Dame Joan Henrietta Collins, is an English actress and columnist. After making her stage debut in the Henrik Ibsen play A Doll's House at the age of nine, she trained as an actress at the Royal Academy of Dramatic Art in London, she signed an exclusive contract with the Rank Organisation and appeared in various British films. At age 22 in 1955, Collins headed to Hollywood and landed sultry roles in several popular films, including The Girl in the Red Velvet Swing and Rally Round the Flag, Boys!. While she continued to make films in the US and the UK throughout the 1960s, she guest-starred in an episode of Star Trek in 1967 named "The City on the Edge of Forever", as Edith Keeler, her career languished in the 1970s. Near the end of the decade, she starred in two softcore pornographic films based on best-selling novels by her younger sister Jackie Collins: The Stud and its sequel The Bitch, she began appearing on stage, playing the title role in the 1980 British revival of The Last of Mrs. Cheyney, had a lead role in the 1990 revival of Noël Coward's Private Lives.
In 1981, she landed the role of Alexis Colby, the vengeful and scheming ex-wife of John Forsythe's character, in the 1980s soap opera Dynasty, winning a Golden Globe Award for Best Actress in 1982. Collins received a star on the Hollywood Walk of Fame in 1983 for career achievement. In 2015, Collins was made a Dame by Queen Elizabeth II for services to charity. Since the late-1970s, Collins has written several books. In 1988, she published her first novel, Prime Time, she has continued to publish various kinds of writing. A member of the Conservative Party, Collins was invited to attend the funeral of former UK Prime Minister Margaret Thatcher in April 2013. Collins was born in Paddington and brought up in Maida Vale, the daughter of Elsa Collins, a dance teacher and nightclub hostess, Joseph William Collins, a talent agent whose clients would include Shirley Bassey, the Beatles, Tom Jones, her father, a native of South Africa, was Jewish, her British mother was Anglican. She had two younger siblings, Jackie, a novelist, Bill, a property agent.
She was educated at the Francis Holland School, an independent day school for girls in London and trained at the RADA. At the age of 17, Collins was signed to a British film studio. Collins made her feature debut as a beauty contest entrant in Lady Godiva Rides Again followed by The Woman's Angle in a minor role as a Greek maid. Next was a more significant role as a gangster's moll in Judgment Deferred, her big break came. Other roles to follow included, she was lent out to appear in Our Girl Friday. Gilbert used her again in The Good Die Young with Laurence Harvey. Collins was chosen by director Howard Hawks to star in his lavish production of Land of the Pharaohs as the scheming Princess Nellifer opposite Jack Hawkins. Lacking a big-name cast, Land of the Pharaohs was unsuccessful at the box office, earning $450,000 short of its $3,150,000 production budget; the film drew more interest over the years and has been defended by Martin Scorsese, French critics supporting the auteur theory, for numerous elements of its physical production.
Danny Peary in his book Cult Movies, selected it as a cult classic. The film's reputation continues to improve with the test of time; as of 2013, Land of the Pharaohs holds a 71% "fresh" rating at the film review aggregator website Rotten Tomatoes. Although the film was a box-office disappointment, Collins' performance led to a contract at 20th Century Fox; the contract with Fox led the production company to cast Collins in The Virgin Queen as Elizabeth Raleigh in support of Richard Todd and Bette Davis. The same year, Collins was cast as the leading role in The Girl in the Red Velvet Swing directed by Richard Fleischer from a screenplay by Walter Reisch and Charles Brackett, starring Ray Milland, Farley Granger; the CinemaScope film was released by Twentieth Century-Fox, which had planned to put Marilyn Monroe in the title role, suspended her when she refused to do the film, which led to Collins' casting. MGM borrowed Collins for The Opposite Sex, a musical remake of The Women with Collins in a part played by Joan Crawford.
