1.
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
2.
Baroque pop
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Baroque pop is a pop music subgenre that fuses classical music, orchestral pop, rock, and Baroque music. It is identifiable for its use of melodies, functional harmony patterns. The genre emerged in the 1960s after pop musicians and record producers began placing the harpsichord in the foreground of their arrangements, other typical baroque pop instrumentation includes string sections, French horns, and oboes. Baroque pops mainstream popularity faded by the 1970s, partially because punk rock, disco and hard rock took over, nonetheless, music was still produced within the genres tradition. Philadelphia soul in the 1970s and chamber pop in the 1990s both incorporated the spirit of baroque pop while the latter contested much of the low fidelity musical aesthetic. Baroque pop, stylistically, fuses elements of rock with classical music, often incorporating layered harmonies, strings and its prominent characteristics are the use of contrapuntal melodies and functional harmony patterns. It was intended to be a serious and mature outgrowth of rock music. English baroque is used by journalist Bob Stanley to describe a subset that existed between 1968 and 1973, starting in the 1960s, pop musicians and record producers like Phil Spector and the Beach Boys Brian Wilson began placing the harpsichord in the foreground of their arrangements. Harpsichords were widely available in recording studios, and had used in popular music since as early as the 1940s. One of the first pop hits to use a harpsichord was the Jamies Summertime, Summertime. Later examples range from the Beach Boys I Get Around and When I Grow Up to the Righteous Brothers Youve Lost That Lovin Feelin and the Mamas & the Papas Monday, Monday. The Boston Globes Matthew Guerriri speculates that the harpsichord may have been desirable for its buzzing, stinging timbre, slates Forrest Wickman credits Wilson and the Beatles producer, George Martin, as some of the men most responsible for the move into baroque pop. Along with Burt Bacharach, Spector had melded pop music with classical elements before they were melded with rock, writer Andrew Jackson suggests that the era of baroque pop in which rock melded with classical elements was prefaced by the Rolling Stones and Brian Wilson. The Beatles benefited from the music skills of Martin, who played a baroque harpsichord solo on the song In My Life. Author Joe Harrington noted that after its release, many baroque-rock works would soon appear, producer Tommy LiPuma believed, Once the Beatles featured that harpsichord sound on In My Life, pop producers began working it in. The genre is traced to the United States and the United Kingdom, by early 1966, various groups began using baroque and classical instrumentation, described as a baroque rock movement by Gendron. The Zombies single Shes Not There marked a point for British baroque pop. Stanley explains that the song didnt feature any oboes but stuck out rather dramatically in 1964, Shes Not There would inspire New York musician Michael Brown to form the Left Banke, whose song Walk Away Renée is considered by Stanley to be the first recognizable baroque pop single
3.
Record producer
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A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as the person who creatively guides or directs the process of making a record, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously, all of these singers and musicians had to be assembled in a large studio and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu
4.
We Had It All
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We Had It All is the tenth studio album by the American solo artist Scott Walker. It was released in August 1974 but was unsuccessful on the music charts, no singles were released from the album. It was Walkers final solo album for ten years, in the interim Walker reformed The Walker Brothers, four of the 10 songs on the album were written by Billy Joe Shaver and had previously appeared on Waylon Jennings 1973 Outlaw country album Honky Tonk Heroes. The album was recorded in August 1974 at Nova Studios, Marble Arch, the album was released as an LP in late 1974 and received generally negative reviews. The album was reissued and released on CD in 1997 by BGO Records coupled with Walkers ninth studio album 1973s Stretch, the artwork for the album was produced by Roslav Szaybo with photography from M. Joseph
5.
Julian Cope
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Julian David Cope is an English musician, author, antiquarian, musicologist, poet and cultural commentator. Cope is also an author on Neolithic culture, publishing The Modern Antiquarian in 1998, Copes family lived in Tamworth, Staffordshire, but he was born in Deri, Caerphilly, Wales, where his mothers parents lived, while she was staying there. Cope was staying with his grandmother near Aberfan on his birthday, which was the day of the Aberfan disaster of 1966. Cope grew up in Tamworth with his parents and his younger brother Joss and he played Oliver in Wilnecote High Schools production of the musical. He attended City of Liverpool C. F, mott Training College, and it was here that he first became involved in music. In July 1977, Cope was one of the founders of Crucial Three, post-Crucial Three, Cope, and McCulloch initially went on to form other short-lived bands UH. and A Shallow Madness. When Cope sacked McCulloch from A Shallow Madness, McCulloch went on to form Echo, the two former bandmates would maintain a frequently antagonistic rivalry from then on, often carried out in public or in the press. In 1978, Cope formed The Teardrop Explodes with drummer Gary Dwyer, organist Paul Simpson and guitarist Mick Finkler, with himself as singer, bass player, drawing on a post-punk version of West Coast pop music, the band became part of a wave of neo-psychedelic Liverpool bands. Cope and Dwyer were the only constants, although seven other members passed in. Several well-received early singles culminated in the bands biggest hit, Reward, Copes photogenic charm and wild, garrulous interview style helped keep the band in the media eye, and made him a short-lived teen idol during the bands peak. Success brought the Teardrops plenty of attention, but no further stability, Cope, however, has strenuously resisted taking advantage of any nostalgic and commercial opportunities to reunite the band. In 1982 Cope had moved to the Staffordshire village of Drayton Bassett, following the dissolution of The Teardrop Explodes, he spent a period in seclusion recovering from the strain of the groups final year and amassing a collection of vintage toys. During this period, Cope befriended a teenage Drayton Bassett musician called Donald Ross Skinner, in 1983 Cope began recording the songs for his first solo album, World Shut Your Mouth. Although the album retained the uptempo pop drive of the Teardrops, it was also an introspective. Former Teardrops drummer Gary Dwyer, guitarist Steve Lovell and Dream Academy oboist Kate St. John all contributed to the album, World Shut Your Mouth was seen as out-of-step with the times, gained poor reviews and sold indifferently. A single from the album, Sunshine Playroom, featured a video directed by David Bailey. During a concert at Hammersmith Palais on the subsequent promotional tour, although the wounds were superficial, it shocked the audience and resulted in another memorable addition to his reputation for bizarre behaviour. Notoriously, the featured a naked Cope crouched on top of the Alvecote Mound slag heap clad only in a large turtle shell
6.
