A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording 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", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; 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 where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
Carole Bayer Sager
Carole Bayer Sager is an American lyricist, songwriter and New York Times best-selling author. Bayer Sager was born in Manhattan to Anita Nathan Eli Bayer, her family was Jewish. She graduated from New York University, where she majored in English, dramatic arts, speech, she had written her first pop hit, "A Groovy Kind of Love", with Toni Wine, while still a student at New York City's High School of Music and Art. It was recorded by the British invasion band The Mindbenders, whose version was a worldwide hit, reaching number 2 on the Billboard Hot 100; this song was recorded by Sonny & Cher, Petula Clark, Phil Collins, the latter whose rendition for the film Buster reached number one in 1988. She had a career as a singer, including her 1977 Australian number one single "You're Moving Out Today", which reached number 6 in the UK singles chart in June 1977. Bayer Sager's first recording as a singer was the 1977 album Carole Bayer Sager, which included "You're Moving Out Today", a song which she co-wrote with Bette Midler and Bruce Roberts.
Paul Buckmaster provided string arrangements for the album. The album went platinum in Japan and the United Kingdom, it was followed by... Too in 1978, a third and last album, co-produced by Burt Bacharach, entitled Sometimes Late at Night, which included the single "Stronger Than Before" recorded by Dionne Warwick and Chaka Khan. Bayer Sager had many hits during the 1970s. With Marvin Hamlisch and Neil Simon, she wrote the lyrics for the stage musical They're Playing Our Song, loosely based on her relationship with Hamlisch; the musical ran for over three years on Broadway. Many of Bayer Sager's 1980s songs were co-written with her former husband, the composer Burt Bacharach, she executive-produced the eponymous solo album for June Pointer, of The Pointer Sisters, in 1989. Bayer Sager has won an Academy Award, a Grammy Award, two Golden Globe Awards, she was inducted into the Songwriters Hall of Fame in 1987. Bayer Sager won the Academy Award for Best Original Song in 1982 for "Arthur's Theme", the theme song of the movie Arthur.
Bayer Sager received the Grammy Award for Song of the Year in 1987 for the song "That's What Friends Are For", which she co-wrote with Bacharach. This song was written for the movie Night Shift, it was recorded for this movie by Rod Stewart; the song was popularized in a 1986 cover version by Dionne Warwick, Stevie Wonder, Gladys Knight, Elton John. Her song with David Foster, "The Prayer" recorded by Celine Dion and Andrea Bocelli, won the Golden Globe, is one of few songs to be sung at weddings and funerals alike, she was awarded a star on the Hollywood Walk of Fame and was inducted into the Songwriters Hall of Fame. Bayer Sager received the New York University Steinhardt Distinguished Alumni award in 2006, she is to receive the 2019 "Johnny Mercer Award" from the Songwriters Hall of Fame during their 50th anniversary induction ceremony. Along with Bruce Roberts and Kenneth "Babyface" Edmonds, Bayer Sager helped write the song, "Stronger Together", sung by Jessica Sanchez; the song was played after Hillary Clinton's speech at the 2016 Democratic National Convention.
The song's title is named after the slogan that the Clinton campaign used as a show of uniting behind the Democratic nominee. The song was well received, was praised by celebrities like Jennifer Lopez and Kim Kardashian. In 2018, she co-wrote the song "Living In The Moment" for the film Book Club, recorded by Katherine McPhee, as well as two songs on Barbra Streisand's album Walls: "Better Angels" and "What's On My Mind", she contributed lyrics to "GhostTown" on Kanye West's album Ye. Bayer Sager paints, her first solo art show was in March 2011 at the L. A. Arthouse in Los Angeles, her second show ran for two months at the William Turner Gallery in Bergamot Station, Los Angeles, in 2012. Her third show, New Works, ran from September to November at William Turner Gallery in Los Angeles. Bayer Sager has served for the last seven years as a trustee of the Los Angeles County Museum of Art, she serves on the advisory board of DonorsChoose, which she and her husband Bob Daly brought to Los Angeles. She created a series of public service announcements to promote the organization, with animations voiced by Bette Midler, Claire Danes, Sidney Poitier, Morgan Freeman.
