1.
London
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London /ˈlʌndən/ is the capital and most populous city of England and the United Kingdom. Standing on the River Thames in the south east of the island of Great Britain and it was founded by the Romans, who named it Londinium. Londons ancient core, the City of London, largely retains its 1. 12-square-mile medieval boundaries. London is a global city in the arts, commerce, education, entertainment, fashion, finance, healthcare, media, professional services, research and development, tourism. It is crowned as the worlds largest financial centre and has the fifth- or sixth-largest metropolitan area GDP in the world, London is a world cultural capital. It is the worlds most-visited city as measured by international arrivals and has the worlds largest city airport system measured by passenger traffic, London is the worlds leading investment destination, hosting more international retailers and ultra high-net-worth individuals than any other city. Londons universities form the largest concentration of education institutes in Europe. In 2012, London became the first city to have hosted the modern Summer Olympic Games three times, London has a diverse range of people and cultures, and more than 300 languages are spoken in the region. Its estimated mid-2015 municipal population was 8,673,713, the largest of any city in the European Union, Londons urban area is the second most populous in the EU, after Paris, with 9,787,426 inhabitants at the 2011 census. The citys metropolitan area is the most populous in the EU with 13,879,757 inhabitants, the city-region therefore has a similar land area and population to that of the New York metropolitan area. London was the worlds most populous city from around 1831 to 1925, Other famous landmarks include Buckingham Palace, the London Eye, Piccadilly Circus, St Pauls Cathedral, Tower Bridge, Trafalgar Square, and The Shard. The London Underground is the oldest underground railway network in the world, the etymology of London is uncertain. It is an ancient name, found in sources from the 2nd century and it is recorded c.121 as Londinium, which points to Romano-British origin, and hand-written Roman tablets recovered in the city originating from AD 65/70-80 include the word Londinio. The earliest attempted explanation, now disregarded, is attributed to Geoffrey of Monmouth in Historia Regum Britanniae and this had it that the name originated from a supposed King Lud, who had allegedly taken over the city and named it Kaerlud. From 1898, it was accepted that the name was of Celtic origin and meant place belonging to a man called *Londinos. The ultimate difficulty lies in reconciling the Latin form Londinium with the modern Welsh Llundain, which should demand a form *lōndinion, from earlier *loundiniom. The possibility cannot be ruled out that the Welsh name was borrowed back in from English at a later date, and thus cannot be used as a basis from which to reconstruct the original name. Until 1889, the name London officially applied only to the City of London, two recent discoveries indicate probable very early settlements near the Thames in the London area
2.
England
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England is a country that is part of the United Kingdom. It shares land borders with Scotland to the north and Wales to the west, the Irish Sea lies northwest of England and the Celtic Sea lies to the southwest. England is separated from continental Europe by the North Sea to the east, the country covers five-eighths of the island of Great Britain in its centre and south, and includes over 100 smaller islands such as the Isles of Scilly, and the Isle of Wight. England became a state in the 10th century, and since the Age of Discovery. The Industrial Revolution began in 18th-century England, transforming its society into the worlds first industrialised nation, Englands terrain mostly comprises low hills and plains, especially in central and southern England. However, there are uplands in the north and in the southwest, the capital is London, which is the largest metropolitan area in both the United Kingdom and the European Union. In 1801, Great Britain was united with the Kingdom of Ireland through another Act of Union to become the United Kingdom of Great Britain and Ireland. In 1922 the Irish Free State seceded from the United Kingdom, leading to the latter being renamed the United Kingdom of Great Britain, the name England is derived from the Old English name Englaland, which means land of the Angles. The Angles were one of the Germanic tribes that settled in Great Britain during the Early Middle Ages, the Angles came from the Angeln peninsula in the Bay of Kiel area of the Baltic Sea. The earliest recorded use of the term, as Engla londe, is in the ninth century translation into Old English of Bedes Ecclesiastical History of the English People. According to the Oxford English Dictionary, its spelling was first used in 1538. The earliest attested reference to the Angles occurs in the 1st-century work by Tacitus, Germania, the etymology of the tribal name itself is disputed by scholars, it has been suggested that it derives from the shape of the Angeln peninsula, an angular shape. An alternative name for England is Albion, the name Albion originally referred to the entire island of Great Britain. The nominally earliest record of the name appears in the Aristotelian Corpus, specifically the 4th century BC De Mundo, in it are two very large islands called Britannia, these are Albion and Ierne. But modern scholarly consensus ascribes De Mundo not to Aristotle but to Pseudo-Aristotle, the word Albion or insula Albionum has two possible origins. Albion is now applied to England in a poetic capacity. Another romantic name for England is Loegria, related to the Welsh word for England, Lloegr, the earliest known evidence of human presence in the area now known as England was that of Homo antecessor, dating to approximately 780,000 years ago. The oldest proto-human bones discovered in England date from 500,000 years ago, Modern humans are known to have inhabited the area during the Upper Paleolithic period, though permanent settlements were only established within the last 6,000 years
3.
Dance-pop
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Dance-pop is a pop and dance subgenre that originated in the early 1980s. It is generally up-tempo music intended for nightclubs with the intention of being danceable, the genre, on the whole, tends to be producer-driven, despite some notable exceptions. Dance-pop borrowed influences from other genres, which varied by producer, artist, such include contemporary R&B, house, trance, techno, new jack swing, funk, synthpop, electropop and some forms of europop. Dance-pop is a mainstream style of music and there have been numerous pop artists. As the term started to go out of fashion by the late 1970s to early 1980s, other terms were commonly used to describe disco-based music, such as post-disco, club. Dance-pop music emerged in the 1980s as a combination of dance and pop, or post-disco, Dance-pop music was usually created, composed and produced by record producers who would then hire singers to perform the songs. In the beginning of the 80s disco was an anathema to the mainstream pop, according to prominent Allmusic critic Stephen Thomas Erlewine, Madonna had a huge role in popularizing dance music as mainstream music, utilizing her charisma, chutzpah and sex appeal. Erlewine claimed that Madonna launched dance-pop and set the standard for the genre for the two decades. The staff of Vice magazine stated that her debut album drew the blueprint for future dance-pop, in the 1980s dance-pop was closely aligned to other up-tempo electronic genres, such as Hi-NRG. Prominent producers in the 1980s included Stock, Aitken and Waterman, during the decade, dance-pop borrowed influences from funk, new jack swing, and contemporary R&B. Other prominent dance-pop artists and groups of the 1980s included the Pet Shop Boys, Mel and Kim, Samantha Fox, Debbie Gibson, by the 1990s, dance-pop had become a major genre in popular music. Several dance-pop groups and artists emerged during the 1990s, such as the Spice Girls, Britney Spears, Christina Aguilera, Jessica Simpson, Backstreet Boys, during the early 1990s, dance-pop borrowed influences from house music, as well as contemporary R&B and new jack swing. Additionally, also in 1998, Cher released a song called Believe which made usage of a technological innovation of the time. An audio processor and a form of pitch modification software, Auto-Tune is commonly used as a way to correct pitch, since the late 1990s, the use of Auto-Tune processing has become a common feature of dance-pop music. Celine Dion also released a dance-pop song Thats the Way It Is by the end of 1999 and it has a moderately slow tempo but an up-beat song. At the beginning of the 2000s, dance-pop music was still prominent, nonetheless, as R&B and hip hop became extremely popular from the early part of the decade onwards, dance-pop often borrowed a lot of its influences from urban music. Dance-pop stars from the 1980s and 1990s such as Britney Spears, Christina Aguilera, Madonna, Janet Jackson, in Madonnas case, her album Music contained elements of Euro disco, especially the successful eponymous lead single. Britney Spears album Blackout contained influences of Euro disco, the mid-to-late 2000s saw the arrival of several new dance-pop artists, including Rihanna, Kesha, Lady Gaga and Katy Perry
4.
New wave music
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New wave is a genre of rock music popular from the late 1970s to the mid-1980s with ties to 1970s punk rock. New wave moved away from smooth blues and rock and roll sounds to create pop music that incorporated electronic and experimental music, mod, initially new wave was similar to punk rock, before becoming a distinct genre. It subsequently engendered subgenres and fusions, including synth-pop, college rock, common characteristics of new wave music include the use of synthesizers and electronic productions, the importance of styling and the arts, as well as diversity. In the mid-1980s, differences between new wave and other genres began to blur. New wave has enjoyed resurgences since the 1990s, after a rising nostalgia for several new wave-influenced artists, subsequently, the genre influenced other genres. During the 2000s, a number of acts explored new wave and post-punk influences, such as the Strokes, Interpol, Franz Ferdinand and these acts were sometimes labeled new wave of new wave. The catch-all nature of new music has been a source of much confusion. The 1985 discography Whos New Wave in Music listed artists in over 130 separate categories, the New Rolling Stone Encyclopedia of Rock calls the term virtually meaningless, while AllMusic mentions stylistic diversity. New wave first emerged as a genre in the early 1970s, used by critics including Nick Kent and Dave Marsh to classify such New York-based groups as the Velvet Underground. It gained currency beginning in 1976 when it appeared in UK punk fanzines such as Sniffin Glue and newsagent music weeklies such as Melody Maker and New Musical Express. In November 1976 Caroline Coon used Malcolm McLarens term new wave to designate music by bands not exactly punk, the term was also used in that sense by music journalist Charles Shaar Murray in his comments about the Boomtown Rats. For a period of time in 1976 and 1977, the new wave. By the end of 1977, new wave had replaced punk as the definition for new music in the UK. As radio consultants in the United States had advised their clients that punk rock was a fad, like the filmmakers of the French new wave movement, its new artists were anti-corporate and experimental. At first, most U. S. writers exclusively used the new wave for British punk acts. Music historian Vernon Joynson claimed that new wave emerged in the UK in late 1976, in the U. S. the first new wavers were the not-so-punk acts associated with the New York club CBGB. CBGB owner Hilly Kristal, referring to the first show of the band Television at his club in March 1974, said, furthermore, many artists who would have originally been classified as punk were also termed new wave. A1977 Phonogram Records compilation album of the same name features US artists including the Dead Boys, Ramones, Talking Heads, New wave is much more closely tied to punk and came and went more quickly in the United Kingdom than in the United States
5.