Scott 3
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Scott 3 is the third solo album by singer songwriter Scott Walker. Upon release in 1969, it met with slower sales than his previous albums, the dense lush string arrangements by Wally Stott seemed to evoke a Vegas-style lounge crooner atmosphere, but one tinted with surreal drones and touches of dissonance. Since its release, it has been regarded by many of Walkers fans as a favourite, a cover of 30 Century Man by the Jigsaw Seen was used in the animated film Futurama, Benders Big Score. Marc Almond covered the song Big Louise in 1982 with his band Marc, the final three tracks are covers of compositions by Jacques Brel. All tracks written by Scott Walker, except where noted, smash label vinyl issue omitted 30 Century Man, replacing it with Lights of Cincinnati, a UK non-LP single from the same period. This issue also featured a different cover design from the UK Philips release, Scott Walker - vocals, arranger Wally Stott - Arranged and conducted all songs except 30 Century Man and Funeral Tango Peter Knight - Arranged and conducted Funeral Tango Scott 3 at MusicBrainz
7.
Scott Walker: 30 Century Man
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Scott Walker,30 Century Man is a 2006 documentary film about Scott Walker. The film gets its title from the Scott 3 song 30 Century Man and it is directed and co-produced by Stephen Kijak, with Grant Gee serving as director of photography. Rock legend David Bowie, who professes to have been inspired by Walker. Actor Gale Harold is one of the associate producers, the film received its world premiere at the London Film Festival on 31 October 2006 and debuted internationally at the 2007 Berlin International Film Festival in the Panorama. It was released later in 2007 in cinemas and on DVD in the UK by Verve Pictures and it had its US premiere at the South by Southwest Film Festival in March 2007. The film is produced by Oscar-winning producer Mia Bays, marking her debut in documentary and she was nominated for a 2008 BAFTA award for her work on the film. An edited version of the film was used for the BBC series Imagine and it was introduced by Alan Yentob. In Early 2008 Madman Films released the film on DVD in Australia, oscilloscope Laboratories, a distribution company founded by Adam Yauch of Beastie Boys, acquired the distribution rights in North America after the films US release was delayed. It began another critically acclaimed theatrical run, this time in select US cities, music Inspired by the Film Scott Walker,30 Century Man was released on 26 May 2009 to promote the US release of the film. Instead of a compilation of Walkers material the album was conceived as a tribute album. kingsnake
8.
The Walker Brothers
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The Walker Brothers were an American pop group of the 1960s and 1970s, that included Scott Engel, John Walker, and Gary Leeds. In between the two was the lesser US hit My Ship is Coming In, formed in 1964, they adopted the Walker Brothers name as a show business touch even though the members were all unrelated — simply because we liked it. S. charts. The Walker Brothers Trio was formed in Los Angeles in 1964 by John Walker, Scott Engel, and drummer Al Tiny Schneider. Walker and Engel, with two musicians, had also toured the Midwest in 1963 as The Surfaris, although the group included none of the musicians who played on the Surfaris records. Dropping the word Trio, Walker and Engel were signed by Mercury Records, recorded a single, Pretty Girls Everywhere and they also appeared on the Shindig. TV show, developed by Jack Good, and then on a weekly TV show, late in 1964, they met drummer Gary Leeds, previously of The Standells. He had recently toured the UK with singer P. J. Proby, Leeds – along with club regular Brian Jones – persuaded them that the bands rock and roll and blues style would go down well in swinging London, where Proby had already succeeded. They also appeared in a film, Beach Ball, and sent demo recordings to labels in the United Kingdom. With financial backing from Leeds stepfather, Walker, Engel and Leeds traveled to the UK in February 1965 for an exploratory visit, when they landed in England, record producer Johnny Franz was keen to sign them up. In a short time, Walker and Engel had secured a contract with Philips Records, an affiliate of Mercury. The song had originally recorded by The Everly Brothers and released as B-side to their single The Girl Who Sang The Blues in 1963. Philips then recorded and released the version of Make It Easy on Yourself. It was sung by Engel, arranged by Ivor Raymonde and produced by Johnny Franz, session musicians on the record included Alan Parker and Big Jim Sullivan. By August 1965, Make It Easy on Yourself had entered the UK Top 10, later in the year, it also reached No.16 in the US Billboard Hot 100. The track sold 250,000 copies in the UK, and over one million copies globally, the number 3 UK hit My Ship Is Coming In, originally recorded in 1965 by Soul singer Jimmy Radcliffe, followed. Then in March 1966, The Walker Brothers hit No.1 for the time in six months with The Sun Aint Gonna Shine Anymore. Their popularity in the UK – particularly that of Scott – reached a new high, especially teenage girls. The Sun Aint Gonna Shine Anymore also made the US Top 20, the Walker Brothers continued to have chart hits in the UK in 1966 and 1967, with Scott taking a more prominent role in their song choices and arrangements, but with diminishing commercial success
9.