The following year, Collins returned to featuring in Fox films, where she played a nun in Sea Wife based on the 1955 James Maurice Scott novel Sea-Wyf and Biscuit. Shot in Jamaica, the film follows a group of survivors from a torpedoed British refugee ship; the same year, Collins starred in The Wayward Bus. Fox had hoped to repeat the success of 1956's Bus Stop film adaptation, but instead ended up crafting the Steinbeck novel into what one commentator called "the kind of lowbrow schlock the novel had satirized". However, The Wayward Bus was one of 33 films nominated for the Golden Berlin Bear Award at the 7th Berlin International Film Festival, but lost to Sidney Lumet's 12 Angry Men; that year, Collins was cast in Island in the Sun, a major box office success. The film earned $5,550,000 worldwide, finished as the sixth-highest grossing film of 195
Too Much, Too Little, Too Late
"Too Much, Too Little, Too Late" is a song performed by singers Johnny Mathis and Deniece Williams. Lyrics and music are arranged by John Vallins; the single was a comeback of sorts for Mathis, as it was his first chart-topping hit in the US since 1957's "Chances Are". Released as a single in 1978, it reached number 1 on the U. S. Billboard Hot 100 pop chart, Adult Contemporary chart, R&B chart. Outside the U. S. the song peaked at number nine on the Canadian Singles Chart and number three on the UK Singles Chart. "Too Much, Too Little, Too Late" was certified gold and silver in the US and in the UK by the RIAA and the British Phonographic Industry respectively. In 1978 the duo released a follow-up single, "You're All I Need to Get By", a full album of duets, That's What Friends Are For; the success of the duets with Williams prompted Mathis to record duets with a variety of partners including Jane Olivor, Dionne Warwick, Natalie Cole, Gladys Knight, Nana Mouskouri. A compilation album called Too Much, Too Little, Too Late and released by Sony Music in 1995, featured the title track among other songs by the Mathis/Williams duo.
English power pop band Silver Sun recorded a cover of "Too Much, Too Little, Too Late" for their album Neo Wave. It was released as a single, reaching number 20 in the UK Singles Chart in 1998. List of Hot 100 number-one singles of 1978 List of number-one R&B singles of 1978 List of number-one adult contemporary singles of 1978
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
Gibb-Galuten-Richardson were a British-American record producing team, consisting of Bee Gees founding member and British singer-songwriter Barry Gibb, American musician and songwriter Albhy Galuten and American sound engineer Karl Richardson. They produced albums and singles for Andy Gibb, Samantha Sang, Frankie Valli, Teri DeSario, Barbra Streisand, Dionne Warwick, Kenny Rogers, Dolly Parton and Diana Ross; the trio produced five number-one singles in the USA, six singles that reached the US Top 10. Because Bee Gees' manager and RSO Records head Robert Stigwood had ended his US distribution arrangement with Atlantic Records, Atlantic producer Arif Mardin, who had produced the Bee Gees' prior two albums, was no longer permitted to work with the group. In an effort to retain the same sound, the group recorded its next album. 1976's Children of the World, at the same studios using the same engineer that Mardin had used, Karl Richardson. At first, the Bee Gees recruited Richard Perry to take over as producer, but Perry and the group parted company after only a couple of weeks amidst disagreement over the musical direction the group should take, which the group insisted should remain the same as Mardin's vision.
At this point the Bee Gees decided to produce the album themselves, with Barry Gibb taking the lead role, along with engineer Richardson. They added young arranger Albhy Galuten to the control room as musical adviser; the new team of Gibb and Galuten saw the group through a series of top selling recordings over the next four years. A few months after Children of the World, the trio worked together again on Andy Gibb's Flowing Rivers album, recorded in October 1976. Barry and Joe Walsh performed on two songs from the album, "I Just Want to Be Your Everything" and " Thicker Than Water", although the album was produced by Galuten and Richardson; the album was released in late 1977. Gibb-Galuten-Richardson crafted songs for a diverse roster of talent, including producing four other US Top 10 singles for Andy Gibb such as "Shadow Dancing", "An Everlasting Love" and " Don't Throw it All Away". Samantha Sang's 1977 hit "Emotion", which the trio produced, reached #3 on the Billboard Hot 100. Another song the trio produced was "Save Me, Save Me" by Network.
The trio produced singles by Frankie Valli and Teri DeSario. In 1979, the Bee Gees and Richardson won the Grammys for Best Producer of the Year, Non-Classical; the trio's last project on an Andy Gibb full album was After Dark which contains his last US Top 5 single "Desire". Although Andy Gibb's Greatest Hits album contains only three new songs. In 1980, the trio produced Barbra Streisand's Guilty which became Streisand's best-selling album to date internationally when it was released, with sales of 12 million; the album features two US Top 10 singles, "Guilty" and "What Kind of Fool". Their next production was in 1982 when Clive Davis, the president of Arista Records asked Barry Gibb to write songs for Dionne Warwick who recorded for Arista. Heartbreaker was released in October 1982. In 1982, Barry met Kenny Rogers and Rogers asked Barry about writing some songs for him. By August, Barry started recording demos for Rogers by doing the demo of "Eyes That See in the Dark"; the release of Rogers' Eyes That See in the Dark album reached #1 on US Country charts.