Deram Records
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Deram Records was a subsidiary record label of Decca Records established in the United Kingdom in 1966. At this time U. K. Decca was a different company from the Decca label in the United States. Deram recordings were distributed in the U. S. through UK Deccas American branch. Deram was active until 1979, then continued as a reissue label, in the 1960s Decca recording engineers experimented with ways of improving stereo recordings. They created a technique called Decca Panoramic Sound, the term Deramic was created as abbreviation of this. The new concept allowed for more space between instruments, rendering these sounds softer to the ear, early stereo recordings of popular music usually were mixed with sounds to the hard left, center, or hard right only. This was because of the limitations of the professional 4-track reel-to-reel recorders which were state of the art until about 1967. Decca initially conceived Deram Records as an outlet for Deramic Sound recordings of pop and rock music. Deramic Sound was intended to create recordings that had a more natural stereo spread and this new concept, with additional tracks, permitted the engineer to place instruments more easily in any position within the stereo field. To launch the Deramic Sound concept Deram issued a series of six easy listening orchestral pop albums in October 1967, the albums all included the word Night in the title, i. e. Strings in the Night, Brass in the Night, etc. The label was soon moulded into a home for alternative or progressive artists, among the first recordings in this series was the November 1967 album release Days of Future Passed by the Moody Blues. Professional quality 8-track recorders began to appear in many British studios starting with Advision Studios and these 8-track machines were far more flexible than the dual 4-track recorder setup. Since Decca engineers no longer had more tracks than other major studios the Deramic Sound concept quickly became outdated and was dropped, by late 1968 or early 1969 Decca had obtained its own 8-track recorder. The roster later included British jazz and folk as well, some of the more progressive jazz musicians of the late 1960s were released under the Deram imprint including Mike Gibbs, John Surman and Mike Westbrook. Deram albums bore a DML prefix for mono and an SML prefix for stereo releases, as with other UK Decca subsidiary labels, Derams U. S. counterpart was distributed under the London Records arm. Decca positioned it against Island Records, Harvest Records and Vertigo Records, an extra progressive series with SDL prefixes did not improve the situation. From the start, Decca placed pop records alongside progressive artists on Deram, cat Stevens found early success there before moving to Island Records, and David Bowies first album appeared on the label. They were part of a deal with Straight Ahead Productions, who moved their acts to EMI and had them released on the re-introduced Regal Zonophone imprint
6.
London Records
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London Records is a record label in the U. K. that marketed records in the U. S, Canada, and Latin America from 1947 to 1979 before becoming semi-independent. London arose from the split in ownership between the British and American branches of Decca Records, the American branch released British Decca records in the U. S. since it could not use the Decca name there. The label was noted for classical albums made in then state-of-the-art stereophonic sound, by the 1960s more licensing deals had been made with Big Top, Monument, Parrot, Philles, and Hi, and subsidiary labels were London Atlantic, London Dot and London Monument. An unusual feature was the code in the numbering system. From the late 1950s until 1973, the label bore the logo London American Recordings, in America, the label was best known as the American imprint of the pre–1971 recordings of the Rolling Stones. The label also issued some early LPs and singles by Texas-based band ZZ Top. In the late 1970s, London signed deals with Bomp, Records and with Big Sound in Connecticut, U. S. This changed the label in the eyes of many from a backwater into something a little more edgy compared to the pedestrian contemporary releases from parent company Decca, the president of London Records in the 1970s was D. H. Tollerbond. After British Decca was acquired by PolyGram in 1979, London followed an independent course with subsidiary labels such as Slash, Pete Tongs Essential Records. The name is used, mainly for UK-based artists. Notable artists released by that incarnation of London, called London Records 90, include New Order, Happy Mondays, A, after PolyGram took over British Decca, classical-music albums recorded by British Decca continued to be released on the London label in the U. S. S. The London pop music catalogue owned by Universal Music is now managed by Polydor Records, Decca Records had a recording studio in Blomfield Road, West London, there may have been another in Londons West End. In 2010, Universal Music reclaimed ownership of the London Records trademark, both had started their careers at London Records in the Ames era in the 1990s. When Nick Raphael became president of Capitol Recordss UK division in 2013, London Records moved there, Arlissa All Saints Arlissa Dear Prudence The Gypsy Queens List of record labels The London Records Story from BSN Pubs Discographies London Records A&R team contact list
7.
Rhino Entertainment
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Rhino Entertainment Company is an American specialty record label and production company founded in 1978. It is currently the division for the Warner Music Group. Founded in 1978, Rhino was originally a novelty and reissue label during the 1970s and 1980s, one of Rhinos early artists was The Twisters, whose Los Angeles popularity far exceeded their album sales. The labels on early Rhino records featured the mascot character. Some of the labels earliest successes with reissues were achieved by acquiring the rights to the White Whale Records catalog that included the Turtles, by the mid-1980s, most of Rhinos releases were reissues of previously released recordings licensed from other companies. Rhino was quick to get into the disc market, releasing dozens of oldies CDs at the dawn of the CD age in 1984. Their retrospective compact disc releases, such as those in the Billboard Top Hits series, are often remastered to restore or improve upon the original analog audio quality. Through the 1980s and 1990s, the company continued to sign artists and release new music, on the main Rhino label and on subsidiary labels such as RNA. In 1985, Rhino signed a distribution agreement with Capitol Records. During 1989 Rhino and Capitol’s parent EMI made a deal to jointly acquire Roulette Records, Rhino received the US rights to Roulettes catalog, excluding jazz. When the distribution deal with Capitol ended in 1992, Rhino signed a new deal with Atlantic Records. In 1998, Time Warner bought the other half of Rhino, the Rhino Records retail store, which was not part of the sale, closed in 2005. Periods, in addition to WBs own post-1949 period, Rhinos soundtrack releases include Gone with the Wind, The Wizard of Oz, Easter Parade, North by Northwest, Casablanca, King Kong, Doctor Zhivago, Superman, and Finians Rainbow. The Turner Entertainment and Warner Bros. film soundtrack libraries are managed by Warner Bros. in-house label subsidiary. In 1999, Rhino started the Rhino Handmade division of limited-edition releases available primarily from their website, all Handmade deluxe editions were limited to about 3,000 copies or less, and once sold out were not re-pressed. In 2003, co-founders and longtime executives Richard Foos and Harold Bronson left Rhino, soon after, Foos inaugurated a new label, Shout. Factory, which began releasing dozens of CDs and videos mirroring the original early-1990s Rhino philosophy, in 2004, Time Warner spun off its music divisions and today Rhino is part of the newly organized Warner Music Group. In June 2006, Warner Strategic Marketing in the U. K. was dissolved, the division has two main factions, TV-advertised compilations and catalog material from the Warner vaults
8.
Sara Dallin
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Sara Elizabeth Dallin is an English musician mostly noted for her membership of the group Bananarama, which she co-founded with her childhood friend Keren Woodward. Dallin was born in Bristol, England and she attended St Georges School for Girls in Bristol with Woodward and studied journalism at the London College of Fashion before she and Woodward founded Bananarama with Siobhan Fahey from Dublin. Dallin and Woodward continue to tour and record as Bananarama and she was engaged to former Bananarama dancer Bassey Walker with whom she had a daughter, Alice, in 1991, but they later separated. Sara Dallin at the Internet Movie Database
9.
Keren Woodward
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Keren Jane Woodward is an English pop singer and songwriter of British girl group Bananarama, co-founded by her school friend Sara Dallin and Irish musician Siobhan Fahey. She has known her bandmate, Dallin, since she was four and she studied at Mangotsfield Secondary school. In 1979, Woodward formed Bananarama with Sara Dallin and Siobhan Fahey, Woodward continues to perform as Bananarama with Dallin. In 2013, the pair appeared in an episode of the BBC quiz show Pointless Celebrities, Woodward has criticised the British music charts, saying that acts no longer had the opportunity to climb to a higher position each week, as was commonplace in the 1980s. She lives in Cornwall with her partner, Andrew Ridgeley, the former Wham, vocalist and guitarist, and her son Thomas, from a previous relationship with the model David-Scott Evans. Keren Woodward at the Internet Movie Database
10.
Jacquie O'Sullivan
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Jacquie OSullivan is an English singer and songwriter. OSullivan was originally a member of the country/punk/rockabilly group Shillelagh Sisters and it was a sort of a fun band, a kind of trendy band. The band name came about courtesy of their Irish connections, after a year with that group she parted company. She did, however, feel the records they released werent very good and she appeared on the Visage videoclip to their song Visage, in 1981. She also appeared in the video for Eurythmics 1983 hit single Whos that girl. The original Bananarama members also featured in the video, in March 1988, she was chosen by Sara Dallin and Keren Woodward to become a member of Bananarama, as a replacement for outgoing member Siobhan Fahey, who also approved of the choice. Bananaramas hit streak continued with the addition of OSullivan and they re-recorded the vocals for the songs I Want You Back and Nathan Jones with OSullivan to replace versions previously recorded by Fahey. The group scored eight consecutive Top 40 hits in the UK with OSullivan and she appeared on Bananaramas fund-raising cover of The Beatles Help. for Comic Relief alongside comedians French and Saunders and Kathy Burke, who appeared as Lananenenoonoo. The record peaked at three on the UK Singles Chart in 1989. She also participated in Band Aid IIs 1989 re-recording of Do They Know Its Christmas, oSullivans only songwriting credits with Bananarama appeared on the song Love, Truth and Honesty from the compilation album, Greatest Hits Collection and on the song Only Your Love. In 1991, Bananarama recorded the album Pop Life, the only album on which OSullivan appeared. She later stated in an interview that her role in Bananarama was that of a paid employee, OSullivan was given no say in the creative, musical or visual direction of the group. When French and Saunders parodied Bananarama in their 1988 Christmas special as Lananenenoonoo, oSullivans perceived lack of input into the group was used as a source of humour, with Kim ignored and dismissed in interviews and group discussions. When she left Bananarama, OSullivan formed the disco act Slippery Feet from 1992 to 1996 and they recorded songs for a record titled Freak Time Viewing and then disbanded. In 2001, O’Sullivan signed a deal with AlmaFame Records. The first release in late 2001 was the Slippery Feet album Freak Time Viewing, in 2005 she appeared briefly on the second videoclip of Siobhan Faheys song Pulsatron. O’Sullivan went to India and in 1994 trained to be a yoga teacher and she continued to teach and on her travels has taught yoga all over the world. She continued with her education, taking teacher training with the prestigious Prana Yoga College
11.