UK Albums Chart
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The UK Albums Chart is a list of albums ranked by physical and digital sales and audio streaming in the United Kingdom. It was published for the first time on 22 July 1956 and is compiled every week by the Official Charts Company on Fridays and it is broadcast on BBC Radio 1 and published in Music Week magazine, and on the OCC website. To qualify for the Official Albums Chart the album must be the correct length and it must be more than three tracks or 20 minutes long and not be classed as a budget album. A budget album costs between £0.50 and £3.75, additionally, various artist compilations – which until January 1989 were included in the main album listing – are now listed separately in a compilations chart. Full details of the rules can be found on the OCC website. In the 1970s the new chart was revealed at 12,45 pm on Thursdays on BBC Radio 1. Since October 1993 it has included in The Official Chart show from 4,00 –5,45 pm on Fridays. A weekly Album Chart show was licensed out to BBC Radio 2 and presented by Simon Mayo,2005 saw a record number of artist album sales with 126.2 million sold in the UK. In February 2015, it was announced that, due to the sales of albums and rise in popularity of audio streaming. Under the revised methodology, the Official Charts Company takes the 12 most streamed tracks from one album, the total of these streams is divided by 1000 and added to the pure sales of the album. This calculation was designed to ensure that the chart continues to reflect the popularity of the albums themselves. The final number one album on the UK Albums Chart to be based purely on sales alone was Smoke + Mirrors by Imagine Dragons, on 1 March 2015, In the Lonely Hour by Sam Smith became the first album to top the new streaming-incorporated Official Albums Chart. The most successful artists in the charts depends on the criteria used, as of February 2016, Queen albums have spent more time on the British album charts than any other musical act, followed by The Beatles, Elvis Presley, U2 and ABBA. By most weeks at one, however, The Beatles lead with a total of 174 weeks. The male solo artist with the most weeks at one is Presley with a total of 66 weeks. Presley also holds the record for the most number one albums by a solo artist and most top ten albums by any artist. Madonna has the most number one albums by a female artist in the UK, though this includes the Evita film soundtrack which was a cast recording, Adele is the female solo artist with the most weeks at number one, with a total of 37 weeks. Queens Greatest Hits is the album in UK chart history with 6 million copies sold as of February 2014
10.
Scott 4
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Scott 4 is Scott Walkers fifth solo album. It was originally released in late 1969 under his name, Noel Scott Engel. Subsequent reissues have been released under his stage name and it has since received praise as one of Walkers best works. The opening track, The Seventh Seal, is based on the 1957 film of the name by filmmaker Ingmar Bergman. The album failed to chart and was deleted soon after and it has been speculated that Walkers decision to release the album under his birth name of Noel Scott Engel contributed to its chart failure. All subsequent re-issues of the album have been released under his stage name, today Scott 4 is considered as one of his strongest works and it has been acknowledged in the book 1001 Albums You Must Hear Before You Die amongst others. It has also praised by known artists such as David Bowie. All tracks written by Noel Scott Engel
11.
Philips
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Koninklijke Philips N. V. is a Dutch technology company headquartered in Amsterdam with primary divisions focused in the areas of electronics, healthcare and lighting. It was founded in Eindhoven in 1891, by Gerard Philips and it is one of the largest electronics companies in the world and employs around 105,000 people across more than 60 countries. Philips is organized into three divisions, Philips Consumer Lifestyle, Philips Healthcare and Philips Lighting. As of 2012, Philips was the largest manufacturer of lighting in the world measured by applicable revenues, Philips said it would seek damages for breach of contract in the US$200-million sale. In April 2016, the International Court of Arbitration ruled in favour of Philips, Philips has a primary listing on the Euronext Amsterdam stock exchange and is a component of the Euro Stoxx 50 stock market index. It has a listing on the New York Stock Exchange. The Philips Company was founded in 1891, by Gerard Philips and this first factory has been adapted and is used as a museum. In 1895, after a difficult first few years and near bankruptcy, though he had earned a degree in engineering, Anton started work as a sales representative, soon, however, he began to contribute many important business ideas. After Gerard and Anton Philips changed their business by founding the Philips corporation. In the 1920s, the company started to other products. In 1939, they introduced their electric razor, the Philishave, the Chapel is a radio with built-in loudspeaker, which was designed during the early 1930s. On 11 March 1927, Philips went on the air with shortwave radio station PCJJ which was joined in 1929 by sister station PHOHI, PHOHI broadcast in Dutch to the Dutch East Indies while PCJJ broadcast in English, Spanish and German to the rest of the world. The international program on Sundays commenced in 1928, with host Eddie Startz hosting the Happy Station show, broadcasts from the Netherlands were interrupted by the German invasion in May 1940. The Germans commandeered the transmitters in Huizen to use for pro-Nazi broadcasts, some originating from Germany, Philips Radio was absorbed shortly after liberation when its two shortwave stations were nationalised in 1947 and renamed Radio Netherlands Worldwide, the Dutch International Service. Some PCJ programs, such as Happy Station, continued on the new station, by the late 1940s, the Type 10 was ready to be handed over to Philips subsidiary Johan de Witt in Dordrecht to be produced and incorporated into a generator set as originally planned. The result, rated at 180/200 W electrical output from a bore, approximately 150 of these sets were eventually produced. However, they filed a number of patents and amassed a wealth of information. The first Philips shaver was introduced in the 1930s, and was simply called “The Philishave”, in the USA, it was called the “Norelco”, which remains a part of their product line today
12.
