MTV is an American pay television channel owned by Viacom Media Networks and headquartered in New York City. The channel was launched on August 1, 1981, aired music videos as guided by television personalities known as "video jockeys". At first, MTV's main target demographic was young adults, but today it is teenagers high school and college students. Since its inception, MTV has toned down its music video programming and its programming now consists of original reality and drama programming and some off-network syndicated programs and films, with limited music video programming in off-peak time periods. MTV had struggled with the secular decline of music-related subscription-based media, its ratings had been said to be failing systematically, as younger viewers shift towards other media platforms, with yearly ratings drops as high as 29%. In April 2016, then-appointed MTV president Sean Atkins announced plans to restore music programming to the channel. Under current MTV president Chris McCarthy, reality programming has once again become prominent.
MTV has spawned numerous sister channels in the U. S. and affiliated channels internationally, some of which have gone independent, with 90.6 million American households in the United States receiving the channel as of January 2016. Several earlier concepts for music video-based television programming had been around since the early 1960s; the Beatles had used music videos to promote their records starting in the mid-1960s. The creative use of music videos within their 1964 film A Hard Day's Night the performance of the song "Can't Buy Me Love", led MTV on June 26, 1999, to honor the film's director Richard Lester with an award for "basically inventing the music video". In his book The Mason Williams FCC Rapport, author Mason Williams states that he pitched an idea to CBS for a television program that featured "video-radio", where disc jockeys would play avant-garde art pieces set to music. CBS rejected the idea, but Williams premiered his own musical composition "Classical Gas" on the Smothers Brothers Comedy Hour, where he was head writer.
In 1970, Philadelphia-based disc jockey Bob Whitney created The Now Explosion, a television series filmed in Atlanta and broadcast in syndication to other local television stations throughout the United States. The series featured promotional clips from various popular artists, but was canceled by its distributor in 1971. Several music programs originating outside of the US, including Australia's Countdown and the United Kingdom's Top of the Pops, which had aired music videos in lieu of performances from artists who were not available to perform live, began to feature them by the mid-1970s. In 1974, Gary Van Haas, vice president of Televak Corporation, introduced a concept to distribute a music video channel to record stores across the United States, promoted the channel, named Music Video TV, to distributors and retailers in a May 1974 issue of Billboard; the channel, which featured video disc jockeys, signed a deal with US Cable in 1978 to expand its audience from retail to cable television.
The service was no longer active by the time MTV launched in 1981. In 1977, Warner Cable a division of Warner Communications and the precursor of Warner-Amex Satellite Entertainment launched the first two-way interactive cable television system named QUBE in Columbus, Ohio; the QUBE system offered many specialized channels. One of these specialized channels was Sight on Sound, a music channel that featured concert footage and music-oriented television programs. With the interactive QUBE service, viewers could vote for their favorite artists; the original programming format of MTV was created by media executive Robert W. Pittman, who became president and chief executive officer of MTV Networks. Pittman had test-driven the music format by producing and hosting a 15-minute show, Album Tracks, on New York City television station WNBC-TV in the late 1970s. Pittman's boss Warner-Amex executive vice president John Lack had shepherded PopClips, a television series created by former Monkee-turned solo artist Michael Nesmith, whose attention had turned to the music video format in the late 1970s.
The inspiration for PopClips came from a similar program on New Zealand's TVNZ network named Radio with Pictures, which premiered in 1976. The concept itself had been in the works since 1966, when major record companies began supplying the New Zealand Broadcasting Corporation with promotional music clips to play on the air at no charge. Few artists made the long trip to New Zealand to appear live. On Saturday, August 1, 1981, at 12:01 AM Eastern Time, MTV was launched with the words "Ladies and gentlemen and roll," spoken by John Lack and played over footage of the first Space Shuttle launch countdown of Columbia and of the launch of Apollo 11; those words were followed by the original MTV theme song, a crunching rock tune composed by Jonathan Elias and John Petersen, playing over the American flag changed to show MTV's logo changing into various textures and designs. MTV producers Alan Goodman and Fred Seibert used this public domain footage as a concept. A shortened version of the shuttle launch ID ran at the top of every hour in various forms, from MTV's first day until it was pulled in early 1986 in the wake of the Challenger disaster.