She married record-producer Andrew Sager in 1970, they divorced in 1978. Bayer Sager was involved in a romantic relationship with composer Marvin Hamlisch in the late 1970s. On April 3, 1982, she married composer and pianist Burt Bacharach after over a year's co-habitation: in December 1985 the couple adopted an infant son, whom they named Cristopher Elton Bacharach. Bacharach and Sager divorced in 1991. Since June 1996, Bayer Sager has been married to Robert Daly, former chairman of Warner Brothers and former chairman / CEO of the Los Angeles Dodgers baseball team, chairman of the American Film Institute, Bayer Sager and her husband live in Los Angeles. In October 2016, Bayer Sager published her memoir, she narrated the audiobook version. Carole Bayer Sager... Too Sometimes Late At Night Anyone At All -- Carole King Arthur -- Arthur's Theme, from Arthur -- Christopher Cross'Better Off Alone -- Shirley Bassey "Better Angels" Walls --- Barbra Streisand Crazy -- Neil Diamond Don't Cry Out Loud -- Melissa Manchester Don't Say You Love Me -- The Corrs Ever Changing Times -- Aretha Franklin Eve
An intimate relationship is an interpersonal relationship that involves physical or emotional intimacy. Although an intimate relationship is a sexual relationship, it may be a non-sexual relationship involving family, friends, or acquaintances. Emotional intimacy involves feelings of liking or loving one or more people, may result in physical intimacy. Physical intimacy is characterized by romantic love, sexual activity, or other passionate attachment; these relationships play a central role in the overall human experience. Humans have a general desire to belong and to love, satisfied within an intimate relationship; such relationships allow a social network for people to form strong emotional attachments. Intimacy involves the feeling of belonging together, it is a familiar and close affective connection with another as a result of a bond, formed through knowledge and experience of the other. Genuine intimacy in human relationships requires dialogue, transparency and reciprocity. Dalton discussed how anthropologists and ethnographic researchers access "inside information" from within a particular cultural setting by establishing networks of intimates capable to provide information unobtainable through formal channels.
In human relationships, the meaning and level of intimacy varies between relationships. In anthropological research, intimacy is considered the product of a successful seduction, a process of rapport building that enables parties to confidently disclose hidden thoughts and feelings. Intimate conversations become the basis for "confidences". Sustaining intimacy for a length of time involves well-developed emotional and interpersonal awareness. Intimacy involves the ability to be both separate and together participants in an intimate relationship. Murray Bowen called this "self-differentiation," which results in a connection in which there is an emotional range involving both robust conflict and intense loyalty. Lacking the ability to differentiate oneself from the other is a form of symbiosis, a state, different from intimacy if feelings of closeness are similar. Intimate behavior joins close friends, as well as those in love, it evolves through reciprocal candor. Poor skills in developing intimacy can lead to getting too close too quickly.
Psychological consequences of intimacy problems are found in adults who have difficulty in forming and maintaining intimate relationships. Individuals experience the human limitations of their partners, develop a fear of adverse consequences of disrupted intimate relationships. Studies show that fear of intimacy is negatively related to comfort with emotional closeness and with relationship satisfaction, positively related to loneliness and trait anxiety. Scholars distinguish between different forms of intimacy, including physical, cognitive, or spiritual intimacy. Physical intimacy may include being inside someone's personal space, holding hands, kissing, heavy petting or other sexual activity. Emotional intimacy in sexual relationships develops after a certain level of trust has been reached and personal bonds have been established; the emotional connection of "falling in love", has both a biochemical dimension driven through reactions in the body stimulated by sexual attraction, a social dimension driven by "talk" that follows from regular physical closeness or sexual union.
Love is an important factor in emotional intimacy. It is qualitatively and quantitatively different from liking, not only based on the presence or absence of sexual attraction. There are three types of love in a relationship: passionate love, companionate love, sacrificial love. Sacrificial love reflects the subsumption of the individual self will within a union. Companionate love involves diminished potent feelings of attachment, an authentic and enduring bond, a sense of mutual commitment, the profound feeling of mutual caring, feeling proud of a mate's accomplishment, the satisfaction that comes from sharing goals and perspective. In contrast, passionate love is marked by infatuation, intense preoccupation with the partner, throes of ecstasy, feelings of exhilaration that come from being reunited with the partner. Cognitive or intellectual intimacy takes place when two people exchange thoughts, share ideas and enjoy similarities and differences between their opinions. Spiritual intimacy involves bonding over spirituality.