Nite Flights (song)
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Nite Flights is a song written by American singer-songwriter Scott Walker under his given name Scott Engel. The song was first recorded and released by Walkers pop group The Walker Brothers as the track of their final album 1978s Nite Flights. Along with all the songs on Black Tie White Noise. A remixed version called Moodswings Back to Basics Remix was released on the bonus disc following the 10th anniversary edition of the album, bowie remarked that he was introduced to Scott Walker when he dated one of Walkers ex-girlfriends. Reportedly, she enjoyed Walkers music more than Bowies, and played Walkers albums constantly. Album version -4,30 Moodswings Back to Basics Remix –10,01 Nite Flights was recorded by the art rock group The Fatima Mansions in 1994 for their album Lost in the Former West and it was also released as a single on UK Radioactive/Kitchenware the same year. The single also included a remix of the song by The Blood Of The Lamb titled Its So Cold, Black Tie White Noise Limited Edition DVD,2004 The Trouser Press
13.
Experimental music
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The practice became prominent in the mid-20th century, particularly in North America. John Cage was one of the earliest composers to use the term and one of experimental musics primary innovators, utilizing indeterminacy techniques and seeking unknown outcomes. Also, in America, a distinct sense of the term was used in the late 1950s to describe computer-controlled composition associated with composers such as Lejaren Hiller. Harry Partch as well as Ivor Darreg worked with other tuning scales based on the laws for harmonic music. For this music they developed a group of experimental musical instruments. Musique concrète, is a form of music that utilises acousmatic sound as a compositional resource. Elements of experimental music include indeterminate music, in which the composer introduces the elements of chance or unpredictability with regard to either the composition or its performance. The Groupe de Recherches de Musique Concrète, under the leadership of Pierre Schaeffer, publication of Schaeffers manifesto was delayed by four years, by which time Schaeffer was favoring the term recherche musicale, though he never wholly abandoned musique expérimentale. John Cage was also using the term as early as 1955, according to Cages definition, an experimental action is one the outcome of which is not foreseen, and he was specifically interested in completed works that performed an unpredictable action. Rebners lecture extended the concept back in time to include Charles Ives, Edgard Varèse, nyman opposes experimental music to the European avant-garde of the time, for whom The identity of a composition is of paramount importance. David Cope also distinguishes between experimental and avant garde, describing music as that which represents a refusal to accept the status quo. That is, for the most part, experimental music studies describes a category without really explaining it and this was an attempt to marginalize, and thereby dismiss various kinds of music that did not conform to established conventions. In 1955, Pierre Boulez identified it as a new definition makes it possible to restrict to a laboratory. He concludes, There is no such thing as experimental music … and it is therefore not a genre, but an open category, because any attempt to classify a phenomenon as unclassifiable and elusive as experimental music must be partial. Furthermore, the indeterminacy in performance guarantees that two versions of the same piece will have virtually no perceptible musical facts in common. The term experimental music was used contemporaneously for electronic music, particularly in the early musique concrète work of Schaeffer, a number of early 20th-century American composers, seen as precedents to and influences on John Cage, are sometimes referred to as the American Experimental School. These include Charles Ives, Charles and Ruth Crawford Seeger, Henry Cowell, Carl Ruggles, for this music they both developed custom-built musical instruments often characterized as experimental instruments. La Monte Young is known for using this technique when he began working on his minimal drone pieces which consisted of layers of sounds in different pitches
14.
Bob Stanley (musician)
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Bob Stanley is a British musician, journalist, author, and film producer. He is best known as a member of the indie pop/dance group Saint Etienne. He has had a parallel career as a music journalist, writing for, amongst others, NME, Melody Maker, Mojo, The Guardian and The Times. He also has a career as a DJ and as a producer of record labels, the Story of Pop Music from Bill Haley to Beyonce was published with W. W. Norton and Company in fall of 2015, Stanley is best known as a member of the pop/dance group Saint Etienne for which he co-writes songs and produces. Live on stage, he plays keyboards. After leaving school, Stanley worked in record shops. While working at Virgin Records in Peterborough he met Andrew Midgley, the two produced a fanzine called Pop Avalanche in 1986. Stanley also wrote four issues of Caff, a fanzine created with childhood friend Pete Wiggs, in 1987, Stanley sent an issue of Caff to James Brown, then live reviews editor for NME. This led to Stanleys first commissioned work, a review of a Johnny Cash show in Peterborough, after two years he moved to Melody Maker, where he wrote regularly until Saint Etienne became a full-time occupation in 1991. Even as Saint Etienne dominated his career, Stanley continued to write occasionally for The Face, in the 2000s he has returned to journalism and contributes regularly to The Times and The Guardian. He has also written liner notes for reissues, including box sets by Joe Meek, Sandie Shaw. In 2007, with Paul Kelly Stanley edited Match Day, a book of football programme artwork. In 2015, Turner translated into Spanish, Yeah Yeah Yeah, La historia del pop moderno, Spain, ISBN 978-84-16142-22-4 Stanley is working on his book, Too Darn Hot. This book looks at the history of music from the start of recorded music until the advent of rock nroll in the early 1950s. The book is supported by a £20,000 research grant from the British Library and it premiered at the Institute of Contemporary Arts in London and was screened around the world by one dot zero. In 2007 their third London film, This Is Tomorrow, a history of the Southbank Centre, premiered with a performance, including a 60-piece orchestra. Kelly and Saint Etienne collaborated again on How We Used to Live, Stanley has curated several film seasons for the Barbican, including Gonna Make You A Star and Britain Learns to Rock
15.