The lead single on Rogers' album was a duet between himself and fellow country singer Dolly Parton entitled "Islands in the Stream" that became US No. 1 hit in the Billboard Hot 100, Country Charts, Adult Contemporary Charts and on Canadian Country Charts, was certified Platinum by the Recording Industry Association of America for selling over two million physical copies in the US. In 1984, when Barry Gibb was recording his first solo album, Galuten was not available at the sessions as he traveled to California the previous year after he disagreed with Barry; as a result, the album Now Voyager was credited only to Richardson. In 1985, Barry had teamed again with Galuten and Richardson to produce an album for another American recording artist Diana Ross entitled Eaten Alive, but it was the trio's last album production. Eaten Alive was released on the RCA label in the US where it was deemed a commercial failure, selling fewer than 300,000 US copies; the title track was produced by the trio with Michael Jackson, who co-wrote the track.
After the Eaten Alive album, the trio separated. In February 1986, Gibb and Richardson reunited again for Gibb's second solo album Moonlight Madness, but the album was rejected by MCA and the other songs from the album were included on the soundtrack of the film Hawks. After that, Richardson did not work with Gibb again. Andy Gibb - Flowing Rivers Andy Gibb - Shadow Dancing Andy Gibb - After Dark Andy Gibb - Andy Gibb's Greatest Hits Barbra Streisand - Guilty Dionne Warwick - Heartbreaker Kenny Rogers - Eyes That See in the Dark Diana Ross - Eaten Alive Samantha Sang - "Emotion" Network - "Save Me, Save Me" Frankie Valli - "Grease" Teri DeSario - "Ain't Nothing Gonna Keep Me From You"
UK Singles Chart
The UK Singles Chart is compiled by the Official Charts Company, on behalf of the British record industry, listing the top-selling singles in the United Kingdom, based upon physical sales, paid-for downloads and streaming. The Official Chart, broadcast on BBC Radio 1 and MTV, is the UK music industry's recognised official measure of singles and albums popularity because it is the most comprehensive research panel of its kind, today surveying over 15,000 retailers and digital services daily, capturing 99.9% of all singles consumed in Britain across the week, over 98% of albums. To be eligible for the chart, a single is defined by the Official Charts Company as either a'single bundle' having no more than four tracks and not lasting longer than 25 minutes or one digital audio track not longer than 15 minutes with a minimum sale price of 40 pence; the rules have changed many times as technology has developed, the most notable being the inclusion of digital downloads in 2005 and streaming in July 2014.
The OCC website contains the Top 100 chart. Some media outlets only list the Top 75 of this list; the chart week runs from 00:01 Friday to midnight Thursday, with most UK physical and digital singles being released on Fridays. From 3 August 1969 until 5 July 2015, the chart week ran from 00:01 Sunday to midnight Saturday; the Top 40 chart is first issued on Friday afternoons by BBC Radio 1 as The Official Chart from 16:00 to 17:45, before the full Official Singles Chart Top 100 is posted on the Official Charts Company's website. A rival chart show, The Vodafone Big Top 40, is based on iTunes downloads and commercial radio airplay across the Global Radio network only, is broadcast on Sunday afternoons from 16:00 to 19:00 on 145 local commercial radio stations across the United Kingdom; the Big Top 40 is not regarded by the industry or wider media. There is a show called "Official KISS Top 40", counting down 40 most played songs on Kiss FM every Sunday 17:00 to 19:00; the UK Singles Chart began to be compiled in 1952.
According to the Official Charts Company's statistics, as of 1 July 2012, 1,200 singles have topped the UK Singles Chart. The precise number of chart-toppers is debatable due to the profusion of competing charts from the 1950s to the 1980s, but the usual list used is that endorsed by the Guinness Book of British Hit Singles and subsequently adopted by the Official Charts Company; the company regards a selected period of the New Musical Express chart and the Record Retailer chart from 1960 to 1969 as predecessors for the period prior to 11 February 1969, where multiples of competing charts coexisted side by side. For example, the BBC compiled its own chart based on an average of the music papers of the time; the first number one on the UK Singles Chart was "Here in My Heart" by Al Martino for the week ending date 14 November 1952. As of the week ending date 18 April 2019, the UK Singles Chart has had 1352 different number-one hits; the current number-one single is "Someone You Loved" by Lewis Capaldi.
