Wanted Dead or Alive (Bon Jovi song)
"Wanted Dead or Alive" is a song by American rock band Bon Jovi. It is from their 1986 album Slippery; the song was written by Jon Bon Jovi and Richie Sambora and was released in 1987 as the album's third single. During a February 20, 2008 encore performance in Detroit, Jon Bon Jovi told the crowd about running into Bob Seger at a Pistons game; as he introduced his song "Wanted Dead or Alive", he said it was inspired by Seger's "Turn the Page" hit and called the song the band's anthem. The song peaked at #7 on the Billboard Hot 100 chart and #13 on the Mainstream Rock Tracks chart, making it the third single from the album to reach the Top 10 of the Hot 100; as a result, Slippery When Wet was the first hard rock/glam metal album to have 3 top 10 hits on the Billboard Hot 100. In 2001 a live version from the album One Wild Night Live 1985–2001 was released as a single featuring a promotional music video. In 2003 a new version was released on the album This Left Feels Right and this version was released as a single with a promotional video.
Considered to be one of the band's signature songs, it has become known to younger audiences as the theme song for Discovery Channel's Deadliest Catch TV show. The song was certified quadruple platinum by the Recording Industry Association of America in 2015; the song's title pays homage to Jon's admiration for Old West heroes, how he identifies with them as being hated and loved at the same time. During an interview on Inside the Actors Studio, Jon said he got the inspiration for the song early one morning when he could not sleep while riding in a tour bus; the "lifestyle of every rock band" was similar to that of outlaws in that each was, "a young band of thieves, riding into town, stealing the money, the girls, the booze before the sun came up."Jon Bon Jovi said during a concert in Detroit, Michigan, on February 20, 2008, that the song "absolutely positively was influenced by Seger's'Turn the Page.'" Bon Jovi performed "Turn the Page" during a concert in Toronto, Ontario on July 21, 2010.
Afterward, Jon told the audience he remembered listening to this song in 1985 while traveling on a tour bus in the midwest and telling Richie Sambora, "We got to write a song like this." The following year the duo composed "Wanted Dead or Alive". The music video was filmed in black and white by cinematographer Derek M. Allen features footage from the band's massive 1986-1987 world tour, including shots from Rochester NY' s War Memorial Auditorium Chicago's UIC Pavilion, Minnesota's Mayo Civic Center, Colorado's McNichols Arena, Pittsburgh, PA F. Pitt Tunnel and Pittsburgh Skyline, Oklahoma City, Huntington, WV, other venues; the video captures the life-on-the-road feeling, with several shots of the exhausted band members. The audio for the video uses the short version of the song. In Bon Jovi's Slippery When Wet Special Edition and Richie perform the acoustic version of "Wanted Dead Or Alive" live, before singing they mention they wrote the song in Richie's mother's basement a year ago and Richie says "Mom this is for you" and Jon thanks her by saying "Thanks for Richie's mom for not doing the laundry the day we wrote this song, it's called Wanted Dead or Alive".