Pop music
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Pop music is a genre of popular music that originated in its modern form in the United States and United Kingdom during the mid 1950s. The terms popular music and pop music are used interchangeably, although the former describes all music that is popular. Pop and rock were synonymous terms until the late 1960s, when they were used in opposition from each other. Although pop music is seen as just the singles charts, it is not the sum of all chart music. Pop music is eclectic, and often borrows elements from other such as urban, dance, rock, Latin. Identifying factors include generally short to medium-length songs written in a format, as well as the common use of repeated choruses, melodic tunes. David Hatch and Stephen Millward define pop music as a body of music which is distinguishable from popular, jazz, according to Pete Seeger, pop music is professional music which draws upon both folk music and fine arts music. Although pop music is seen as just the singles charts, it is not the sum of all chart music, the music charts contain songs from a variety of sources, including classical, jazz, rock, and novelty songs. Pop music, as a genre, is seen as existing and developing separately, pop music continuously evolves along with the terms definition. The term pop song was first recorded as being used in 1926, Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country, blues and hillbilly music. The Oxford Dictionary of Music states that while pops earlier meaning meant concerts appealing to a wide audience. Since the late 1950s, however, pop has had the meaning of non-classical mus, usually in the form of songs, performed by such artists as the Beatles. Grove Music Online also states that, in the early 1960s pop music competed terminologically with beat music, while in the USA its coverage overlapped with that of rock and roll. From about 1967, the term was used in opposition to the term rock music. Whereas rock aspired to authenticity and an expansion of the possibilities of music, pop was more commercial, ephemeral. It is not driven by any significant ambition except profit and commercial reward, and, in musical terms, it is essentially conservative. It is, provided from on high rather than being made from below, pop is not a do-it-yourself music but is professionally produced and packaged. The beat and the melodies tend to be simple, with limited harmonic accompaniment, the lyrics of modern pop songs typically focus on simple themes – often love and romantic relationships – although there are notable exceptions
12.
Guinness World Records
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The book itself holds a world record, as the best-selling copyrighted book of all time. As of the 2017 edition, it is now in its 63rd year of publication, the international franchise has extended beyond print to include television series and museums. On 10 November 1951, Sir Hugh Beaver, then the director of the Guinness Breweries, went on a shooting party in the North Slob, by the River Slaney in County Wexford. After missing a shot at a golden plover, he involved in an argument over which was the fastest game bird in Europe. That evening at Castlebridge House, he realised that it was impossible to confirm in reference books whether or not the golden plover was Europes fastest game bird. Beaver knew that there must be numerous other questions debated nightly in pubs throughout Ireland and abroad and he realised then that a book supplying the answers to this sort of question might prove successful. Beavers idea became reality when Guinness employee Christopher Chataway recommended University friends Norris and Ross McWhirter, the twin brothers were commissioned to compile what became The Guinness Book of Records in August 1954. A thousand copies were printed and given away, after the founding of The Guinness Book of Records at 107 Fleet Street, the first 198-page edition was bound on 27 August 1955 and went to the top of the British best seller lists by Christmas. The following year, it launched in the US, and sold 70,000 copies, since then, Guinness World Records has become a household name and the global leader in world records. Because the book became a hit, many further editions were printed, eventually settling into a pattern of one revision a year, published in September/October. The McWhirters continued to compile it for many years, Ross McWhirter was assassinated by the Provisional Irish Republican Army in 1975. Following Ross assassination, the feature in the show where questions about records posed by children were answered was called Norris on the Spot, Guinness Superlatives Limited was formed in 1954 to publish the first book. Sterling Publishing owned the rights to the Guinness book in the US for decades, and, under their management, the group was owned by Guinness PLC and subsequently Diageo until 2001, when it was purchased by Gullane Entertainment. Gullane was itself purchased by HIT Entertainment in 2002, with offices in New York City and Tokyo, Guinness World Records global headquarters remain in London, while its museum attractions are based at Ripley headquarters in Orlando, Florida, US. Recent editions have focused on record feats by person competitors, many records also relate to the youngest person who achieved something, such as the youngest person to visit all nations of the world, being Maurizio Giuliano. Each edition contains a selection of the records from the Guinness database, as well as new records. The majority of records are no longer listed in the book or on the website. For those unable to wait the 4–6 weeks for a reply, the Guinness Book of Records is the worlds most sold copyrighted book, earning it an entry within its own pages
13.
'Tain't What You Do (It's the Way That You Do It)
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Taint What You Do is a song written by jazz musicians Melvin Sy Oliver and James Trummy Young. It was first recorded in 1939 by Jimmie Lunceford, Harry James, and Ella Fitzgerald, the shim sham is often danced to the Lunceford recording of this song. The jazz tune was transformed into a pop song with ska elements in 1982 and it Aint What You Do. became a big hit in the UK, climbing to number four in the UK singles chart, and achieving a Silver certification from the British Phonographic Industry. The success of the single also prompted Bananarama to return the favour and have Fun Boy Three sing on their next single, in 2012 the cover version was used in a commercial for Hewlett-Packards color printers, which aired in the United States. 7 single It Aint What You Do 2,54 The Funrama Theme 2,56 +12 single It Aint What You Do. / Just Do It 5,55 ++ The Funrama Theme 5,55 + + a remix of The Funrama Theme with overdubbed brass, titled Funrama 2, appears on the Fun Boy Three album Fun Boy Three. ++ The first 2,52 of the 12 version is the album version of the song. Some reissues of the also include the Just Do It section as a separate track
14.
He Was Really Sayin' Somethin'
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He Was Really Sayin Somethin is a soul song written by Motown songwriters Norman Whitfield, William Mickey Stevenson, and Edward Holland, Jr. in 1964. The song is notable in both a 1964 version by American Motown girl group the Velvelettes, and a 1982 hit version by British girl group Bananarama, the original version of the song was recorded by Motown group the Velvelettes in December 1964. An alternate version recorded in October/November had been discarded, produced by Norman Whitfield, the Velvelettes version was released on Motowns V. I. P. Label on December 27,1964, and was a hit for the group in early 1965. He Was Really Sayin Somethin peaked at number 64 on the U. S. Billboard Hot 100, the single was the second most successful release for the Velvelettes, a minor Motown act which never released a full-length album. Throw a Farewell Kiss, composed by Whitfield and Holland and produced by Whitfield, had recorded in October 1962 and was issued as the B-side of He Was Really Sayin Somethin. Six years later, Whitfield had the Temptations record Farewell Kiss for their 1971 album Skys the Limit, in 1982, the British girl group Bananarama recorded a cover version of the song and released it as the first single from their debut album Deep Sea Skiving. Providing background vocals is Fun Boy Three, a vocal trio who had a hit with Bananarama earlier in the year with another cover. The 1982 single became the second consecutive hit for both Bananarama and Fun Boy Three, peaking at number five in the UK singles chart. It also received play on the then-young MTV network in America. Really Saying Something was both groups second entry in Australia, peaking at number seventy-four. The B-side, Give Us Back Our Cheap Fares, has issued on CD for the first time on the 2007 UK reissue of Deep Sea Skiving as one of five bonus tracks. It also became the groups first single to chart in America, the song was revived in 2005 by Solasso, who remixed the song and released it as a bootleg remix. It was later included on Bananaramas album Drama, the Irish girl group Buffalo G released a rap cover version of the song in 2000, reaching the top 20 in both the Irish and UK charts. The single was exclusively on Shakespears Sisters web site as a digital download. Copies of the CD single are no longer in production, and it is now one of Shakespears Sisters rarest collectibles to date
15.
Shy Boy
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Shy Boy is a song recorded by English girl group Bananarama. It appears on their 1983 debut album Deep Sea Skiving and was released as its second single and it was written and produced by the production team of Steve Jolley and Tony Swain and marked the first in a long line of studio collaborations between them and Bananarama. Released in summer 1982, Shy Boy became the third single by Bananarama to hit the top-five. It also was a success in Australia, where it reached number two, becoming their first top 40 hit in that country, top-ten success also followed in New Zealand and Canada. Shy Boy charted well on the U. S, Hot Dance Club Play chart and was the first of Bananaramas singles to dent the Billboard Hot 100, peaking at number eighty-three. The song was known as Shy Boy in the USA, the song was originally called Big Red Motorbike, however Bananarama didnt like the lyrics and changed it to Shy Boy. The music video was directed by Midge Ure and Chris Cross who were members of the group Ultravox. It featured the girls giving a nerdy guy a make-over, turning him into a stud, when his new look attracts the attention of a sexy secretary, the girls get revenge by dousing him with a bucket of water. The nerd-turned-stud was played Terry Sharpe, the lead vocalist of the Northern Irish rock group The Adventures, who was Sara Dallins boyfriend at the time. UK7 vinyl single London Records NANA2 Shy Boy 3,13 Dont Call Us 3,10 Canadian 7 vinyl single Mercury Records MS76178 Shy Boy 3,13 Give Us Back Our Cheap Fares 2,45 S. Dallin/S, lyrics of this song at MetroLyrics
16.