Before the compilation of sales of records, the music market measured a song's popularity by sales of sheet music. The idea of compiling a chart based on sales originated in the United States, where the music-trade paper Billboard compiled the first chart incorporating sales figures on 20 July 1940. Record charts in the UK began in 1952, when Percy Dickins of the New Musical Express gathered a pool of 52 stores willing to report sales figures. For the first British chart Dickins telephoned 20 shops, asking for a list of the 10 best-selling songs; these results were aggregated into a Top 12 chart published in NME on 14 November 1952, with Al Martino's "Here in My Heart" awarded the number-one position. The chart became a successful feature of the periodical. Record Mirror compiled its own Top 10 chart for 22 January 1955; the NME chart was based on a telephone poll. Both charts expanded in size, with Mirror's becoming a Top 20 in October 1955 and NME's becoming a Top 30 in April 1956. Another rival publication, Melody Maker, began compiling its own chart.
It was the first chart to include Northern Ireland in its sample. Record Mirror began running a Top 5 album chart in July 1956. In March 1960, Record Retailer had a Top 50 singles chart. Although NME had the largest circulation of charts in the 1960s and was followed, in March 1962 Record Mirror stopped compiling its own chart and published Record Retailer's instead. Retailer began independent auditing in January 1963, has been used by the UK Singles Chart as the source for number-ones since the week ending 12 March 1960; the choice of Record Retailer as the source has been criticised. With available lists of which record shops were sampled to compile the charts some shops were subjected to "hyping" but, with Record Retailer being less followed than some charts, it was subject to less hyping. Additionally, Retailer was set up by independent record shops and had no funding or affiliation with record companies. However, it had a smaller sample size than some ri
Soul music is a popular music genre that originated in the African American community in the United States in the 1950s and early 1960s. It combines elements of African-American gospel music and blues and jazz. Soul music became popular for dancing and listening in the United States, where record labels such as Motown and Stax were influential during the Civil Rights Movement. Soul became popular around the world, directly influencing rock music and the music of Africa. According to the Rock and Roll Hall of Fame, soul is "music that arose out of the black experience in America through the transmutation of gospel and rhythm & blues into a form of funky, secular testifying". Catchy rhythms, stressed by handclaps and extemporaneous body moves, are an important feature of soul music. Other characteristics are a call and response between the lead vocalist and the chorus and an tense vocal sound; the style occasionally uses improvisational additions and auxiliary sounds. Soul music reflected the African-American identity and it stressed the importance of an African-American culture.
The new-found African-American consciousness led to new styles of music, which boasted pride in being black. Soul music dominated the U. S. R&B chart in the 1960s, many recordings crossed over into the pop charts in the U. S. Britain and elsewhere. By 1968, the soul music genre had begun to splinter; some soul artists developed funk music, while other singers and groups developed slicker, more sophisticated, in some cases more politically conscious varieties. By the early 1970s, soul music had been influenced by psychedelic rock and other genres, leading to psychedelic soul; the United States saw the development of neo soul around 1994. There are several other subgenres and offshoots of soul music; the key subgenres of soul include a rhythmic music influenced by gospel. Soul music has its roots in traditional African-American gospel music and rhythm and blues and as the hybridization of their respective religious and secular styles – in both lyrical content and instrumentation – that began in the 1950s.
The term "soul" had been used among African-American musicians to emphasize the feeling of being an African-American in the United States. According to musicologist Barry Hansen,Though this hybrid produced a clutch of hits in the R&B market in the early 1950s, only the most adventurous white fans felt its impact at the time. According to AllMusic, "oul music was the result of the urbanization and commercialization of rhythm and blues in the'60s." The phrase "soul music" itself, referring to gospel-style music with secular lyrics, was first attested in 1961. The term "soul" in African-American parlance has connotations of African-American culture. Gospel groups in the 1940s and'50s used the term as part of their names; the jazz style that originated from gospel became known as soul jazz. As singers and arrangers began using techniques from both gospel and soul jazz in African-American popular music during the 1960s, soul music functioned as an umbrella term for the African-American popular music at the time.