In this version and Jon take turns singing during the second and the last verse. The guitar solo is performed on one of Sambora's trademark multi-necked 12 string Ovation guitars, rather than switching to an electric guitar for the solo and last verse of the song. "Wanted Dead or Alive" Official music video on YouTube
These Days (Bon Jovi song)
“These Days” is a song by American rock band Bon Jovi. It was released in February 1996 as the fourth single from their 1995 album These Days, showcases the darker tone that Jon Bon Jovi and Richie Sambora’s lyrics sought to achieve with the album; the song which begins with a haunting piano progression, deals with homelessness, loss of innocence and the difficulty of keeping up a relationship in the modern age. It is about people out there trying to be understood; the single peaked at #7 in the UK, #38 in Australia and #40 on the Euro hot 100 singles chart.“These Days” stands as the most-performed live song from the album of the same name. The song is present on the DVD Live from London at the end of the concert, during the 2007-2008 Lost Highway Tour Sambora took lead vocals on the song and references the difficulties he had been through over the past year. Disc 1 "These Days" "Someday I'll Be Saturday Night" "These Days" "Helter Skelter"Disc 2 "These Days" "634-5789" " Letting You Go" "Rockin' in the Free World" Disc 1 "These Days" " Letting You Go" "Rockin' in the Free World" "Helter Skelter" "Hey God" "These Days"Disc 2 "These Days" "The End" "When She Comes" "Lonely at the Top" Lyrics of this song at MetroLyrics
David Bryan Rashbaum, best known as David Bryan, is an American musician and songwriter, best known as the keyboard player for the rock band Bon Jovi, with which he has co-written songs and performed backing vocals. He is the writer of the successful Broadway musical Memphis. In 2018, Bryan was inducted into the Roll Hall of Fame as a member of Bon Jovi. David Bryan Rashbaum was born on February 7, 1962 in Perth Amboy, New Jersey and raised in Edison, New Jersey, his father, Eddie Rashbaum, played the trumpet. Bryan was raised Jewish, he attended elementary school at Clara Barton, where he played many instruments including violin, viola and clarinet. He attended Herbert Hoover Middle School J. P. Stevens High School, from which he graduated. Bryan began to learn piano at age seven, played keyboards for a band called Transition with bass player Steve Sileo and lead singer Mike Ziegel, he studied with a professor at Juilliard, for thirteen years. Bryan attended Rutgers University, but dropped out to attend Juilliard.
Bryan was the first Bon Jovi member to receive a call when Jon Bon Jovi learned that he had received a recording contract, agreed to join the band. He choose his performance name when he grew tired of continually having to spell out his entire name. At the time, Bryan was attending Rutgers University and was studying Pre-Med with a 4.0 GPA. Bryan has played keyboards and sung on all of Bon Jovi's albums, as well as the solo projects of Jon Bon Jovi and Richie Sambora. Bryan co-wrote the songs "Love Lies" and "Breakout" on Bon Jovi's self-titled first album, "Only Lonely", he co-wrote the musical Memphis with Joe DiPietro, which had its off-Broadway debut in 2002. In 2008, Memphis was performed at the La Jolla Playhouse in San Diego; the show was performed in January 2009 in Seattle, Washington, at the 5th Avenue Theatre, prior to moving to Broadway in 2009. Memphis, which ran on Broadway from October 18, 2009 to August 5, 2012, was nominated for 8 Tony awards for the 2010 season and won 4 including Best Musical and Best Original Score.
Bryan co-wrote the musical The Toxic Avenger, again collaborating with Joe DiPietro. The musical made its off-Broadway premiere at New World Stages on April 6, 2009, he has been working on a new musical with DiPietro titled Chasing The Song, which chronicles American songwriters from 1962–1964 who worked in the Brill Building. Bryan describes it as "It's a fictional story about factual America." Director Christopher Ashley and choreographer Sergio Trujillo are now involved. According to Playbill, "A fall or early winter workshop of the musical is being planned. Broadway is the goal." Bryan married his high school sweetheart April McLean on August 25, 1990, but they divorced in 2004. They have two daughters and a son: twins Gabrielle Luna Bryan and Colton Moon Bryan, Tiger Lily Bryan. David married Lexi Quaas on August 7, 2010 in New Jersey. In the late 1990s, prior to Bon Jovi coming together to record Crush, Bryan nearly severed his finger in a home accident involving a circular saw. After a year of rehabilitation, Bryan regained use of his finger and returned to playing the keyboard.
In 1991, before he helped Bon Jovi guitarist and friend Richie Sambora in his solo album Stranger in This Town and record a soundtrack in the horror movie "The Netherworld", Bryan was suffering from a South American parasite, caught during a tour with the band. Bryan was hospitalized, he described his condition: "It ate out my stomach lining, my intestines, attacked my nerve endings. It was in my bloodstream. I was 145 pounds, I was ill in the hospital for two weeks... bedridden at home, for a month". Bryan is active in VH-1's Save the Music program, as well as Only Make Believe, he wrote the anthem for Only Make Believe, "Rockin' All Over the World", with Dena Hammerstein. He is an honorary Board member for Only Make Believe, a non-profit organization that brings interactive theatre to chronically ill and disabled children in hospitals and care facilities, he is a board member of Damon Marks' Traveling Guitar Foundation. The band has built several homes for victims of Hurricane Katrina; the video for the hit song "Who Says You Can't Go Home" is a documentary of the making of these homes.