Cruel Summer (song)
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Cruel Summer is a pop song written and originally performed by the English girl group Bananarama. The song was a top ten hit on the UK Singles Chart in 1983, Bananarama singer Sara Dallin said the song played on the darker side, it looked at the oppressive heat, the misery of wanting to be with someone as the summer ticked by. It was ranked number 44 on VH1s 100 Greatest Songs of the 80s, Cruel Summer was not an immediate international success when it was released. Although it hit #8 on the UK Chart, its popularity soared after its inclusion in the 1984 feature film The Karate Kid. The group did not allow the song to be included on the soundtrack album. When Bananarama were still struggling to make money in their early years, the song has since been revived in various forms. It appeared in television commercials, and was covered by other acts, such as Ace of Base, who scored an international hit with it. In 2003, Swedish electronica female artist Sophie Rimheden sampled the beat, in 2011, Athens, Ohio-based rock band Downplay covered the song on their album Beyond the Machine. Since its success, the group have recorded three versions of the song. Cruel Summer 89 was recorded with new member Jacquie OSullivan in 1989 and it reached number nineteen in the UK singles chart in June. This version was not included on any Bananarama album until 2005s Really Saying Something, another version of the song was recorded and featured on their 2001 album Exotica. This version featured Latin instrumentation and additional lyrics, but it was not released as a single. In 2009 they released another updated version as a B-side to their single Love Comes. was just an excuse to get us to the city of New York for the first time. She recalls the shoot as a difficult experience and it was August, over one hundred degrees. Our HQ was a tavern under the Brooklyn Bridge, which had a room with a chipped mirror where we had to do our makeup. After an exhausting morning amidst shooting in the middle of a brutal August heatwave in the city and they made the acquaintance of some of the local dockworkers, who upon learning of their situation shared vials of cocaine with them. That was our lunch said Fahey, who had never tried the drug before, when you watch that video, we look really tired and miserable in the scenes we shot before lunch, and then the after-lunch shots are all euphoric and manic. The music video for the 1989 remix was a compilation of different shots from Bananaramas earlier videoclips, notably missing are clips from the original 1983 video
17.
Robert De Niro's Waiting...
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Robert De Niros Waiting. is a song written and recorded by English girl group Bananarama. It was the single released from their self-titled second album in 1984. The single is one of the groups strongest performing releases, peaking at three in the UK singles chart. It made a appearance on the US Billboard Hot 100. An extended version of the song was available on the 12 single, the B-side of both 7 and 12 singles was a song called Push. Also included on the 12 single, was an unlisted track, Bananarama have re-recorded Robert De Niros Waiting. Twice, in 2000 for the G-A-Y compilation and the year another new re-recording was included on their album Exotica. The music video for Robert De Niros Waiting. was directed by Duncan Gibbins and shows Bananarama walking around dark streets, Keren answers the door, only to be confronted by the man who might have been chasing them, armed with a Mafia-style violin case. As she looks nervously at him, the case falls open to reveal a sign saying Pizza Delivery, both the man and Keren start laughing, and the video ends with Bananarama in their apartment eating the pizza and laughing. UK & US7 vinyl single UK, London Records NANA6 / USA, –4,08 + the UK12 was also available in 3 different vinyl colours, pink for Keren, green for Siobhan, and blue for Sarah, each with a large picture label. Other versions Robert De Niros Waiting, a cover version by Subterfuge appears on the compilation Punk Chartbusters, Vol.1, released in 2000. The German Hip Hop trio Fettes Brot released a German version called Nicolette Krebitz wartet on their album Fettes Brot lässt Grüßen, the Russian group Nautilius Pompilius released a darker version of the song called Alain Delon, or The View From The Screen. Lyrics of this song at MetroLyrics
18.
Venus (Shocking Blue song)
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Venus is a 1969 song written by Robbie van Leeuwen. In 1970, the Dutch rock band Shocking Blue took the song to one in nine countries. In 1981 it was sampled as part of the Stars on 45 medley, in 1986, the British female pop group Bananarama returned the song to number one in seven countries. The composition has been featured in films, television shows and commercials. Released in late 1969 as a single from the third album Scorpios Dance. RIAA certification came on 28 January 1970 for selling one million copies in the US. Worldwide, the single sold over 7.5 million copies, the songs lead vocals are performed by Mariska Veres. The songs music and lyrics are written by Robbie van Leeuwen, the bands guitarist, sitarist and background vocalist, van Leeuwen originally miswrote the line. the goddess on the mountain top. As. the godness on the mountain top and this was corrected in later versions. The Hohner electric piano on the release was played by Cees Schrama, van Leeuwen was inspired by The Banjo Song, a composition by Tim Rose that set Stephen Fosters lyrics to Oh. Susanna to a new melody. Venus was remixed and re-released by dance producers The BHF Team in May 1990, scoring the group a Top 10 hit in the UK, the remix featured a hip house rhythm and samples. An instrumental version was released independently under the producers alias Don Pablos Animals. The instrumental version became the highest charting version of the song, the single began with a sample from James Browns 1988 hit The Payback Mix. This release of Venus peaked at number 4 on the UK Singles Chart, parodied by the Muppets for a television public service announcement about the V-chip and TV ratings. Used in television commercials for Gillette Venus razors in 2000 and again from 2012 sung by Jennifer Lopez, Venus had been a part of Bananaramas repertoire for several years before they actually recorded it. Bananarama brought the idea to the trio of Stock Aitken Waterman. Dallin, Fahey, and Woodward had nearly completed recording their album, titled True Confessions, with Jolley
19.
Billboard Hot 100
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The Billboard Hot 100 is the music industry standard record chart in the United States for singles, published weekly by Billboard magazine. Chart rankings are based on sales, radio play and online streaming, the weekly sales period was originally Monday to Sunday, when Nielsen started tracking sales in 1991, but was changed to Friday to Thursday in July 2015. Radio airplay, which, unlike sales figures and streaming data, is available on a real-time basis. A new chart is compiled and officially released to the public by Billboard on Tuesdays, as of the issue for the week ending on April 15,2017, the Hot 100 has had 1,061 different number one hits. The current number one song is Shape of You by Ed Sheeran, prior to 1955, Billboard did not have a unified, all-encompassing popularity chart, instead measuring songs by individual metrics. At the start of the era in 1955, three such charts existed, Best Sellers in Stores was the first Billboard chart, established in 1936. This chart ranked the biggest selling singles in retail stores, as reported by merchants surveyed throughout the country, Most Played by Jockeys was Billboards original airplay chart. It ranked the most played songs on United States radio stations, as reported by radio disc jockeys, Most Played in Jukeboxes ranked the most played songs in jukeboxes across the United States. On the week ending November 12,1955, Billboard published The Top 100 for the first time, the Top 100 combined all aspects of a singles performance, based on a point system that typically gave sales more weight than radio airplay. The Best Sellers In Stores, Most Played by Jockeys and Most Played in Jukeboxes charts continued to be published concurrently with the new Top 100 chart. The week ending July 28,1958 was the publication of the Most Played By Jockeys and Top 100 charts. On August 4,1958, Billboard premiered one main all-genre singles chart, the Hot 100 quickly became the industry standard and Billboard discontinued the Best Sellers In Stores chart on October 13,1958. The Billboard Hot 100 is still the standard by which a songs popularity is measured in the United States, the Hot 100 is ranked by radio airplay audience impressions as measured by Nielsen BDS, sales data compiled by Nielsen Soundscan and streaming activity provided by online music sources. There are several component charts that contribute to the calculation of the Hot 100. Charts are ranked by number of gross audience impressions, computed by cross-referencing exact times of radio airplay with Arbitron listener data. Hot Singles Sales, the top selling singles compiled from a sample of retail store, mass merchant and internet sales reports collected, compiled. The chart is released weekly and measures sales of commercial singles. With the decline in sales of singles in the US
20.
I Heard a Rumour
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I Heard a Rumour is a 1987 song recorded by English girl group Bananarama, featured on their Wow. album. It was also featured in the film Disorderlies and included on its soundtrack, I Heard a Rumour peaked at #14 in their native UK, and was one of their biggest singles in the U. S. reaching #4. It was also a hit in nightclubs, reaching #3 on the U. S, songwriter and music producer Pete Waterman names I Heard a Rumour as one of his favourite songs. The chords, general structure and parts of the melody are the same as those of Michael Fortunatis 1986 hit Give Me Up, the song is included in the PlayStation karaoke game SingStar Anthems. The music video, directed by Andy Morahan, is an expansion on the theme of Bananaramas Venus. Bananaramas trademark silliness is interspersed throughout, at one point the group, dressed in French can-can dresses, bend over to moon the camera and expose the letters W-O-W on their rears. Bloopers, of the girls making mistakes in the routine, are intercut with other footage. 7 single I Heard a Rumour 3,25 Clean Cut Boy 4,22 S. Dallin/S. Curnow 12 single I Heard a Rumour 5,57 Available on the CD album The Twelve Inches of Bananarama I Heard a Rumour 5,06 Clean Cut Boy 4,22 S. Dallin/S
21.
Do They Know It's Christmas?