Important innovators whose recordings in the 1950s contributed to the emergence of soul music included Clyde McPhatter, Hank Ballard, Etta James. Ray Charles is cited as popularizing the soul music genre with his series of hits, starting with 1954's "I Got a Woman". Singer Bobby Womack said, "Ray was the genius, he turned the world onto soul music." Charles was open in acknowledging the influence of Pilgrim Travelers vocalist Jesse Whitaker on his singing style. Little Richard, who inspired Otis Redding, James Brown both were influential. Brown was nicknamed the "Godfather of Soul Music", Richard proclaimed himself as the "King of Rockin' and Rollin', Rhythm and Blues Soulin'", because his music embodied elements of all three, since he inspired artists in all three genres. Sam Cooke and Jackie Wilson are acknowledged as soul forefathers. Cooke became popular as the lead singer of the gospel group The Soul Stirrers, before controversially moving into secular music, his recording of "You Send Me" in 1957 launched a successful pop music career.
Furthermore, his 1962 recording of "Bring It On Home To Me" has been described as "perhaps the first record to define the soul experience". Jackie Wilson, a contemporary of both Cooke and James Brown achieved crossover success with his 1957 hit "Reet Petite", he was influential for his dramatic delivery and performances. Writer Peter Guralnick is among those to identify Solomon Burke as a key figure in the emergence of soul music, Atlantic Records as the key record label. Burke's early 1960s songs, including "Cry to Me", "Just Out of Reach" and "Down in the Valley" are considered classics of the genre. Guralnick wrote: "Soul started, in a sense, with the 1961 success of Solomon Burke's "Just Out Of Reach". Ray Charles, of course, had enjoyed enormous success, as had James Brown and Sam Cooke — in a pop vein. E
(Our Love) Don't Throw It All Away
" Don't Throw It All Away" is a song penned by Barry Gibb and Blue Weaver and recorded by the Bee Gees in 1977 on the Saturday Night Fever sessions but was not released until Bee Gees Greatest. It was released as a single by Andy Gibb on his version from his second studio album Shadow Dancing. " Don't Throw It All Away" was released as the third single from Andy Gibb's Shadow Dancing album, but only in the United States, in September 1978. The song was his fifth single to reach the US Top 10; when Andy Gibb was going to record it, Barry reworked on the song adding the middle eight, not on the original Bee Gees' version, as Blue Weaver recalls, "When Andy went to record it, Barry listened to it again and thought,'Oh, it's not finished', so Barry wrote the whole of the middle-eight. Allmusic's Amy Hanson described this version of " Don't Throw It All Away" as a "tender ballad" that suited Andy's voice, it appears on Andy's three greatest-hits albums. Andy Gibb – lead vocals Barry Gibb – backing vocals Joey Murcia – guitar Tim Renwick – guitar George Bitzer – Keyboards, synthesizer Paul Harris – keyboards Harold Cowart – bass Joe Lala – percussion Ron Ziegler – drums Whit Sidener – horns Ken Faulk – horns Bill Purse – horns Neil Bonsanti – horns Stan Webb – horns Albhy Galuten, Blue Weaver and Barry Gibb – orchestral arrangement The Bee Gees version of the song, the first version recorded by anyone, was recorded in 1977 during the sessions for Saturday Night Fever, but was not released until the compilation Bee Gees Greatest 1979.
Barry and Maurice Gibb are the only members of the Bee Gees to appear on the recording. Barry wrote the lyrics. Weaver said; the stereo mix of an early state of the song was unreleased until now. Samantha Sang, visiting France where this version was recorded, asked Barry for a song. During the Bee Gees' One Night Only tour, they performed the song with Andy's vocal mixed in during the second stanza, chorus and the coda of the song years after Andy died. Barry Gibb – vocals, guitar Maurice Gibb – bass Blue Weaver – keyboards, orchestral arrangement Dennis Bryon – drums Joe Lala – percussion Jennifer Love Hewitt covered the song on her 1996 self-titled album. Barbra Streisand recorded her rendition of the song in 2005 off her album Guilty Pleasures, which had Barry Gibb on the album cover with her. On Streisand's version, Barry Gibb is heard singing the chorus