Springfield (The Simpsons)
Springfield is a fictional town in the American animated sitcom The Simpsons, which serves as its main setting. A mid-sized town in an undetermined state of the United States, Springfield acts as a complete universe in which characters can explore the issues faced by modern society; the geography of the town and its surroundings are flexible, changing to address whatever an episode's plot calls for. Springfield's location is impossible to determine, the show is deliberately evasive on the subject, providing contradictory clues and information about its location. Springfield is intended to represent "anytown, USA" and not be a specific real town, although the producers acknowledge basing the town on numerous locations including The Simpsons creator Matt Groening's hometown of Portland and Mike Scully's hometown, Massachusetts. Groening named Springfield after Springfield and took inspiration from Springfield being the fictitious setting of the series Father Knows Best, he said, "I figured out that Springfield was one of the most common names for a city in the U.
S. In anticipation of the success of the show, I thought,'This will be cool, and they do." Groening liked Second City Television's use of Melonville, a town with a large cast of recurring characters that serves as a mini-universe for the show, based The Simpsons on it. Because of the many contradictory statements regarding Springfield, it is impossible for the town to exist in a specific state. In The Simpsons Movie, Ned Flanders tells Bart that the state where Springfield is located is bordered by the states of Ohio, Nevada and Kentucky - of which only Ohio and Kentucky are real neighboring states; the city's unknown and unknowable geography is a recurring joke in the series. But if you look at the clues, you can figure it out." Episodes make fun of the fact that Springfield's state is unidentifiable by adding further conflicting descriptions, obscuring onscreen map representations, interrupting conversational references. The 2012 episode "Beware My Cheating Bart" played upon the unidentifiability of the state in its opening chalkboard gag, which stated that "The true location of Springfield is in any state but yours".
David Silverman, who directed the movie and various episodes of the series, joked that Springfield is located in the fictional state of "North Takoma". This is substantiated by the state abbreviations TA used within the show; the telephone area codes for Springfield are 636 and 939. To promote The Simpsons Movie, various actual towns and cities across the U. S. called. The town of Springfield, was chosen. In 2016, a New York Times study of the 50 TV shows with the most Facebook Likes found that "of all the Springfields in America, is most popular in Springfields in Virginia and New Jersey, least popular in Springfields in Louisiana and Georgia". Springfield was founded in 1796 by a group led by Jebediah Springfield who, after misinterpreting a passage in the Bible, left Maryland trying to find "New Sodom." After he refused to found a town where men were free to marry their cousins, half of the group left. The dissenters founded the nearby town of Shelbyville, after fellow pioneer Shelbyville Manhattan, the two cities remain rivals after centuries.
Springfield reached its pinnacle in the mid-20th century, when it became the home of the world's first Aquacar factory. S. was said to wear Springfield galoshes and Springfield's streets were paved with gold. The town's prosperity faded. Springfield's geography is varied, including forests, mountain ranges, a desert, a gorge, a glacier, badlands, swamps, a harbor and waterways. Major named geographical features include Springfield Gorge, Springfield National Forest, the volcanic Mt. Springfield, the West Springfield Desert, the Springfield Badlands, the gigantic Murderhorn Mountain, Springfield Glacier, Mt. Useful National Park, Springfield Mesa, Springfield Monument Park, Springfield National Park; the town's climate is dry and sunny, with a bright blue sky. However, it has been subject to many natural disasters, including heat waves, avalanches, acid rain, hurricanes, lightning strikes and volcanic eruptions. Springfield's environment is unusually polluted. Overflowing garbage forced the whole town – both population and structures — to move five miles away from the massive dump that the old town of Springfield had become.
Springfield is unfortunately, home to the state's largest self-sustaining tire fire, burning continuously for many decades. Lake Springfield's pollution led to the town's destruction by an Environmental Protection Agency bomb, pollution from the nuclear power plant has mutated the fish in the river, with the Nuclear Power Plant's mascot being Blinky, with three eyes, its atmosphere proved to have such a thick and acidic pollution layer that it once reduced a comet to a tiny rock the size of a chihuahua's head. In politics, the mayor of Springfield is Joe Quimby, while the town's represe
The twelve-inch single is a type of gramophone record that has wider groove spacing and shorter playing time compared to LPs. This allows for louder levels to be cut on the disc by the mastering engineer, which in turn gives a wider dynamic range, thus better sound quality; this record type is used in disco and dance music genres, where DJs use them to play in clubs. They are played at either 45 rpm. Twelve-inch singles have much shorter playing time than full-length LPs, thus require fewer grooves per inch; this extra space permits a broader dynamic range or louder recording level as the grooves' excursions can be much greater in amplitude in the bass frequencies important for dance music. Many record companies began producing 12-inch singles at 33 1⁄3 rpm, although 45 rpm gives better treble response and was used on many twelve-inch singles in the UK; the gramophone records cut for dance-floor DJs came into existence with the advent of recorded Jamaican mento music in the 1950s. By at least 1956 it was standard practice by Jamaican sound systems owners to give their "selecter" DJs acetate or flexi disc dubs of exclusive mento and Jamaican rhythm and blues recordings before they were issued commercially.