Psychedelia
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Psychedelia is a name given to the subculture of people, originating in the 1960s, who often use psychedelic drugs such as LSD, mescaline and psilocybin. The term is used to describe a style of psychedelic artwork. Psychedelic art and music typically try to recreate or reflect the experience of altered consciousness, the term psychedelic is derived from the Ancient Greek words psychē and dēloun, translating to soul-revealing. Psychedelic states may be elicited by various techniques, such as meditation, sensory stimulation or deprivation, when these psychoactive substances are used for religious, shamanic, or spiritual purposes, they are termed entheogens. The term was first coined as a noun in 1956 by psychiatrist Humphry Osmond as a descriptor for hallucinogenic drugs in the context of psychedelic psychotherapy. Seeking a name for the experience induced by LSD, Osmond contacted Aldous Huxley, Huxley coined the term phanerothyme, from the Greek terms for manifest and spirit. This mongrel spelling of the word psychedelic was loathed by American ethnobotanist Richard Evans Schultes, but championed by Timothy Leary, who thought it sounded better. In the same period Lysergic acid diethylamide, better known as LSD, or acid, began to be used in the US and UK as an experimental treatment, initially promoted as a potential cure for mental illness. There had long been a culture of use among jazz and blues musicians, and use of drugs had begun to grow among folk and rock musicians. By the mid-1960s, the psychedelic life-style had already developed in California, and this was particularly true in San Francisco, due in part to the first major underground LSD factory, established there by Owsley Stanley. Leary was a proponent of the use of psychedelics, as was Aldous Huxley. However, both advanced widely different opinions on the use of psychedelics by state and civil society. Leary promulgated the idea of such substances as a panacea, while Huxley suggested that only the cultural and intellectual elite should partake of entheogens systematically, in the mid-1960s the use of psychedelic drugs became widespread in modern Western culture, particularly in the United States and Britain. The movement is credited to Michael Hollingshead who arrived in America from London in 1965 and he was sent to the U. S. by other members of the psychedelic movement to get their ideas exposure. Resurgences of the style are common in the modern era, in science, hallucinogen remains the standard term. Advances in printing and photographic technology in the 1960s saw the traditional lithography printing techniques rapidly superseded by the printing system. Many artists in the late 1960s and early 1970s attempted to illustrate the psychedelic experience in paintings, drawings, illustrations, in the modern era, computer graphics may be used to produce psychedelic effects for artwork. The counterculture music scene frequently used psychedelic designs on posters during the Summer of Love, many of these works are now regarded as classics of the poster genre, and original items by these artists command high prices on the collector market today
16.
Bill Drummond
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William Ernest Bill Drummond is a South African-born Scottish artist, musician, writer, and record producer. He was the co-founder of late 1980s avant-garde pop group The KLF and its 1990s media-manipulating successor, more recent art activities, carried out under Drummonds chosen banner of the Penkiln Burn, include making and distributing cakes, soup, flowers, beds and shoe-shines. More recent music projects include No Music Day, and the tour of a choir called The17. Drummond is the author of books about art and music. Drummond was born in Butterworth, South Africa, where his father was a minister for the Church of Scotland and his family moved back to Scotland when he was 18 months old, and his early years were spent in the town of Newton Stewart. He moved to Corby, Northamptonshire at the age of 11 and it was here that he first became involved in performing as a musician, initially working with school friends such as Gary Carson and Chris Ward. He attended the University of Northampton and the Art and Design Academy from 1970 to 1973 and he later decided that art should use everything, be everywhere and that, as an artist, he would use whatever medium is to hand. He spent two years working as a milkman, gardener, steel worker, nursing assistant, theatre carpenter, in 1975 Drummond began working at the Everyman Theatre, Liverpool as a carpenter and scene painter. This production then transferred to the National Theatre in London, according to Campbell, Drummond became known as the man who went for Araldite, In the middle of a tour, Drummond announced he was popping out to get some glue – and never returned. Drummonds musical career began in 1977 with Big in Japan, a band whose membership also included future luminaries Holly Johnson, Budgie, Jayne Casey and Ian Broudie. After the bands demise, Drummond and another member David Balfe started Zoo Records, their first release being Big in Japans posthumous EP, From Y To Z and Never Again. They went on to act as producers of the albums by Echo & the Bunnymen and The Teardrop Explodes. With Zoo Music Ltd, Drummond and Balfe were also music publishers for Zodiac Mindwarp & The Love Reaction, the production team of Drummond and Balfe was christened The Chameleons, who recorded the single Touch together with singer Lori Lartey as Lori and the Chameleons. Drummond later took a job in the music business as an A&R consultant for the label WEA working with Strawberry Switchblade. There is a mountain to climb the hard way, and I want to see the world from the top, Drummond was obviously very sharp, said WEA chairman Rob Dickens, and he knew the business. But he was too radical to be happy inside a corporate structure and he was better off working as an outsider. Later in the year, Drummond issued an album, The Man. The song has commonly been seen as a reply to the Cope song Bill Drummond Said, as a B-side, Drummond wrote and recorded The Manager in which he lamented the state of the music industry and offered his services to help fix it
17.
