave movement of the late 1970s to the mid-1980s. Electronic musical synthesizers that could be used in a recording studio became available in the mid-1960s, while the mid-1970s saw the rise of electronic art musicians. After the breakthrough of Gary Numan in the UK Singles Chart in 1979, large numbers of artists began to enjoy success with a synthesizer-based sound in the early 1980s. In Japan, Yellow Magic Orchestra introduced the TR-808 rhythm machine to popular music, the band would be a major influence on early British synth-pop acts; the development of inexpensive polyphonic synthesizers, the definition of MIDI and the use of dance beats, led to a more commercial and accessible sound for synth-pop.
This, its adoption by the style-conscious acts from the New Romantic movement, together with the rise of MTV, led to success for large numbers of British synth-pop acts in the US. "Synth-pop" is sometimes used interchangeably with "electropop", but "electropop" may denote a variant of synth-pop that places more emphasis on a harder, more electronic sound. In the mid to late 1980s, duos such as Erasure and Pet Shop Boys adopted a style, successful on the US dance charts, but by the end of the decade, the'new wave' synth-pop of bands such as A-ha and Alphaville was giving way to house music and techno. Interest in new wave synth-pop began to revive in the indietronica and electroclash movements in the late 1990s, in the 2000s synth-pop enjoyed a widespread revival and commercial success; the genre has received criticism for alleged lack of musicianship. Synth-pop music has established a place for the synthesizer as a major element of pop and rock music, directly influencing subsequent genres and has indirectly influenced many other genres, as well as individual recordings.
Synth-pop was defined by its primary use of synthesizers, drum machines and sequencers, sometimes using them to replace all other instruments. Borthwick and Moy have described the genre as diverse but "...characterised by a broad set of values that eschewed rock playing styles and structures", which were replaced by "synthetic textures" and "robotic rigidity" defined by the limitations of the new technology, including monophonic synthesizers. Many synth-pop musicians had limited musical skills, relying on the technology to produce or reproduce the music; the result was minimalist, with grooves that were "typically woven together from simple repeated riffs with no harmonic'progression' to speak of". Early synth-pop has been described as "eerie and vaguely menacing", using droning electronics with little change in inflection. Common lyrical themes of synth-pop songs were isolation, urban anomie, feelings of being cold and hollow. In its second phase in the 1980s, the introduction of dance beats and more conventional rock instrumentation made the music warmer and catchier and contained within the conventions of three-minute pop.
Synthesizers were used to imitate the conventional and clichéd sound of orchestras and horns. Thin, treble-dominant, synthesized melodies and simple drum programmes gave way to thick, compressed production, a more conventional drum sound. Lyrics were more optimistic, dealing with more traditional subject matter for pop music such as romance and aspiration. According to music writer Simon Reynolds, the hallmark of 1980s synth-pop was its "emotional, at times operatic singers" such as Marc Almond, Alison Moyet and Annie Lennox; because synthesizers removed the need for large groups of musicians, these singers were part of a duo where their partner played all the instrumentation. Although synth-pop in part arose from punk rock, it abandoned punk's emphasis on authenticity and pursued a deliberate artificiality, drawing on the critically derided forms such as disco and glam rock, it owed little to the foundations of early popular music in jazz, folk music or the blues, instead of looking to America, in its early stages, it consciously focused on European and Eastern European influences, which were reflected in band names like Spandau Ballet and songs like Ultravox's "Vienna".
Synth-pop saw a shift to a style more influenced by other genres, such as soul music. Electronic musical synthesizers that could be used in a recording studio became available in the mid-1960s, around the same time as rock music began to emerge as a distinct musical genre; the Mellotron, an electro-mechanical, polyphonic sample-playback keyboard was overtaken by the Moog synthesizer, created by Robert Moog in 1964, which produced electronically generated sounds. The portable Minimoog, which allowed much easier use in live performance was adopted by progressive rock musicians such as Richard Wright of Pink Floyd and Rick Wakeman of Yes. Instrumental prog rock was significant in continental Europe, allowing bands like Kraftwerk, Tangerine Dream and Faust to circumvent the language barrier, their synthesizer-heavy "Kraut rock", along with the work of Brian Eno (for a time the keyboard player with Roxy M
Atlantic Recording Corporation is an American record label founded in October 1947 by Ahmet Ertegün and Herb Abramson. Over its first 20 years of operation, Atlantic earned a reputation as one of the most important American labels, specializing in jazz, R&B, soul by Aretha Franklin, Ray Charles, Wilson Pickett and Dave, Ruth Brown and Otis Redding, its position was improved by its distribution deal with Stax. In 1967, Atlantic became a wholly owned subsidiary of Warner Bros.-Seven Arts, now the Warner Music Group, expanded into rock and pop music with releases by Led Zeppelin and Yes. In 2004, Atlantic and its sister label. Craig Kallman is the chairman of Atlantic. Ahmet Ertegün served as founding chairman until his death on December 14, 2006, at age 83. In 1944, brothers Nesuhi and Ahmet Ertegun remained in the United States when their mother and sister returned to Turkey after the death of their father Munir Ertegun, Turkey's first ambassador to the U. S; the brothers were fans of jazz and rhythm & blues, amassing a collection of over 15,000 78 RPM records.