Songs such as Theophilus Beckford's "Easy Snappin'" were played as exclusives by Sir Coxson's Downbeat sound system for years before they were released in 1959 – only to become major local hits pressed in the UK by Island Records and Blue Beat Records as early as 1960. As the 1960s creativity bloomed along, with the development of multitrack recording facilities, special mixes of rocksteady and early reggae tunes were given as exclusives to dancehall DJs and selecters. With the 1967 Jamaican invention of remix, called dub on the island, those "specials" became valuable items sold to allied sound system DJs, who could draw crowds with their exclusive hits; the popularity of remix sound engineer King Tubby, who singlehandedly invented and perfected dub remixes from as early as 1967, led to more exclusive dub plates being cut. By 10-inch records were used to cut those dubs. By 1971, most reggae singles issued in Jamaica included on their B-side a dub remix of the A-side, many of them first tested as exclusive "dub plates" on dances.
Those dubs included drum and bass-oriented remixes used by sound system selecters. The 10-inch acetate "specials" would remain popular until at least the 2000s in Jamaica. Several Jamaican DJs such as DJ Kool Herc exported much of the hip hop dance culture from Jamaica to the Bronx in the early 1970s, including the common Jamaican practice of DJs rapping over instrumental dub remixes of hit songs leading to the advent of rap culture in the United States. Most the widespread use of exclusive dub acetates in Jamaica led American DJs to do the same. In the United States, the twelve-inch single gramophone record came into popularity with the advent of disco music in the 1970s after earlier market experiments. In early 1970, Cycle/Ampex Records test-marketed a twelve-inch single by Buddy Fite, featuring "Glad Rag Doll" backed with "For Once in My Life"; the experiment aimed to energize the struggling singles market, offering a new option for consumers who had stopped buying traditional singles. The record was pressed at 33 rpm, with identical run times to the seven-inch 45 rpm pressing of the single.
Several hundred copies were made available for sale for 98 cents each at two Tower Records stores. Another early twelve-inch single was released in 1973 by soul/R&B musician/songwriter/producer Jerry Williams, Jr. a.k.a. Swamp Dogg. Twelve-inch promotional copies of "Straight From My Heart" were released on his own Swamp Dogg Presents label, with distribution by Jamie/Guyden Distribution Corporation, it was manufactured by Jamie Record Co. of Pennsylvania. The B-side of the record is blank; the first large-format single made for DJs was a ten-inch acetate used by a mix engineer in need of a Friday-night test copy for famed disco mixer Tom Moulton. The song was; as no 7-inch acetates could be found, a 10–inch blank was used. Upon completion, found that such a large disc with only a couple of inches worth of grooves on it made him feel silly wasting all that space, he asked Rodríguez to re-cut it so that the grooves looked more spread out and ran to the normal center of the disc. Rodriguez told him.
Because of the wider spacing of the grooves, not only was a louder sound possible but a wider overall dynamic range as well. This was noticed to give a more favorable sound for discothèque play. Moulton's position as the premiere mixer and "fix it man" for pop singles ensured that this fortunate accident would become industry practice; this would have been a natural evolution: as dance tracks became much longer than had been the average for a pop song, the DJ in the club wanted sufficient dynamic range, the format would have enlarged from the seven-inch single eventually. The broad visual spacing of the grooves on the twelve-inch made it easy for the DJ in locating the approximate area of the "breaks" on the disc's surface in dim club light. A quick study of any DJs favorite discs will reveal mild wear in
British Phonographic Industry
The BPI Limited known as the British Phonographic Industry or BPI, is the British recorded music industry's trade association. Its membership comprises hundreds of music companies including all three "major" record companies in the UK, hundreds of independent music labels and small to medium-sized music businesses, it has represented the interests of British record companies since being formally incorporated in 1973 when the principal aim was to promote British music and fight copyright infringement. In 2007, the association's legal name was changed from British Phonographic Industry Limited, it founded the annual BRIT Awards for the British music industry in 1977, The Classic BRIT Awards. The organizing company, BRIT Awards Limited, is a owned subsidiary of the BPI. Proceeds from both shows go to the BRIT Trust, the charitable arm of the BPI that has donated £15m to charitable causes nationwide since its foundation in 1989. In September 2013, the BPI presented the first BRITs Icon Award to Sir Elton John.