Scott (album)
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Scott was the début solo album by Scott Walker, originally released in the United Kingdom on Philips Records in 1967. The album received both commercial success as well as critical praise, hitting #3 on the UK Albums Chart. Scott was released six months after Walkers third album with The Walker Brothers. Brel was an influence on Walkers own compositions, and Walker included Brel material on his first three solo albums. Walker described Brel without qualification as the most significant singer-songwriter in the world, the real coup for Walker was his luck in acquiring and recording the new Mort Shuman-translated versions of Brels material before anyone else. Since the albums release, three complete outtakes, likely recorded during the Scott album sessions, have circulated in bootlegged form. These are Free Again, I Get Along Without You Very Well and I Think Im Getting Over You, the album was released by Philips Records in September 1967 in the UK. It reached #3 on the UK Albums Chart, and stayed on the chart for seventeen weeks and it was released the following year in the US on Smash Records under the title Aloner. Scott Walker – vocals Wally Stott – arrangements, conductor Reg Guest – arrangements, conductor Peter Knight – arrangements, conductor Peter Olliff – engineer
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Scott 2
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Scott 2 is the second solo album by Scott Walker. Scott 2 follows the formula of Walkers début release, with a mixture of contemporary covers Jacques Brel interpretations, film songs and his own original compositions. According to Jonathan King writing in the notes to Scott 2, not long after the album had been completed, Walker described it as the work of a lazy. He added, Now the nonsense must stop, and the business must begin. The album, released on Philips Records in May 1968, reached #1 for one week, the album was preceded by the single Jackie in late 1967. The single met with controversy in the UK because of lyrics like authentic queers and phony virgins, the song was banned by the BBC and was not performed on BBC TV or played on the mainstream radio channels. The song eventually charted at #22, a record about real stuff with quite disturbing imagery, remarked Neil Hannon, frontman of The Divine Comedy. Wally Stott - arrangements and conductor Reg Guest - arrangements and conductor Peter Knight - arrangements and conductor Peter Olliff - engineer
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'Til the Band Comes In
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Til the Band Comes In is the sixth studio album by the American solo artist Scott Walker. It was released in December 1970 but failed to chart, three singles were released from the album. The title track backed with Jean the Machine was released in the Netherlands, Jean the Machine and Thanks For Chicago Mr. James were each released in Japan. No singles were released in the UK, the release is a loose concept album about the inhabitants of a tenement. Walker wrote the songs for the album quickly while on a holiday in Greece in September 1970. Receiving negative reviews the album was first released as an LP in December 1970, the album was deleted and was not available for over twenty-five years. The album was later reassessed much more favourably and was reissued in the UK on CD by BGO Records in August 1996. This new edition fell out of print before a second CD re-issue followed in 2008 by the US label Water Records, the album was re-issued again on 3 June 2013 as part of a 5-CD set entitled Scott - The Collection 1967-1970. The original liner notes were by Walkers then-manager Ady Semel with cover photography by Michael Joseph, after the critical and commercial failure of Walkers previous album, Walker made several compromises with his manager and record company in an effort to restore his career momentum. The album was split between the ten original compositions and five interpretations of middle-of-the-road standards and pop songs. Walker also took the step of sharing his writing credits with his new manager Ady Semel. Walker summarised the collaboration with Semel, He acts as my censor, vetting all my lyrics, Walker also brought in Esther Ofarim, another singer managed by Semel, as a guest vocalist on Long About Now. At the time of release Til the Band Comes In received negative reviews by the majority of critics, critical reception of the album has warmed considerably since Walker was critically reappraised in the decades following The Walker Brothers 1978 album Nite Flights. The album is now classed as a worthy if somewhat compromised follow up to Walkers first four studio albums, Scott Plagenhoef writing for Pitchfork Media in 2008, describes Scott Walkers originals a step down from those on his previous two albums but worthwhile nonetheless. Dave Thompson writing retrospectively for Allmusic was less charitable, calling Thanks for Chicago Mr, some lost classics were lost with good reason. Britpop band Pulp implied that the side of the album was significantly weaker than the first in the lyrics of their 2001 single Bad Cover Version. Ironically Walker produced the song and its parent album We Love Life, Cocker also noted that he was nervous about singing the line in front of Walker, although states when it came to it he either did not notice or did not care. All tracks written by A. Semel/S
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The Guardian
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The Guardian is a British daily newspaper, known from 1821 until 1959 as the Manchester Guardian. Along with its sister papers The Observer and The Guardian Weekly, The Guardian is part of the Guardian Media Group, the Scott Trust became a limited company in 2008, with a constitution to maintain the same protections for The Guardian. Profits are reinvested in journalism rather than to the benefit of an owner or shareholders, the Guardian is edited by Katharine Viner, who succeeded Alan Rusbridger in 2015. In 2016, The Guardians print edition had a daily circulation of roughly 162,000 copies in the country, behind The Daily Telegraph. The newspaper has an online UK edition as well as two international websites, Guardian Australia and Guardian US, the newspapers online edition was the fifth most widely read in the world in October 2014, with over 42.6 million readers. Its combined print and online editions reach nearly 9 million British readers, notable scoops include the 2011 News International phone hacking scandal, in particular the hacking of murdered English teenager Milly Dowlers phone. The investigation led to the closure of the UKs biggest selling Sunday newspaper, and one of the highest circulation newspapers in the world, in 2016, it led the investigation into the Panama Papers, exposing the then British Prime Minister David Camerons