The use of empirical investigations in 1898 was a major revolution in social analysis. A study conducted by Monroe examined the habits of children in selecting a friend; some of the attributes included in the study were kindness and honesty. Monroe asked 2336 children aged 7 to 16 to identify "what kind of chum do you like best?" The results of the study indicate that children preferred a friend, their own age, of the same sex, of the same physical size, a friend with light features, friends that did not engage in conflict, someone, kind to animals and humans, that they were honest. Two characteristics that children reported as least important included religion; the study by Monroe was the first to mark the significant shift in the study of intimate relationships from analysis, philosophical to those with empirical validity. This study is said to have marked the beginning of relationship science. In the years foll
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
In the music industry, a single is a type of release a song recording of fewer tracks than an LP record or an album. This can be released for sale to the public in a variety of different formats. In most cases, a single is a song, released separately from an album, although it also appears on an album; these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular. In other cases a recording released. Despite being referred to as a single, singles can include up to as many as three tracks; the biggest digital music distributor, iTunes Store, accepts as many as three tracks less than ten minutes each as a single, as does popular music player Spotify. Any more than three tracks on a musical release or thirty minutes in total running time is either an extended play or, if over six tracks long, an album; when mainstream music was purchased via vinyl records, singles would be released double-sided.
That is to say, they were released with an A-side and B-side, on which two singles would be released, one on each side. Moreover, only the most popular songs from a released album would be released as a single. In more contemporary forms of music consumption, artists release most, if not all, of the tracks on an album as singles; the basic specifications of the music single were set in the late 19th century, when the gramophone record began to supersede phonograph cylinders in commercially produced musical recordings. Gramophone discs were manufactured in several sizes. By about 1910, the 10-inch, 78 rpm shellac disc had become the most used format; the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century. The crude disc-cutting techniques of the time and the thickness of the needles used on record players limited the number of grooves per inch that could be inscribed on the disc surface, a high rotation speed was necessary to achieve acceptable recording and playback fidelity.
78 rpm was chosen as the standard because of the introduction of the electrically powered, synchronous turntable motor in 1925, which ran at 3600 rpm with a 46:1 gear ratio, resulting in a rotation speed of 78.26 rpm. With these factors applied to the 10-inch format and performers tailored their output to fit the new medium; the 3-minute single remained the standard into the 1960s, when the availability of microgroove recording and improved mastering techniques enabled recording artists to increase the duration of their recorded songs. The breakthrough came with Bob Dylan's "Like a Rolling Stone". Although CBS tried to make the record more "radio friendly" by cutting the performance into halves, separating them between the two sides of the vinyl disc, both Dylan and his fans demanded that the full six-minute take be placed on one side, that radio stations play the song in its entirety; as digital downloading and audio streaming have become more prevalent, it has become possible for every track on an album to be available separately.
The concept of a single for an album has been retained as an identification of a more promoted or more popular song within an album collection. The demand for music downloads skyrocketed after the launch of Apple's iTunes Store in January 2001 and the creation of portable music and digital audio players such as the iPod. In September 1997, with the release of Duran Duran's "Electric Barbarella" for paid downloads, Capitol Records became the first major label to sell a digital single from a well-known artist. Geffen Records released Aerosmith's "Head First" digitally for free. In 2004, Recording Industry Association of America introduced digital single certification due to significant sales of digital formats, with Gwen Stefani's "Hollaback Girl" becoming RIAA's first platinum digital single. In 2013, RIAA incorporated on-demand streams into the digital single certification. Single sales in the United Kingdom reached an all-time low in January 2005, as the popularity of the compact disc was overtaken by the then-unofficial medium of the music download.
Recognizing this, On 17 April 2005, Official UK Singles Chart added the download format to the existing format of physical CD singles. Gnarls Barkley was the first act to reach No.1 on this chart through downloads alone in April 2006, for their debut single "Crazy", released physically the following week. On 1 January 2007 digital downloads became eligible from the point of release, without the need for an accompanying physical. Sales improved in the following years, reaching a record high in 2008 that still proceeded to be overtaken in 2009, 2010 and 2011. Singles have been issued in various formats, including 7-inch, 10-inch, 12-inch vinyl discs. Other, less common, formats include singles on Digital Compact Cassette, DVD, LD, as well as many non-standard sizes of vinyl disc; the most common form of the vinyl single is the 45 or 7-inch. The names are derived from its play speed, 45 rpm, the standard diameter, 7 inches; the 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs.
The first 45
A music video is a short film that integrates a song with imagery, is produced for promotional or artistic purposes. Modern music videos are made and used as a marketing device intended to promote the sale of music recordings. There are cases where songs are used in tie-in marketing campaigns that allow them to become more than just a song. Tie-ins and merchandising can be used for food or other products. Although the origins of the music video date back to musical short films that first appeared in the 1920s, they again came into prominence in the 1980s when the channel MTV based their format around the medium. Prior to the 1980s, these kinds of videos were described by various terms including "illustrated song", "filmed insert", "promotional film", "promotional clip", "promotional video", "song video", "song clip" or "film clip". Music videos use a wide range of styles and contemporary video-making techniques, including animation, live action and non-narrative approaches such as abstract film.