The BPI endorsed the launch of the Mercury Prize for the Album of the Year in 1992. The recorded music industry's Certified Awards program, which attributes Platinum and Silver status to singles and music videos based on their sales performance, has been administered by the BPI since its inception in 1973. In September 2008, the BPI became one of the founding members of UK Music, an umbrella organisation representing the interests of all parts of the industry; the charitable arm of the BPI, the trust was conceived in 1989 by a collection of leading music industry individuals with a mission to give young people a chance to express their musical creativity regardless of race, sex or ability. The BRIT Trust is the only music charity supporting all types of education across the entire spectrum of music. Through the projects it supports, which include Nordoff-Robbins Music Therapy and the BRIT School, the Trust offers young people the opportunity to enhance their lives through music. Proceeds from the BRIT Awards and the Classic BRITs shows go to the BRIT Trust, which has donated £15m to charitable causes nationwide since its foundation.
Opened in September 1991, the BRIT School is a joint venture between The BRIT Trust and the Department for Education and Skills. Based at Selhurst in Croydon, the school is the only non fee-paying performing arts school in the UK, it teaches up to 1,100 students each year aged from 14–19 years in music, drama, musical theatre, production and art & design. Students are from diverse backgrounds and are not required to stick to their own discipline. Nor do students have to work/perform in the evening to pay for the tuition; the BPI administers the BRIT Certified Platinum, Gold and Bronze awards scheme for music releases in the United Kingdom. The level of the award varies depending on the format of the release and the level of sales achieved. Although the awards program was for many years based on the level of shipments by record labels to retailers, since July 2013, certifications have been automatically allocated by the BPI upon the relevant sales thresholds being achieved. Member companies do, still have the option to certify titles based on shipment levels if they choose to.
Since July 2014, audio streaming has been included for singles at a ratio of 100 streams equivalent to 1 unit. From June 2015, audio streams were added to album certifications. According to BPI, they would take the 12 most-streamed tracks from the standard version of an album, with the top two songs down-weighted in line with the average of the rest; the total of these streams will be divided by 1,000 and added to the physical and digital sales of the album. On 6 April 2018, the BPI announced changes to its certifications. A new Bronze certification was introduced, which will be awarded to an artist's first album to reach 30,000 units. Additionally, the program was re-branded as BRIT Certified, with public promotion of the programme being assumed by the BRIT Awards' social media outlets and digital properties. Chief executive Geoff Taylor justified the change by stating that it was part of an effort to cross-promote the certifications with "the UK's biggest platform for artistic achievement".
Adam Barker – Universal Music UK Mike Batt LVO – Deputy chairman, BPI - Dramatico Entertainment John Craig OBE – First Night Records Jonathan Cross – Warner Music UK Nick Gatfield – Sony Music Entertainment Nick Hartley – PIAS David Joseph – Universal Music UK Max Lousada – Warner Music UK Korda Marshall – Infectious Music Iain McNay – Cherry Red Records Emma Pike – Sony Music Entertainment Peter Stack – Union Square Music Geoff Taylor – Chief executive officer, BPI and BRIT Awards Limited Tony Wadsworth CBE – Chairman, BPI and BRIT Awards Limited Kiaron Whitehead – General counsel, BPISource: BPI The BPI have developed bespoke software and automated crawling tools created in-house by the BPI search for members repertoire across more than 400 known infringing sites and generate URLs which are sent to Google as a DMCA Notice for removal within hours of receipt. Additionally, personnel are seconded to the City of London Police Intellectual Property Crime Unit to support anti-"piracy" operations.
Home Taping Is Killing Music Official C
Songs in the Key of Springfield
Songs in the Key of Springfield is a soundtrack/novelty album from The Simpsons compiling many of the musical numbers from the series. The album was released in the United States on March 18, 1997, in the United Kingdom in June 1997; this was the second album released in association with the Simpsons television series. The album was followed by a second album of original songs. Compared to the previous album released in The Simpsons franchise, The Simpsons Sing the Blues, the album failed to match the success of their previous record, it managed to peak at #18 in the United Kingdom, where it would become the last charting album for the franchise in that country. The album was less successful in the United States, where it peaked at #103 on the Billboard 200. However, it was successful on Billboard's Top Kid Audio chart, where it peaked at #1, becoming the first #1 on that chart for the franchise; the first track, the extended version of the main title theme, notes that it is from the episode "Cape Feare".