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Is a song written in 1984 by Bob Geldof and Midge Ure in reaction to television reports of the 1983–85 famine in Ethiopia. It was first recorded in a day on 25 November 1984 by Band Aid. It held this title until 1997 when it was overtaken by Elton Johns Candle in the Wind 1997, the original version of Do They Know Its Christmas. Has sold 3.79 million copies in the UK to date, the song was also a major success around the world, reaching number one in thirteen other countries outside the UK. In the US, the single short of the top ten in the Billboard Hot 100 due to a lack of airplay. Worldwide the single had sold 11.7 million copies by 1989, Geldofs cautious hope was that the single would raise £70,000 for Ethiopia, but in the event Do They Know Its Christmas. Raised £8 million within twelve months of release, the song also led to various spin-off charity events, such as Comic Relief, and the Live Aid concert which would take place seven months later in July 1985. Was re-recorded three times, in 1989,2004, and 2014, all the re-recordings were also charity records, the 1989 and 2004 versions also provide money for famine relief, while the 2014 version was used to raise funds for the Ebola crisis in West Africa. All three of these versions reached number one in the UK, and the 2004 version of the song was also a UK million seller. The song was inspired by a series of reports that Michael Buerk made for BBC television news programmes, the Boomtown Rats singer Bob Geldof and his wife, television presenter Paula Yates, watched the report broadcast on 23 October 1984 and were deeply affected by it. On 2 November Yates travelled from the home in London to the Tyne Tees studio in Newcastle upon Tyne where she was presenting the weekly live music show The Tube. Among the acts performing on that weeks programme were Ultravox, promoting their greatest hits album The Collection, ultravoxs front man Midge Ure happened to be chatting to Yates in the dressing room after the show when Geldof called her. On discovering that she was with Ure, an old friend of Geldofs, he asked to speak to Ure, following their meeting, Geldof immediately set about recruiting other well known musicians to participate on the record. Geldof said, I then rang Sting and he said, yeah, count me in, the same day I was passing by this antique shop and who is standing in there but Gary Kemp, just about to go off on tour to Japan. He said he was mad for it as well and to wait 10 days till they got back in the country, I thought, Christ, we have got the real top boys here, all the big names in pop are suddenly ready and willing to do this. I knew then that we were off, and I just decided to go for all the rest of the faces and started to ring everyone up, asking them to do it. Geldof and Ures biggest problem was to be able to come up with a song that could be recorded and released in time for Christmas, Geldof came to Ures house the next day and together they worked on the tune with Geldof on his acoustic guitar. Midge, reliable as ever, sent down this tune which is the sort of Christmassy bit at the end and we married the two together
22.
ARIA Charts
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The ARIA Charts are the main Australian music sales charts, issued weekly by the Australian Recording Industry Association. The charts are a record of the highest selling singles and albums in various genres in Australia, ARIA became the official Australian music chart in June 1988, succeeding the Kent Music Report which had been Australias national charts since 1974. The Go-Set charts were Australias first national singles and albums charts published from 5 October 1966 until 24 August 1974, succeeding Go-Set, the Kent Music Report began issuing the national top 100 charts in Australia from May 1974. The compiler, David Kent, also published Australias national charts from 1940–1974 in a retrospective fashion using state based data, in mid 1983, the Australian Recording Industry Association commenced licensing the Kent Music Report chart. The first printed national top 50 chart available in record stores, ARIA began compiling its own charts in-house from the chart dated week ending 26 June 1988. Various artists compilation albums were included in the albums chart, as they had been on the Kent Report chart, until 2 July 1989. The ARIA Report, detailing the top 100 singles and albums charts, was first available via subscription in January 1990, the printed top 50 chart ceased publication in June 1998, but resumed publication later in the year. The printed top 50 chart again ceased publication at the end of 2000, the ARIA charts are based on data collected from physical and digital retailers in Australia. Data of physical sales come from such as Sanity and JB Hi-Fi, while data of digital sales come from online retailers such as iTunes, Bandit FM, GetMusic. Since 17 February 1997, all physical sales data contributing towards the chart has been recorded electronically at point of sale. In March 1991, Do the Bartman by The Simpsons was the first single to reach #1 in Australia that was not available on 7 inch vinyl, but cassingle only. Starting from 8 October 2006, due to low physical single sales at the time, in 2006, it was announced that the Brazin retailing group, comprising major retailers HMV, Sanity and Virgin music/DVD stores would no longer contribute sales data to the ARIA charts. However, after an absence, Brazin reportedly re-commenced contributing sales figures to the ARIA Charts on 26 November 2006. The ARIA website publishes the top 50 singles and albums charts, top 40 digital tracks chart, the ARIA Report lists all charts in full and is available via paid e-mail subscription each week. These reports are uploaded to the Pandora Archive periodically, on 5 February 2006, the ARIA Chart Show was a radio program launched on the Nova network and broadcast throughout Australia, playing the official ARIA top 50 singles. The live music program was hosted by Jabba each Sunday afternoon at 3, the show was aired before the top 50 chart, dated for the following Monday, is published on the ARIA website at 6,00 pm. The charts were published online at 6,00 pm each Sunday. The diamond certification was created for albums in November 2015 to mark 500,000 sales/shipments, for music DVDs, a gold accreditation originally represented 7,500 copies shipped, with a platinum accreditation representing 15,000 units shipped. co. uk
23.
Wow! (Bananarama album)
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WOW. is the fourth album released in September 1987 by Bananarama. It is entirely produced and co-written with the Stock Aitken Waterman production trio and is the last album by the group to generate significant chart hits in the US. Tensions between group member Siobhan Fahey and Stock, Aitken, and Waterman regarding songwriting input and lyrical content prompted Faheys departure from Bananarama months after its release, by the time of the albums fourth single Fahey had been replaced with Jacquie OSullivan. While the album was a success in both the UK and US, it was a particularly big hit in Australia, where it topped the charts. Fahey would resurface in 1989 with her new band Shakespears Sister, the original CD included 12-inch versions. The 2007 re-issue of Wow. contains the version of Some Girls and contains the shortened faded version of Strike it Rich from the Love
24.
Brit Awards
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The Brit Awards are the British Phonographic Industrys annual pop music awards. The name was originally a form of British, Britain or Britannia. In addition, an equivalent awards ceremony for music, called the Classic Brit Awards, is held each May. Robbie Williams holds the record for the most Brit Awards,13 as a solo artist, the awards originated as an annual event in 1982 under the auspices of the British record industrys trade association, the BPI. In 1989 they were renamed the Brit Awards, masterCard has been the long-term sponsor of the event. The Brit Awards were broadcast live until 1989, when Samantha Fox, in subsequent years, the event was recorded and broadcast the following night. From 2007, the Brit Awards reverted to a live broadcast on British television, on 14 February on ITV. In that year, comedian Russell Brand was presenter and three awards were dropped from the ceremony, Best British Rock Act, Best British Urban Act, on 18 February 2009, the venue for the BRITs was once again the Earls Court, London. The Brit Awards were held at The O2 in London for the first time in 2011, the Brit Award statuette given to the winners features Britannia, the female personification of Britain. The first awards ceremony was in 1977, as The BRITish Record Industry BRITannia Awards, there have been 36 editions to date. The 2016 Brit Awards was held on 24 February 2016, the 1988 BPI Awards was the first of the ceremonies to be broadcast on live television. The BBC had previously broadcast the ceremony from 1985, with the shows from 1982 to 1984 not broadcast on television, the BBC continued to broadcast the renamed BRIT Awards, live in 1989 and pre-recorded from 1990 to 1992. ITV have broadcast the awards since 1993, pre-recorded until 2006, BBC Radio 1 has provided backstage radio coverage since 2008. In 1987 the BPI Awards ceremony was held in the Great Room at the Grosvenor House Hotel, at the time there was a BBC electricians strike in effect, and the organisers decided to use a non-TV events production company, called Upfront, to manage the show. Despite the show being picketed, the event was transmitted as intended, for a while the outdoor broadcast scanner was rocked on its wheels by the protesters and they managed to shut off the power to one of the big GE video screen projectors. In 1989, the ceremony was broadcast live and presented by Fleetwood Macs Mick Fleetwood, the inexperience of the hosts, an ineffective autocue and little preparation combined to create an unprofessional show that was poorly received. The 1990 awards ceremony saw the last public appearance of Queen frontman Freddie Mercury, Queen appeared at the ceremony to receive the Brit Award for Outstanding Contribution to Music. Mercury did not make a speech, as Brian May did the talking on behalf of the other members, in 1992, dance/art band The KLF were awarded Best British Group and were booked to open the show
25.
The Supremes
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The Supremes were an American female singing group and the premier act of Motown Records during the 1960s. Most of these hits were written and produced by Motowns main songwriting and production team, founding members Florence Ballard, Mary Wilson, Diana Ross, and Betty McGlown, all from the Brewster-Douglass public housing project in Detroit, formed the Primettes as the sister act to the Primes. Barbara Martin replaced McGlown in 1960, and the signed with Motown the following year as the Supremes. Martin left the act in early 1962, and Ross, Ballard, during the mid-1960s, the Supremes achieved mainstream success with Ross as lead singer. In 1967, Motown president Berry Gordy renamed the group Diana Ross & the Supremes, Ross left to pursue a solo career in 1970 and was replaced by Jean Terrell, at which point the groups name reverted to the Supremes. After 1972, the lineup changed frequently, Lynda Laurence, Scherrie Payne. The Supremes disbanded in 1977 after 18 years, since Ballard sang, as did Paul Williams girlfriend Betty McGlown, the Primess manager Milton Jenkins decided to create a sister group to the Primes called the Primettes. Ballard recruited her best friend Mary Wilson, who in turn recruited classmate Diane Ross, mentored and funded by Jenkins, the Primettes began by performing hit songs by artists such as Ray Charles and the Drifters at sock hops, social clubs and talent shows around the Detroit area. Receiving additional guidance from group friend and established songwriter Jesse Greer, after winning a prestigious local talent contest, the Primettes sights were set on making a record. Robinson liked the girls and agreed to help, but he liked their guitarist even more, with the Primettes permission he hired Tarplin, who became the guitarist for the Miracles. Undaunted, later that year the Primettes recorded a single for Lu Pine Records, a label created just for them, titled Tears of Sorrow, the single failed to find an audience, however. Shortly thereafter, McGlown became engaged and left the group, local girl Barbara Martin was McGlowns prompt replacement. Determined to leave an impression on Gordy and join the stable of rising Motown stars, eventually, they convinced Gordy to allow them to contribute hand claps and background vocals for the songs of other Motown artists including Marvin Gaye and Mary Wells. In January 1961, Gordy finally relented and agreed to sign the girls to his label –, the Primes had by this time combined with Otis Williams & the Distants and would soon sign to Motown as the Temptations. Gordy gave Ballard a list of names to choose from that included such as the Darleens, the Sweet Ps, the Melodees, the Royaltones. Ballard chose the Supremes, a name that Ross initially disliked as she felt it too masculine, nevertheless, on January 15 the group signed with Motown as the Supremes. In the spring of 1962, Martin left the group to start a family, thus, the newly named Supremes continued as a trio. Between 1961 and 1963, the Supremes released six singles, none of which charted in the Top 40 positions of the Billboard Hot 100, jokingly referred to as the no-hit Supremes around Motowns Hitsville U. S. A
26.