links to offshore bank accounts. The Guardian has been named Newspaper of the Year four times at the annual British Press Awards, the paper is still occasionally referred to by its nickname of The Grauniad, given originally for the purported frequency of its typographical errors. The Manchester Guardian was founded in Manchester in 1821 by cotton merchant John Edward Taylor with backing from the Little Circle and they launched their paper after the police closure of the more radical Manchester Observer, a paper that had championed the cause of the Peterloo Massacre protesters. They do not toil, neither do they spin, but they better than those that do. When the government closed down the Manchester Observer, the champions had the upper hand. The influential journalist Jeremiah Garnett joined Taylor during the establishment of the paper, the prospectus announcing the new publication proclaimed that it would zealously enforce the principles of civil and religious Liberty. Warmly advocate the cause of Reform, endeavour to assist in the diffusion of just principles of Political Economy and. Support, without reference to the party from which they emanate, in 1825 the paper merged with the British Volunteer and was known as The Manchester Guardian and British Volunteer until 1828. The working-class Manchester and Salford Advertiser called the Manchester Guardian the foul prostitute, the Manchester Guardian was generally hostile to labours claims. The Manchester Guardian dismissed strikes as the work of outside agitators –, if an accommodation can be effected, the occupation of the agents of the Union is gone. CP Scott made the newspaper nationally recognised and he was editor for 57 years from 1872, and became its owner when he bought the paper from the estate of Taylors son in 1907. Under Scott, the moderate editorial line became more radical, supporting William Gladstone when the Liberals split in 1886
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Cinema of Europe
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Cinema of Europe refers to the film industries and films produced in the continent of Europe. Europeans were the pioneers of the picture industry, with several innovative engineers. Louis Le Prince became famous for his 1888 Roundhay Garden Scene, the Skladanowsky brothers from Berlin used their Bioscop to amaze the Wintergarten theatre audience with the first film show ever, from November 1 through 31,1895. The Lumière Brothers established the Cinematograph, which initiated the silent film era and it remained so until the art-hostile environment of World War II. The first large-scale film studio was established in Europe, with the Babelsberg Studio near Berlin in 1912. Post World War II movements include Free Cinema, French New Wave, Polish Film School, Czechoslovak New Wave, New German Cinema, British New Wave, Spaghetti Western and Novo Cinema. The turn of the 21st century has seen such as Dogme 95, New French Extremity. Antoine Lumière realized, on 28 December 1895, the first projection, with the Cinematograph, in 1897, Georges Méliès established the first cinema studio on a rooftop property in Montreuil, near Paris. The European Film Academy was founded in 1988 to celebrate European cinema through the European Film Awards annually, philippe Binant realised, on 2 February 2000, the first digital cinema projection in Europe, with the DLP CINEMA technology developed by Texas Instruments, in Paris. Thanks to the support of Eurimages and the French Ministry of Foreign Affairs, the influence of Europa Cinemas extends to Eastern European countries, to the Balkans, to Russia and to Turkey
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Felt
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Felt is a textile material that is produced by matting, condensing and pressing fibers together. Felt can be made of fibers such as wool, or from synthetic fibers such as petroleum-based acrylic or acrylonitrile or wood pulp-based rayon. Felt from wool is considered to be the oldest known textile, many cultures have legends as to the origins of felt making. Sumerian legend claims that the secret of feltmaking was discovered by Urnamman of Lagash, the story of Saint Clement and Saint Christopher relates that while fleeing from persecution, the men packed their sandals with wool to prevent blisters. At the end of their journey, the movement and sweat had turned the wool into felt socks, feltmaking is still practised by nomadic peoples in Central Asia, where rugs, tents and clothing are regularly made. Some of these are items, such as the classic yurt, while others are designed for the tourist market. Wrapping the properly arranged fiber in a sturdy, textured material, such as a mat or burlap. The felted material may be finished by fulling, only certain types of fiber can be wet felted successfully. Most types of fleece, such as those taken from the alpaca or the Merino sheep, one may also use mohair, angora, or hair from rodents such as beavers and muskrats. These types of fiber are covered in scales, similar to the scales found on a strand of human hair. Heat, motion, and moisture of the causes the scales to open, while agitating them causes them to latch onto each other. There is a theory that the fibers wind around each other during felting. Plant fibers and synthetic fibers will not wet felt, needle felting is a method of creating felted objects without using water. The special needles used to make 3D sculpture, jewelry, adornments and 2D art have notches along the shaft of the needle that catch fibers and tangle them with other fibers to produce felt. These notches are sometimes erroneously called barbs, but barbs are protrusion, there are many sizes and types of notched needles for different uses while working. Needle felting is used in processes as well as in individual crafting. Invented in the mid 17th century and used until the mid-20th centuries, beaver, rabbit or hare skins were treated with a dilute solution of the mercury compound mercuric nitrate. The skins were dried in an oven where the fur at the sides turned orange
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NME