Ahmet ostensibly stayed in Washington to undertake post-graduate music studies at Georgetown University but immersed himself in the Washington music scene and entered the record business, enjoying a resurgence after wartime restrictions on the shellac used in manufacture. He convinced the family dentist, Dr. Vahdi Sabit, to invest $10,000 and hired Herb Abramson, a dentistry student. Abramson had worked as a part-time A&R manager/producer for the jazz label National Records, signing Big Joe Turner and Billy Eckstine, he had no interest in its most successful musicians. In September 1947, he sold his share in Jubilee to his partner, Jerry Blaine, invested $2,500 in Atlantic. Atlantic was run by Abramson and Ertegun. Abramson's wife Miriam ran the label's publishing company, Progressive Music, did most office duties until 1949 when Atlantic hired its first employee, bookkeeper Francine Wakschal, who remained with the label for the next 49 years. Miriam gained a reputation for toughness. Staff engineer Tom Dowd recalled, "Tokyo Rose was the kindest name some people had for her" and Doc Pomus described her as "an extraordinarily vitriolic woman".
When interviewed in 2009, she attributed her reputation to the company's chronic cash-flow shortage: "... most of the problems we had with artists were that they wanted advances, and, difficult for us... we were undercapitalized for a long time." The label's office in the Ritz Hotel in Manhattan proved too expensive, so they moved to a room in the Hotel Jefferson. In the early fifties, Atlantic moved from the Hotel Jefferson to offices at 301 West 54th St and to 356 West 56th St. Atlantic's first recordings were issued in late January 1948 and included "That Old Black Magic" by Tiny Grimes and "The Spider" by Joe Morris. In its early years, Atlantic concentrated on modern jazz although it released some country and western and spoken word recordings. Abramson produced "Magic Records", children's records with four grooves on each side, each groove containing a different story, so the story played would be determined by the groove in which the stylus happened to land. In late 1947, James Petrillo, head of the American Federation of Musicians, announced an indefinite ban on all recording activities by union musicians, this came into effect on January 1, 1948.
The union action forced Atlantic to use all its capital to cut and stockpile enough recordings to last through the ban, expected to continue for at least a year. Ertegun and Abramson spent much of the late 1940s and early 1950s scouring nightclubs in search of talent. Ertegun composed songs under the alias "A. Nugetre", including Big Joe Turner's hit "Chains of Love", recording them in booths in Times Square giving them to an arranger or session musician. Early releases included music by Sidney Bechet, Barney Bigard, The Cardinals, The Clovers, Frank Culley, The Delta Rhythm Boys, Erroll Garner, Dizzy Gillespie, Tiny Grimes, Al Hibbler, Earl Hines, Johnny Hodges, Jackie & Roy, Lead Belly, Meade Lux Lewis, Professor Longhair, Shelly Manne, Howard McGhee, Mabel Mercer, James Moody, Joe Morris, Art Pepper, Django Reinhardt, Pete Rugolo, Pee Wee Russell, Bobby Short, Sylvia Syms, Billy Taylor, Sonny Terry, Big Joe Turner, Jimmy Yancey, Sarah Vaughan, Mal Waldron, Mary Lou Williams. In early 1949, a New Orleans distributor phoned Ertegun to obtain Stick McGhee's "Drinking Wine, Spo-Dee-O-Dee", unavailable due to the closing of McGhee's previous label.
Ertegun knew Stick's younger brother Brownie McGhee, with whom Stick happened to be staying, so he contacted the McGhee brothers and re-recorded the song. When released in February 1949, it became Atlantic's first hit, selling 400,000 copies, reached No. 2 after spending six months on the Billboard R&B chart – although McGhee himself earned just $10 for the session. Atlantic's fortunes rose rapidly: recorded 187 songs were recorded in 1949, more than three times the amount from the previous two years, received overtures for a manufacturing and distribution deal with Columbia, which would pay Atlantic a 3% royalty on every copy sold. Ertegun asked about artists' royalties, which he paid, this surprised Columbia executives, who did not, the deal was scuttled. On the recommendation of broadcaster Willis Conover and Abramson visited Ruth Brown at the Crystal Caverns club in Washington and invited her to audition for Atlantic, she was injured in a car accident en route to New York City, but Atlantic supported her for nine months and signed her.