Nathan Jones (song)
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Nathan Jones is a hit single recorded by The Supremes, released in spring 1971 on the Motown label. Produced by Frank Wilson and written by Leonard Caston - a. k. a. Leonard Caston, Jr. - and Kathy Wakefield, Nathan Jones was one of eight Top 40 hits the Supremes recorded after its original frontwoman, Diana Ross, left the group for a solo career. The song centers around a womans longing for her lover, a man named Nathan Jones. Nathan Jones is an entry among the Supremes singles repertoire for several reasons. Clydie King was asked to sing along with the group to give the song a vocal sound. While working on the song, producer Frank Wilson had in mind a music style of phrasing for the song, resulting in the unison vocals. The unison vocals would repeatedly be dubbed to create a layered harmonic tone similar to present in the production of vocal group ABBA. This was accomplished by using a second recorder or an outboard processor such as the blue faced MXR flanger. Released as a single on April 15,1971 with Happy is a Bumpy Road as the B-side, Nathan Jones peaked at sixteen on the Billboard Pop Singles chart. Overseas, the single went to number-five on the UK Singles Chart, Nathan Jones was the most successful single released from the Supremes fourteenth regular studio album, Touch. They first recorded it on their 1987 album Wow. with their original line-up and this version was also featured on the Rain Man soundtrack. Some of the vocals were sampled on their I Heard a Rumour B-side song Clean Cut Boy, after Siobhan Fahey was replaced by Jacquie OSullivan, Bananarama re-recorded the song. This new version - now known as the Dave Ford Mix but alternatively known as the “Analogue” mix - was initially included on vinyl and it was then remixed and released as a single, peaking at number fifteen on the UK singles chart. This version replaced the Dave Ford mix on the compilation, including all CD issues, the music video featured the girls performing the song with vogue-style choreography with several male dancers dressed in British-style suits, hats, and umbrellas. Their performance is interspersed with shots of them strutting down a runway in flowing dresses. Individual shots of the girls are accompanied by floating images of fruits and art objects, the video was nominated for best music video at the BRIT Awards, but lost to Michael Jacksons Smooth Criminal. U. S. - Remastered & Remixed and Greatest Hits, Nathan Jones - Available on the CD album The Twelve Inches of Bananarama
27.
Shakespears Sister
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Shakespears Sister is a pop-rock project, formed by Irish-born singer–songwriter Siobhan Fahey in 1988, and based in the United Kingdom. Initially, Shakespears Sister was an act, but by 1989, it had become a duo with the addition of the American musician. Together they released two Top 10 albums and a string of Top 40 hits, including the 1992 hit Stay which peaked at No.1 in the UK for eight consecutive weeks. Detroit was fired from the band in 1993, leaving Fahey as the sole member again until she ended the project in 1996, after working under her own name for some years, Fahey revived the Shakespears Sister name in 2009. The name was adapted from the title of the song Shakespeares Sister by The Smiths, which was in turn a reference to Virginia Woolfs work A Room of Ones Own. According to Fahey, the spelling began with a misspelling on a woodcut sign, however she decided to keep it, because It made it sort of my thing. Fahey has described the meaning of the name being Siobhan Fahey is the mother, the sister, Fahey began writing and recording work for the project with producer Richard Feldman. An accomplished singer and multi-instrumentalist, Levy also made vocal and instrumental contributions to the sessions, Levy agreed, and restyled herself Marcella Detroit, a name shed use throughout her time with Shakespears Sister and afterwards. The debut Shakespears Sister single was Break My Heart /Heroine, Break My Heart had been intended to differentiate Faheys solo-artist persona from her past work with Bananarama. However, David A. Stewart had been impressed by the chemistry between Fahey and Detroit in the recording studio. Despite initial reluctance from both women, Detroit was invited to become a 50% member towards the end of the recording sessions and she would later recall by the time we did the last song on the first album, my role became more integral. I didn’t just want to be a background singer and it was Siobhan’s band, this was made perfectly clear. But I was cool with that – that’s the way it was, the second Shakespears Sister single, Youre History, gave the project its breakthrough hit. Youre History reached the top 10 in the UK in summer 1989, as did the debut Shakespears Sister album Sacred Heart, Two further singles were released from the album, Run Silent and Dirty Mind, though both failed to peak within the UK top 50. In October 1991, Shakespears Sister released the first single from Hormonally Yours, Goodbye Cruel World, the second single however, Stay, marked Shakespears Sisters first and only No. 1, staying at the top of the UK charts for eight weeks, and also found similar success in international charts. Notably, the song foregrounded Detroit, who sang the majority of lead vocals, Hormonally Yours was released the following month, and sold well on the strength of Stay, eventually being certified double platinum by the BPI. The duo continued to enjoy success with singles from Hormonally Yours
28.
Stay (Shakespears Sister song)
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Stay is a song by UK based pop act Shakespears Sister, released by London Records in January 1992 as the second single from their album Hormonally Yours. The single also held the No.1 position in band member Siobhan Faheys birthplace, Ireland, for six weeks, at the 1993 Brit Awards Stay won the award for Best British Video. In November 2010, The X Factor contestant Cher Lloyd performed the song on series 7 of the show, following this, the original version re-entered the UK, Ireland and the European Hot 100 Singles charts. The song originally sold 490,000 copies in the UK by the end of 1992 which was a year that saw low single sales, as of February 2012 it has sold over 600,000 copies. As well as being used on The X Factor, the song has also featured on Britains Got Talent, Dancing on Ice, Strictly Come Dancing, The Voice of Ireland. Detroit is noted for singing in whistle register before the last chorus of the song, going up to a high F. The piano, synth and bass guitar were performed by Ian Maidman, sophie Muller directed the promo video for the single, the concept of which was inspired by the film Cat Women of the Moon. The video featured Detroit and Fahey fighting over a comatose man, the video won Best Video at the 1993 Music Week Awards and Brit Awards, and was the subject of a spoof by comedians French & Saunders. The epic promo was featured in the Top 100 Music Videos of all time by Channel 4, the video starts with a view of a calm night sky. A shooting star passes over a full moon and the song begins, the camera pans back into a hospital room. Detroit is seen tending to her lover, played by Evans, at the bridge of the song, a portal opens and the angel of death, played by Fahey, appears at the top of a staircase, wearing a sparkling catsuit. She dances around in front of a bright light whilst mocking Detroit with a verse that she save her lover. Detroit tries her best to wake the man up, while Death slowly makes her way down the stairs to claim his soul. The two women fighting over the man, making it literally and figuratively a fight between life and death.12 and the Irish Chart at No.10. Il Divo recorded a version of the song for their 2011 album, delta Goodrem recorded a version of the song as a B-side for her 2014 single cover version of Love. Blutengel recorded a version on their 2004 album Demon Kiss, and 2015 album Omen, lyrics of this song at MetroLyrics
29.
I Want You Back (Bananarama song)
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I Want You Back is a song written and recorded by English girl group Bananarama. It is included on their studio album Wow. and was released as its fourth. The track was co-written and produced by the Stock Aitken Waterman trio, the song originally had a different chorus and was titled Reason for Living. Bananarama disliked this chorus and co-wrote the revised lyrics for I Want You Back, elements of the original chorus can be heard in the original Wow. version of I Want You Back. Both versions were recorded with Siobhan Fahey for the Wow. album. I Want You Back is the first Bananarama release to feature new group member Jacquie OSullivan, the song was then re-recorded with OSullivan for its release as a single. Reason for Living was included on the version of Wow. which was released in 2013. The song became one of Bananaramas highest-charting hits, peaking at five on the UK Singles Chart. It also climbed into the top three in Australia and the top ten in New Zealand, I Want You Back was not released in the United States. The video featured the group performing the song in various scenarios, one is a more formal presentation with the three girls performing a choreographed dance routine before the camera. Another has them acting silly, dancing spontaneously, and humorously fighting for screen time, yet another scenario features the girls dressed up in silver gowns as The Supremes. All of these scenes are interspersed with go-go boys dancing with wigs or in cages clad only in briefs, both videos were directed by Andy Morahan. 7 single I Want You Back –3,47 Bad for Me –3,3710 gatefold single I Want You Back –3,47 Bananarama Megamix –6,1512 single I Want You Back –7,56 Amnesia –6,28 M. Stock/M. Sara Dallin – vocals Keren Woodward – vocals Siobhan Fahey – vocals Jacquie OSullivan – vocals Lyrics of this song at MetroLyrics
30.