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New Musical Express is a British music journalism magazine published since 1952. It was the first British paper to include a singles chart, in the 1970s it became the best-selling British music newspaper. It started as a newspaper, and gradually moved toward a magazine format during the 1980s and 1990s. An online version of NME, NME. com, was launched in 1996 and it became the worlds biggest standalone music site, with over seven million users per month. With newsstand sales falling across the UK magazine sector, the paid circulation in the first half of 2014 was 15,830. In 2013, the list of NMEs The 500 Greatest Albums of All Time, NME magazine was relaunched in September 2015 as a nationally distributed free publication. NMEs headquarters are in Southwark, London, England, the brands editor-in-chief is Mike Williams, who replaced Krissi Murison in 2012. The paper was established in 1952, the Accordion Times and Musical Express was bought by London music promoter Maurice Kinn, for the sum of £1,000, just 15 minutes before it was due to be officially closed. It was relaunched as the New Musical Express, and was published in a non-glossy tabloid format on standard newsprint. On 14 November 1952, taking its cue from the US magazine Billboard, it created the first UK Singles Chart, the first of these was, in contrast to more recent charts, a top twelve sourced by the magazine itself from sales in regional stores around the UK. The first number one was Here in My Heart by Al Martino, during the 1960s the paper championed the new British groups emerging at the time. The NME circulation peaked under Andy Gray, Editor 1957–1972, with a figure of 306,881 for the period from January to June 1964, the Beatles and the Rolling Stones were frequently featured on the front cover. These and other artists appeared at the NME Poll Winners Concert. The concert also featured a ceremony where the winners would collect their awards. The NME Poll Winners Concerts took place between 1959 and 1972, from 1964 onwards they were filmed, edited and transmitted on British television a few weeks after they had taken place. The latter part of the 1960s saw the chart the rise of psychedelia. During this period some sections of pop music began to be designated as rock, in early 1972 the paper found itself on the verge of closure by its owner IPC. Alan Smith was made editor and in 1972 was told by IPC to turn things around quickly or face closure, according to The Economist, the New Musical Express started to champion underground, up-and-coming music. NME became the gateway to a more rebellious world
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PolyGram
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PolyGram was a Dutch entertainment company, a division of Seagram. It started as a record label recording company founded by Philips. The name was chosen to reflect the Siemens interest Polydor Records, the company traced its origins through Deutsche Grammophon back to the inventor of the flat disk gramophone, Emil Berliner. Later on, PolyGram expanded into the largest global entertainment company, creating film, in May 1998, it was sold to Seagram which owned MCA Inc. PolyGram Music Group was merged into Universal Music Group, and PolyGram Filmed Entertainment was merged into Universal Pictures. When the new company faced difficulties, its parent Seagram was sold in large part to Vivendi. Vivendi is the current owner of UMG, in February 2017, Polygram Entertainment was re-launched as the film & television division of Universal Music Group. In 1929, Decca Records licensed record shop owner H. W. Van Zoelen as a distributor in the Netherlands, by 1931, his company Hollandsche Decca Distributie had become exclusive Decca distributor for all of the Netherlands and its colonies. Over the course of the 1930s, HDD put together its own facilities for A&R, recording, HDD was commercially successful during World War II because of the absence of American and British competition. Van Zoelen wanted to sell to Philips so that HDD would have sufficient financial backing when their major competitors returned after the war and this led Philips to purchase HDD in 1942. Philips labs were developing magnetic tape and LPs, and they could support eventual new formats, after the war, Philips built a large factory in Doetinchem to produce 78 rpm records. During the late 1940s, Philips combined its various businesses into Philips Phonografische Industrie. PPIs early growth was based on alliances, a merger was first proposed with Decca of London in late 1945, but was rejected by Edward Lewis, Deccas owner. In the early 1950s, Philips set itself the goal of making PPI the largest record company in Europe, PPIs second attempt at a merger was with Deutsche Grammophon Gesellschaft. DGG, owned by Siemens AG, and well known for its repertoire, had been the German licensee for Decca from 1935. PPI and DGG finally merged in 1962, the alliance with DGG still left PPI without repertoire in Britain or the United States. But in 1951, after Columbia had failed to renew its international distribution agreement with EMI, Columbia became PPIs distributor within the US. This agreement ran until 1961 when Columbia set up its own European network, PPI signed a worldwide distribution deal with Mercury Records in 1961
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Stuff.co.nz
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Stuff. co. nz is a New Zealand news website published by Fairfax Digital, a division of Fairfax New Zealand Ltd, a subsidiary of Australian company Fairfax Media Ltd. It is also a web portal to other Fairfax websites, as of June 2012, the website had an Alexa rank in New Zealand of 8, the sites main competitor, The New Zealand Herald website, had a rank of 9. The site statistics for April 2012 were 4.9 million unique browsers, the development of Stuff was supported and governed by, the INL Board, Mike Robson, INL CEO, and Don Higgins, Corporate Development Manager. Mark Wierzbicki, INL Internet Business Manager, lead development and ongoing management of the Stuff site, advertising agency Saatchi & Saatchi conceived the name Stuff, and INL had to buy the domain name from a cyber squatter. In its first month, the site had 120,000 unique visitors, at the time, Mark Wierzbicki, described the name as a copywriters dream, although he conceded that its not without risk, especially if we stuff up. The start up website was built by a group of companies in Wellington led by project managers Bill Alp and Will Everitt. On 30 June 2003, INL sold its assets including The Dominion Post, The Press. Fairfax upgraded the website in December 2006, and again on 4 March 2009, the first mobile phone news service from Stuff began in 2003, in a partnership with Vodafone New Zealand. On 21 April 2009, Stuff launched a mobile site. For larger news events, the site creates a dedicated section, such as for the Bain family murders retrial. During the trial of Clayton Weatherston, press. co. nz, the article was quickly withdrawn, and Fairfax executive editor Paul Thompson said it was a mistake we take very seriously. The site has won awards including the Newspaper Publishers Association awards Best News Website for 2010 and 2011. The earliest articles still available on Stuff are from around August 2007, on 17 April 2013, to celebrate the passing of same-sex marriage in New Zealand, the colour of the Stuff logo was changed from black to the colours associated with the pride flag. The editor of Stuff at the time, Mark Stevens, openly declared his support in August 2012, Media of New Zealand Official website Archivestuff
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