Some music videos combine different styles with the music, such as animation and live action. Combining these styles and techniques has become more popular because of the variety for the audience. Many music videos interpret images and scenes from the song's lyrics, while others take a more thematic approach. Other music videos may not have any concept, being a filmed version of the song's live concert performance. In 1894, sheet music publishers Edward B. Marks Joe Stern hired electrician George Thomas and various performers to promote sales of their song "The Little Lost Child". Using a magic lantern, Thomas projected a series of still images on a screen simultaneous to live performances; this would become a popular form of entertainment known as the illustrated song, the first step toward music video. In 1926, with the arrival of "talkies" many musical short films were produced. Vitaphone shorts featured many bands and dancers. Animation artist Max Fleischer introduced a series of sing-along short cartoons called Screen Songs, which invited audiences to sing along to popular songs by "following the bouncing ball", similar to a modern karaoke machine.
Early 1930s cartoons featured popular musicians performing their hit songs on-camera in live-action segments during the cartoons. The early animated films by Walt Disney, such as the Silly Symphonies shorts and Fantasia, which featured several interpretations of classical pieces, were built around music; the Warner Bros. cartoons today billed as Looney Tunes and Merrie Melodies, were fashioned around specific songs from upcoming Warner Bros. musical films. Live action musical shorts, featuring such popular performers as Cab Calloway, were distributed to theaters. Blues singer Bessie Smith appeared in a two-reel short film called St. Louis Blues featuring a dramatized performance of the hit song. Numerous other musicians appeared in short musical subjects during this period. Soundies and released from 1940 to 1947, were musical films that included short dance sequences, similar to music videos. In the mid-1940s, musician Louis Jordan made short films for his songs, some of which were spliced together into a feature film, Lookout Sister.
These films were, according to music historian Donald Clarke, the "ancestors" of music video. Musical films were another important precursor to music video, several well-known music videos have imitated the style of classic Hollywood musicals from the 1930s to the 1950s. One of the best-known examples is Madonna's 1985 video for "Material Girl", modelled on Jack Cole's staging of "Diamonds Are A Girl's Best Friend" from the film Gentlemen Prefer Blondes. Several of Michael Jackson's videos show the unmistakable influence of the dance sequences in classic Hollywood musicals, including the landmark "Thriller" and the Martin Scorsese-directed "Bad", influenced by the stylised dance "fights" in the film version of West Side Story. According to the Internet Accuracy Project, disc jockey–singer J. P. "The Big Bopper" Richardson was the first to coin the phrase "music video", in 1959. In his autobiography, Tony Bennett claims to have created "...the first music video" when he was filmed walking along the Serpentine in Hyde Park, London in 1956, with the resulting clip being set to his recording of the song "Stranger in Paradise".
The clip was sent to UK and US television stations and aired on shows including Dick Clark's American Bandstand. The oldest example of a promotional music video with similarities to more abstract, modern videos seems to be the Czech "Dáme si do bytu" created in 1958 and directed by Ladislav Rychman. In the late 1950s the Scopitone, a visual jukebox, was invented in France and short films were produced by many French artists, such as Serge Gainsbourg, Françoise Hardy, Jacques Dutronc, the Belgian Jacques Brel to accompany their songs, its use spread to other countries, similar machines such as the Cinebox in Italy and Color-Sonic in the USA were patented. In 1961, for the Canadian show Singalong Jubilee, Manny Pittson began pre-recording the music audio, went on-location and taped various visuals with the musicians lip-synching edited the audio and video together. Most music numbers were taped in-studio on stage, the location shoot "videos" were to add variety. In 1964, Kenneth Anger's experimental short film, Scorpio Rising used popular songs instead of dialog.
In 1964, The Moody Blues producer, Alex Murray, wanted to promote his version of "Go Now". The short film clip he produced and directed to promote the single has a striking visual style that predates Queen's similar "Bohemian Rhapsody" vid
You Get What You Give (song)
"You Get What You Give" is a 1998 song by the New Radicals. It was an international hit, the first and most successful single from their album Maybe You've Been Brainwashed Too, it reached number 30 on Billboard Hot 100 Airplay in January 1999, number 36 on the overall Hot 100 and number eight on the Billboard Modern Rock chart. It reached number five in the United Kingdom, number four in Ireland, number one in Canada and New Zealand. Much of the media attention "You Get What You Give" received centered on the closing lyrics: "Health insurance, rip-off lying FDA, big bankers buying Fake computer crashes dining Cloning while they're multiplying Fashion shoots with Beck and Hanson, Courtney Love and Marilyn Manson You're all fakes, run to your mansions Come around, we'll kick your ass in."According to lead singer Gregg Alexander, he had written this section for the song as a test to see whether the media would focus on the important political issues of the first few lines, or the petty celebrity-dissing.