Help! (song)
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Help. is a song by the Beatles that served as the title song for both the 1965 film and its soundtrack album. It was also released as a single, and was one for three weeks in both the United States and the United Kingdom. Help. was written by John Lennon and credited to Lennon–McCartney, during an interview with Playboy in 1980, Lennon recounted, The whole Beatles thing was just beyond comprehension. I was subconsciously crying out for help and it was ranked no.29 on Rolling Stones 500 Greatest Songs of All Time. The documentary series The Beatles Anthology revealed that Lennon wrote the lyrics of the song to express his stress after the Beatles quick rise to success, I was fat and depressed and I was crying out for Help, Lennon told Playboy. In the 1970 Rolling Stone Lennon Remembers interviews, Lennon said that the song was one of his favourites among the Beatles songs he wrote, but he wished they had recorded it at a slower tempo. In these interviews, Lennon said he felt that Help. and Strawberry Fields Forever were his most honest, genuine Beatles songs, according to Lennons cousin and boyhood friend Stanley Parkes, however, Help. was written after Lennon came in from the studio one night. God, he said, theyve changed the title of the film, so Ive had to write a new song with the title called Help. According to McCartney, he was called in to complete it, providing the countermelody arrangement, the Beatles recorded Help. in 12 takes on 13 April 1965 using four-track equipment. The first nine takes concentrated on the instrumental backing, the descending lead guitar riff that precedes each verse proved to be difficult, so by take 4 it was decided to postpone it for an overdub. To guide the later overdub by Harrison, Lennon thumped the beat on his guitar body. Lead and backing vocals were recorded twice onto take 9, along with a tambourine, a reduction mix was applied to the two vocal tracks, taking three attempts, freeing up a track for the lead guitar overdub. This was the groups first use of two 4-track machines for bouncing, the vocals were re-recorded for the film during a session on 24 May 1965 at CTS Studios, a facility specializing in post-synchronisation. In addition to attempting a better performance, the session might have been done to eliminate the tambourine since no tambourine appeared in the film sequence. With the new vocals, a mix was created at CTS Studios which was used for the film soundtrack. Mixes for record releases were prepared on 18 June, for the mono version, Martin decided to use a mix of the opening chorus of take 12 edited to the remainder of the CTS film mix. Because all instruments were combined on a track for the CTS session, it could not be used for a stereo mix. New mixes were created for releases of the Help, CD, the Love album, and the Help
31.
Movin' On (Bananarama song)
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Movin On is a song written and recorded by English girl group Bananarama. It was the first single released from the album Please Yourself in 1992 and this is the first single released by Bananarama as a duo, as Jacquie OSullivan had left the group the prior year. It was produced by Mike Stock and Pete Waterman, two-thirds of the Stock Aitken Waterman trio who had produced a bulk of Bananaramas past hits. Movin On is a pop song with influences, as Stock. The single met with mixed reviews and moderate success when released, the song was later covered by Steps on their second album Steptacular. In 2012, the song was re-released by Bananarama on their Now or Never EP in a new version, the music video begins with the girls performing from behind a wooden cut-out of the image that appears on the cover of the single. They emerge from behind it in red evening gowns and descend a staircase as scantily clad showboys with feathered fans perform around them, several muscular men pose on podiums as live Grecian statues. As a nod to their trademark silliness, they can be seen tussling in the midst of their descent down the stairs. At the end, the duo make an exit down the long runway of a stage
32.
More, More, More
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More, More, More is a song written by Gregg Diamond and recorded by American disco artist Andrea True, who performed under the name Andrea True Connection. It was released in February 1976, and became her signature track, in the U. S. it reached number four on the Billboard Hot 100 and spent three weeks at number three on the Cashbox chart in July of that year. In Canada, it was a number-one hit, the song has been covered a number of times since by artists including Samantha Fox, Bananarama, Rachel Stevens and Dannii Minogue. In 1999 Canadian band Len sampled the break in More, More, More. The song has also used in television promotional advertisements, such as for American television series Sex. The title hook line is used as a jingle by Canadian supermarket chain Save-On-Foods, the song was originally recorded in Jamaica where True, a porn star, had been appearing in a television commercial. An attempted coup prevented her from leaving the country with her wages from the commercial, resourcefully, True called on Gregg Diamond to come down to Jamaica to write and record the song with her. Buddah Records originally released the only to discos in the winter of 1975. The popularity of More, More, More was immense, widespread listener interest convinced Buddah to release the single commercially in the spring. The song rose to four on the Billboard Hot 100. The single was a disco hit peaking at number two. Overseas, the peaked at number five on the UK Singles Chart. More, More, More was covered by English group Bananarama for their album Please Yourself and it was produced by Mike Stock and Pete Waterman of Stock Aitken Waterman fame. Their version retained the disco feel of the original and also incorporated elements of ABBA-like production, sara Dallin, Keren Woodward, Stock and Waterman added a second verse to their version of the song. The music video featured them performing the song and dancing in a club with several male dancers backing them up. Bananaramas single version climbed to number twenty-four in the UK singles chart and it was their last single to be released by London Records, their label since 1983. The duo would not see another single-release in the UK until Move in My Direction in 2005, the song was taken from her debut album Funky Dory and was her final release from that album. The song was featured in a campaign for Sky Sports football coverage for the 2004-05 season
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Move in My Direction
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Move in My Direction is a song written by British duo Bananarama, David Clewett and Ivar Lisinski for Bananaramas ninth studio album Drama. The song was produced by Mute 8 and received a reception from music critics. It was released as the first single in the quarter of 2005 and reached number four in Israel and number fourteen in the United Kingdom. Move in My Direction was not promoted as a single until after the two dance club success of follow-up single Look on the Floor. In August 2006 Move in My Direction entered the U. S, hot Dance Club Play chart, more than a year after its initial UK release. The music video features the two girls dressed up in fancy dresses while wandering listlessly by a road and sitting on a couch in an abandoned urban lot. Their shots are intercut with scenes of dancers performing dances ranging from tango to ballroom to breakdancing, music video directed by Phil Griffin. These are the formats and track listings of single releases of Move in My Direction
34.
Deep Sea Skiving
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Deep Sea Skiving is the debut studio album by British female vocal group Bananarama, released in 1983. The album peaked at no.7 on the UK album chart and was certified Silver by the BPI, the inner-sleeve of the vinyl release contained numerous photos of the group, several of them in childhood. These pictures have not been included in any CD version of the album to date, two of the albums tracks, Really Saying Something and Aie a Mwana, were drawn from previously recorded singles. Bananarama recorded three tracks with Jolley & Swain producing, but dismissed the duo in the middle of the albums recording, siobhan Fahey explained, wanted us to do their songs, not ours. They wanted a 1980s version of the old groups, disembodied voices. They didnt see us as voices with ideas, despite this, Jolly & Swain would be brought back as producers for Bananaramas next two albums. + The version of Girl About Town used is a longer version with an additional 4 bars just before the instrumental break than the original vinyl 7 Version.55 Special Boy Trouble on 6
35.
Cover version
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A cover version can also refer to a rerecording of a song by the original artist or performers under a different record company. Originally, Billboard and other magazines that track the popularity of artists and hit tunes measured the sales success of the published tune. Later, they tracked the airplay that songs achieved, some versions being more successful recording than the original song. Before the onset of rock n roll in the 1950s, songs were published and several records of a song might be out by singers of the day. The Hendrix version, released six months after Dylans original, became a Top 10 single in the UK in 1968 and was ranked 48th in Rolling Stone magazines 500 Greatest Songs of All Time. The term cover goes back decades when cover version originally described a version of a tune recorded to compete with the recently released version. The Chicago Tribune described the term in 1952, trade jargon meaning to record a tune that looks like a hit on someone elses label. Examples of records covered include Paul Williams 1949 hit tune The Hucklebuck, both crossed over to the popular Hit Parade and had numerous hit versions. In fact, one of the objects of publishing sheet music was to have a composition performed by as many artists as possible. In previous generations, some artists made very successful careers of presenting revivals or reworkings of once-popular tunes, musicians now play what they call cover versions of songs as a tribute to the original performer or group. Using familiar material is an important method of learning music styles, until the mid-1960s most albums, or long playing records, contained a large number of evergreens or standards to present a fuller range of the artists abilities and style. Artists might also perform interpretations of a favorite artists hit tunes for the pleasure of playing a familiar song or collection of tunes. A cover band plays cover versions exclusively. Some tribute acts salute the Who, The Rolling Stones and many classic rock acts. Many tribute acts target artists who remain popular but no longer perform, many tribute bands attempt to recreate another bands music as faithfully as possible, but some such bands introduce a twist. Dread Zeppelin performs reggae versions of the Zeppelin catalog and Beatallica creates heavy metal fusions of songs by the Beatles, there are also situations in which a member of a tribute band will go on to greater success, sometimes with the original act they tribute. One notable example is Tim Ripper Owens who, once the singer of Judas Priest tribute band British Steel. Cover acts or bands are entertainers who perform a variety of crowd-pleasing cover songs for audiences who enjoy the familiarity of hit songs
36.