However, the actual episode does feature the extended opening and the same couch gag, but Lisa's sax solo is different from the version featured on the album. Syndicated reruns of "Cape Feare" replace the entire opening altogether with the couch gag with the Simpsons finding exact doubles of themselves on the couch. However, the opening sequence that matches the one on the CD was used, complete with the same sax solo and couch gag, on the episodes "Monty Can't Buy Me Love", "Simpson Safari" and "The Bart Wants What It Wants", which aired well after the album's release; the title is taken from the Stevie Wonder album Songs in the Key of Life. Another FOX TV show, The X-Files, had a soundtrack album entitled Songs in the Key of X; the Simpsons podcast Pods in the Key of Springfield is named after this album
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
"Liberian Girl" is the ninth single released from American recording artist Michael Jackson's 1987 album Bad. The song was written as early as 1983 and was among those considered for The Jacksons' Victory album, it was rewritten for Bad. The song was released as a single in Australia. Although a commercial success and included in the Bad album, the song was never performed live by Michael Jackson during his Bad World Tour or concerts; the New York Times editor Jon Pareles wrote that a melody line from "Billie Jean" reappears in this song. Rolling Stone's Davitt Sigerson praised the song: "'Liberian Girl' — is Michael's filler, which makes it richer, better than Thriller's forgettables" and he described that it "glistens with gratitude for the existence of a loved one." In 2003, Q Magazine ranked the song at number 1,001 in their list of the "1001 Best Songs Ever". The song received a positive reception in Liberia, with women from the country viewing the song as empowering. Liberian woman Margaret Carson said in an interview with The Washington Times "When that music came out … the Liberian girls were so astonished to hear a great musician like Michael Jackson thinking about a little country in Africa.
It gave us hope when things went bad …. It make us to feel that we are still part of the world." Directed by Jim Yukich, the video for the song featured many of Jackson's celebrity friends who gather on a soundstage to film the music video for "Liberian Girl", only to discover that Jackson was filming them all along. As named in the closing titles, the following people are listed in order of appearance: Beverly Johnson Malcolm-Jamal Warner Sherman Hemsley Brigitte Nielsen Paula Abdul Carl Weathers Whoopi Goldberg Quincy Jones Jackie Collins Amy Irving Jasmine Guy Rosanna Arquette Lou Diamond Phillips Olivia Newton-John John Travolta Diahann Carroll Vic Damone Corey Feldman Steven Spielberg Debbie Gibson Janet Jackson Rick Schroder Blair Underwood "Weird Al" Yankovic Bubbles Suzanne Somers Lou Ferrigno Don King and "Son" Mayim Bialik Virginia Madsen David Copperfield Billy Dee Williams Richard and Emily Dreyfuss Danny Glover Olivia Hussey Dan Aykroyd Steve GuttenbergThere was someone dressed as a mummy in the video.
In the ending credits the mummy was credited with a question mark. The music video of the song was included on the video albums: HIStory on Film, Volume II, Vision and the Target version DVD of Bad 25. 7" "Liberian Girl" – 3:40 "Girlfriend" – 3:0512" "Liberian Girl" – 3:40 "Get on the Floor" – 4:44 "Girlfriend" – 3:05CD single "Liberian Girl" – 3:40 "Girlfriend" – 3:05 "The Lady in My Life" – 5:00 "Get on the Floor" – 4:44 Written and composed by Michael Jackson Produced by Quincy Jones Co-produced by Michael Jackson Michael Jackson - solo and background vocals John Robinson - drums Douglas Getschal - drum programming Paulinho Da Costa - percussion Christopher Currell - Synclavier John Barnes, Michael Boddicker, David Paich, Larry Williams - synthesizers Steve Porcaro - synthesizer programming Letta Mbulu - Swahili chant Rhythm arrangement by Michael Jackson, John Barnes and Quincy Jones Synthesizer arrangement by Jerry Hey, John Barnes and Quincy Jones Vocal arrangement by Michael Jackson and John Barnes Swahili chant arrangement by Caiphus Semenya "Liberian Girl" has been sampled and covered by various musicians: In 1990, Chicago-based jazz musician Chico Freeman recorded an instrumental jazz version for his album You'll Know When You Get There.
In 1996, hip-hop artist MC Lyte sampled the song on "Keep On, Keepin' On" featuring R&B group Xscape. The song released first on the soundtrack for Sunset Park and on MC Lyte's fifth album Bad As I Wanna B. In 1999, American singer Jennifer Lopez's song "If You Had My Love" contains a sample from "Liberian Girl" only on a remix called "Dark Child Master Mix". In 2001, the song was sampled on the late American rapper 2Pac's songs "Letter 2 My Unborn", on his fourth posthumous album Until the End of Time and "The Thug in Me". In 2007, Canadian rapper Roi Heenok sampled the song on his track "La Coka Coka", in French and released on his album Cocaïno Rap Musique: Volume 1. In 2009, Mac Dre sampled Jackson's song on "Black Buck Rogers". Official video on a website from Sony BMG