As suspected, a considerable amount of press began to appear about the name-dropping, the other political issues were ignored. Marilyn Manson commented that he was "not mad he said he'd kick my ass, I just don't want to be used in the same sentence with Courtney Love.... I'll crack his skull open if I see him." Beck reported that Alexander apologized for the line when they met each other by chance in a supermarket, claiming that it was never meant to be personal. Alexander collaborated with Hanson, whose drummer, Zac Hanson, called him "a bit of a character, but a cool guy."Although the lines were used for the band's Top of the Pops appearance, it was truncated at "kick you". In a Time interview, U2 lead guitarist The Edge is quoted saying "You Get What You Give" is the song he is "most jealous of. I would love to have written that." Billboard gave a mixed review, saying that it was a "chugging, Wham!-style pop song with cheesy lyrics" but that the ending lyrics were "interesting". The song was listed No. 440 on Blender's list of The 500 Greatest Songs.
The song is an unofficial Newcastle United anthem and is played at their home ground St James' Park. The song was used by local radio station Metro Radio during Newcastle's FA cup-run of 1998–99, with Mick Lowes' commentary of Newcastle's cup goals mixed over the song. In the liner notes to her 2004 compilation Artist's Choice, Joni Mitchell praises "You Get What You Give" for "rising from the swamp of'McMusic' like a flower of hope." Michelle Branch, The Okay Feeling, Martin Fry have covered this song live in concert. It was performed by the final 13 of Australian Idol 2005 and 2006. Both times the controversial "Health insurance..." section was omitted. LMC released a remix of this song sampling the original Alexander vocals as "LMC vs. New Radicals" in 2005, under the title "Don't Let Go". Another remix entitled "You Get What You Give" was released in 2006, this time with a re-recorded vocal performance by Rachel McFarlane. "You Get What You Give" charted at No. 30 in the United Kingdom. In 2006, Ice-T was asked on Late Night with Conan O'Brien about what he has heard, besides rap music, in the last few years that grabbed him and his only reply was "You Get What You Give".
The song was used on the soundtrack of the 2006 film Click. The music video for "You Get What You Give" was filmed in the Staten Island Mall in New York and directed by Evan Bernard; the New Radicals' frontman Gregg Alexander said he chose this setting because he sees the shopping mall as a metaphor for society—a fake, controlled environment engineered to encourage spending. The video showed a group of teenagers, led by Alexander, going through the mall wreaking havoc—tossing nets on security guards, placing businessmen in animal cages, knocking over merchandise, hijacking Lambrettas, moshing in the food court. VH1 voted it as the 64th greatest one-hit wonder in 2002. In 2007, the song was voted No. 90 on VH1's "100 Greatest Songs of the 90s", in 2010 it was number 106 on Pitchfork's Top 200 Tracks of the 90s. In 2011, VH1 ranked it as 11th on "40 Greatest One-Hit Wonders of the 90s". Annie Zaleski for The A. V. Club wrote that the song was "surprisingly influential on popular music, just in a non-obvious obscured way", that it was "both a nostalgic artifact and a song that transcends any era".
BBC Radio ranked the song at number 38 on its list of the "Most Heard Recordings in Britain of the Last 75 Years". "You Get What You Give" – 4:42 "To Think I Thought" – 2:47 "Maybe You've Been Brainwashed Too" – 5:21 "You Get What You Give" – 5:02 Gregg Alexander – lead vocals, rhythm guitar Rusty Anderson – lead guitar John Pierce – bass guitar Rick Nowels – keyboard, backing vocals Gary Ferguson – drums Juliet Prater - percussion Richie Podler – additional vocal arrangement Michael Brauer – mixing Two live recordings of "You Get What You Give" were released: "You Get What You Give" on Live at the World Cafe – Volume 8 "You Get What You Give" on KBCO Studio C – Volume 11 Also there are three MP3's circulating: "You Get What You Give" "You Get What You Give" "You Get What You Give" "You Get What You Give" performed by Vassy "You Get What You Give" performed by The Maine featuring Brennan Smiley on Covers "You Get What You Give" performed by the Glee Cast "Get What You Give" performed by Felix C