Na Na Hey Hey Kiss Him Goodbye
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Na Na Hey Hey Kiss Him Goodbye is a song written and recorded by Paul Leka, Gary DeCarlo and Dale Frashuer, attributed to a then-fictitious band they named Steam. It was released under the Mercury subsidiary label Fontana and became a number one pop single on the Billboard Hot 100 in late 1969, in 1977, Chicago White Sox organist Nancy Faust began playing the song when White Sox sluggers knocked out the opposing pitcher. The fans would sing and a ritual was born. It has also observed by crowds in political rallies to drown out. The group disbanded when Leka talked Frashuer into going into New York City with him to write, in 1968, DeCarlo recorded four songs at Mercury Records in New York with Leka as producer. The singles impressed the executives, who wanted to issue all of them as A-side singles. In need of a B-side, Leka and DeCarlo resurrected an old song from their days as the Glenwoods, Kiss Him Goodbye, with their old bandmate, with DeCarlo as lead vocalist, they recorded the song in one recording session. Instead of using a band, Leka had engineer Warren Dewey splice together a drum track from one of DeCarlos four singles. I said we should put a chorus to it, Leka told Fred Bronson in The Billboard Book of Number One Hits, I started writing while I was sitting at the piano going na, na, na, na, na, na, na, na. Everything was na na when you didnt have a lyric, the group that is seen on the album cover and in the old black and white video was a road group that had nothing to do with the recording. The road group was lip syncing to DeCarlos vocal in the video, by the beginning of the 21st century, sales of Na Na Hey Hey Kiss Him Goodbye had exceeded 6.5 million records. The original recording of Na Na Hey Hey Kiss Him Goodbye has been released in collections of oldies songs. The Supremes included a cover of the song on their 1970 album New Ways, the Belmonts recorded an acappella version, which can be found as a track on their 1972 album Cigars, Acappella, Candy. Dave Clark & Friends released the song in October 1973 under the title Sha-Na-Na-Na, in February 1983, UK girl group Bananarama released the song as a single from their album Deep Sea Skiving. This version became a top ten hit in the United Kingdom, in 1987, Canadian quartet The Nylons released an a cappella version of this song as a single under the shortened title Kiss Him Goodbye. It became their biggest hit on the Billboard Hot 100, peaking at number twelve that summer, nigerian Reggae artist Majek Fashek sampled the chorus for the song Free Africa, Free Mandela. In 1998, Sugar Beats covered this song includes a rap breakdown. In 2009, Kristinia DeBarge heavily sampled Na Na Hey Hey Kiss Him Goodbye in her debut single Goodbye, the song would eventually reach the top 20 of the Billboard Hot 100, peaking at #15
37.
American Bandstand
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American Bandstand is an American music-performance show that aired in various versions from 1952 to 1989 and was hosted from 1956 until its final season by Dick Clark, who also served as producer. Freddy Boom Boom Cannon holds the record for most appearances at 110, the shows popularity helped Dick Clark become an American media mogul and inspired similar long-running music programs, such as Soul Train and Top of the Pops. Clark eventually assumed ownership of the program through his Dick Clark Productions company and this incarnation was an early predecessor of sorts of the music video shows that became popular in the 1980s, featuring films that are themselves the ancestors of music videos. As WFIL grew financially and the account became important, Stewart wasnt needed and was eventually dropped from the program. Tony Mammarella was the producer with Ed Yates as director. The short Snader and Official music films continued in the term, mainly to fill gaps as they changed dancers during the show—a necessity. On July 9,1956, Horn was fired after a drunk-driving arrest, as WFIL and he was also reportedly involved in a prostitution ring and brought up on morals charges. Horn was temporarily replaced by producer Tony Mammarella before the job went to Dick Clark permanently, in late spring of 1956, the ABC television network asked their O&Os and affiliates for programming suggestions to fill their 3,30 p. m. time slot. Clark decided to pitch the show to ABC president Thomas W. Moore, One show from this first season is now in the archives of Chicagos Museum Of Broadcast Communications. Studio B measured 80x42x24, but appeared smaller due to the number of props, television cameras and it was briefly shot in color in 1958 when WFIL-TV began experimenting with the then-new technology. WFIL went back to the TK-10s two weeks later when ABC refused to carry the signal and management realized that the show lost something without the extra cameras. Clark would often interview the teenagers about their opinions of the songs being played, the segment gave rise, perhaps apocryphally, to the phrase Its got a good beat and you can dance to it. In one humorous segment broadcast for years on retrospective shows, comedians Cheech, featured artists typically performed their current hits by lip-syncing to the released version of the song. During this time, there were shows that were not hosted by Clark. From 1969 to 1974, Bandstand Theme, a rock instrumental written by Mike Curb. From 1974 to 1977, there was a newer, orchestral version of Bandstand Boogie, arranged and performed by Joe Porter. From 1977 to the end of its ABC run in 1987, the opened and closed with Barry Manilows rendition of Bandstand Boogie. This version introduced lyrics written by Manilow and Bruce Sussman, referencing elements of the series, the previous theme was retained as bumper music
38.
Bananarama (album)
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Bananarama is the second album released by British girl group Bananarama. Released in 1984, the peaked at no.16 on the UK album chart. The group continued their association with producers Jolley & Swain, further hits from the album included Robert De Niros Waiting. and Rough Justice. The track Hot Line to Heaven was also released as a single in the UK but failed to reach the top 40, anyway here are results of our hard work over the past twelve months. This is for you – we hope you like it, best Wishes, love Keren X, All the best, love Sarah x, and Lots of love, Siobhan xx. The album and the song on it, King of the Jungle were dedicated to the memory of their friend Thomas ‘Kidso’ Reilly, who had recently been killed in Belfast. CD, LP and cassette versions Cruel Summer —3,35 Rough Justice —5,07 King of the Jungle —3,28 Dream Baby —3,01 Link —1,31 Hot Line to Heaven —7,19 State Im In —2,48 Robert De Niros Waiting. —3,43 Through a Childs Eyes —3,40 Cairo —3,44 Push, —3,42 Through a Childs Eyes —3,39 The Wild Life —3,54 Cairo —3,46 Push. —4,08 Live Now —3,05 Cruel Summer —4,55 Robert De Niros Waiting. —5,42 Rough Justice —5,20 The Wild Life —6,23 Cruel Summer 89 —5,17 Disc 2 Cruel Summer 89 —3,21 Robert De Niros Waiting. —3,29 Rough Justice —3,38 Hot Line to Heaven —3,45 The Wild Life —3,17 Cruel Summer -3,27 Rough Justice —6,40 King of the Jungle —3,18 Dream Baby —3,08 Link/Push. Bananarama Sara Dallin - Vocals Siobhan Fahey - Vocals Keren Woodward - Vocals Additional Personnel Peter Ashworth - Photography
39.
Hot Line to Heaven
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Hot Line to Heaven is a song co-written and performed by English girl group Bananarama. The song appears on their second, self-titled album and was released as a single in the UK in 1984, in its album version, Hot Line to Heaven is a seven-plus-minutes mid-tempo pop song. It was edited to about three-and-a-half minutes for its single release and this was only a temporary pressing, however, as Bananaramas track listing was restored several months later, with the full version of Hot Line to Heaven intact. The single did not perform well on the charts and got very limited release outside of UK, as was the case with the Bananarama album, the dark lyrical content did not meet with mainstream acceptance and became the groups lowest charting UK single since their debut Aie a Mwana. The music video features the girls trying to persuade a record executive to listen to their demo tapes, when they eventually show up as angels in his hallucinations, he relents
40.
Rough Justice (Bananarama song)
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Rough Justice is a song written and recorded by English girl group Bananarama. It was the single released from their self-titled second album in 1984. Although the music was upbeat, the lyrical content did not prove to be as successful as their prior single. It peaked at number 23 in the UK singles chart, in Australia, the song failed to chart and it was not released as a single in the United States. Rough Justice was remixed slightly from its album version released as a single. The music video features the girls preparing for an appearance on a show at a TV studio, the studio director comes by and leads the girls to the studio where they will be filming their appearance but as he is looking away, the girls head into the other studio. They end up hijacking the news broadcast in order to get their message out to the public
41.
The Karate Kid
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It is an underdog story in the mold of a previous success, the 1976 film Rocky, which Avildsen also directed. The Karate Kid was a success upon release and garnered critical acclaim. The film became the first in a series, spawning three sequels and a remake in 2010, high school senior Daniel LaRusso and his mom, Lucille, move from Newark, New Jersey to Reseda, Los Angeles, California. When they arrive, Daniel meets a neighbor named Freddy Fernandez and their maintenance man is an eccentric but kind and humble Okinawan immigrant named Kesuke Miyagi. At the beach party, Daniel meets Ali Mills, a high school cheerleader from Encino, the two fall for each other, which draws the attention of Johnny Lawrence, Alis ex-boyfriend. Johnny is the top student of a karate dojo called Cobra Kai, Johnny and his gang continue to bully, bother, and harass him. At a Halloween party, Daniel douses Johnny with water, leading to a chase, Daniel is eventually caught and beaten savagely, but Mr. Miyagi arrives and rescues him and beats up the five attackers with ease. Amazed, Daniel asks Miyagi to teach him to fight, Miyagi refuses, but agrees to accompany Daniel to the Cobra Kai dojo to resolve the conflict. They meet with the sensei, John Kreese, an ex-Special Forces Vietnam veteran, Miyagi proposes that Daniel will enter the Under-18 All-Valley Karate Tournament, where he can compete with all the Cobra Kai students, and he requests that the bullying cease while Daniel trains. Kreese agrees to the terms, but warns that if Daniel doesnt show up at the tournament, Daniels training starts with menial chores he believes only makes him Miyagis slave. When he becomes frustrated, it is explained that these actions have helped him learn defensive blocks through muscle memory, Daniel applies the life lessons that Miyagi taught him to strengthen his relationship with Ali. At the tournament, Daniel unexpectedly reaches the semi-finals, bobby reluctantly does so, getting disqualified in the process. Daniel is taken to the room, where the physician determines that he cant continue. So he convinces Miyagi to use a pain suppression technique so that he can continue, as Johnny is about to be declared the winner by default, Ali tells the master of ceremonies that Daniel will fight. Daniel then hobbles into the ring and faces Johnny, the match is halted when Daniel uses a scissor leg technique to trip Johnny and deliver a blow to the back of the head, giving him a nose bleed. Kreese orders Johnny to sweep Daniels injured leg, an unethical move, Johnny is horrified at the order, insisting he can beat Daniel legitimately, but obeys under Kreeses intimidation. As the match continues, Johnny seizes Daniels leg and delivers a vicious blow, Daniel, standing with difficulty, assumes the Crane stance, a technique he observed Miyagi performing on the beach. Johnny lunges toward Daniel, who jumps and delivers a kick to Johnnys chin, having gained respect towards his nemesis, Johnny takes Daniels trophy from the master of ceremonies and presents it to Daniel himself as Daniel is carried off by the enthusiastic crowd