The band gave Oprah Winfrey's Angel Network one million dollars. With this, she created Bon Jovi Boulevard in Louisiana. Bon Jovi was welcomed back, one year to see Bon Jovi Boulevard, to unveil it to its future residents. On a Full Moon Lunar Eclipse Stranger in This Town - Songwriter, string arrangements Netherworld Soundtrack – Original Score "Time Was" – Curtis Stigers – wrote "This Time" Destination Anywhere - Accordion, piano Undiscovered Soul - Songwriter The Toxic Avenger - Musical Soundtrack Memphis: A New Musical - Musical Soundtrack Memphis: The Musical - - Musical Soundtrack Larkin, Colin; the Guinness Encyclopedia of Popular Music, Guinness Publishing, 1992. Official website
Robert Frederick Zenon Geldof, is an Irish singer-songwriter, political activist and occasional actor. He rose to prominence as the lead singer of the Irish rock band The Boomtown Rats in the late 1970s and early 1980s, alongside the punk rock movement; the band had Number One hits with his compositions "Rat Trap" and "I Don't Like Mondays". Geldof co-wrote "Do They Know It's Christmas?", one of the best-selling singles of all time, starred in Pink Floyd's 1982 film Pink Floyd – The Wall as "Pink". Geldof is recognised for his activism anti-poverty efforts concerning Africa. In 1984 he and Midge Ure founded the charity supergroup Band Aid to raise money for famine relief in Ethiopia, they went on to organise the charity super-concert Live Aid the following year and the Live 8 concerts in 2005. Geldof serves as an adviser to the ONE Campaign, founded by fellow Irishman Bono, is a member of the Africa Progress Panel, a group of ten distinguished individuals who advocate at the highest levels for equitable and sustainable development in Africa.
A single father, Geldof has been outspoken for the fathers' rights movement. Geldof was appointed Honorary Knight Commander of the Order of the British Empire by Elizabeth II, is a recipient of the Man of Peace title which recognises individuals who have made "an outstanding contribution to international social justice and peace", among numerous other awards and nominations. In 2005 he received the Brit Award for Outstanding Contribution to Music. Geldof was brought up in Dún Laoghaire, Ireland, a son of Robert and Evelyn Geldof, his paternal grandfather, Zenon Geldof, was a hotel chef. His paternal grandmother, Amelia Falk, was a British Jew from London; when Geldof was six or seven, his mother, Evelyn, 41, died of a cerebral haemorrhage. Geldof attended Blackrock College, where he was bullied for being a poor rugby player and for his middle name, Zenon. After work as a slaughterman, a road navvy and pea canner in Wisbech, he was hired as a music journalist in Vancouver, British Columbia, for The Georgia Straight.
He guest hosted the Canadian Broadcasting Corporation children's program Switchback. Returning to Ireland in 1975, he became lead singer of the Boomtown Rats, a rock group linked with the punk movement. In 1978, The Boomtown Rats had their first No. 1 single in the UK with "Rat Trap", the first new wave chart-topper in Britain. In 1979, they gained international attention with their second UK No. 1, "I Don't Like Mondays". This was both controversial. Geldof had written it in the aftermath of Brenda Ann Spencer's attempted massacre at an elementary school in San Diego, California in 1979. In 1980, The Boomtown Rats released the album Mondo Bongo, its single "Up All Night" was a huge hit in the U. S. and its video was played on MTV. Geldof became known as a colourful interview subject; the Boomtown Rats' first appearance on Ireland's The Late Late Show saw Geldof as deliberately brusque to host Gay Byrne and during his interview he attacked Irish politicians and the Catholic Church, which he blamed for many of the country's problems.
He responded to nuns in the audience who tried to shout him down by saying they had "an easy life with no material worries in return for which they gave themselves body and soul to the church". He criticised Blackrock College; the interview caused uproar. In January 2013, Geldof announced The Boomtown Rats would be reforming to play together for the first time since 1986 at that year's Isle of Wight Festival in June, they have subsequently announced further tour dates and released a new CD Back to Boomtown: Classic Rats Hits. Geldof left the Boomtown Rats in 1986, to launch a solo career and publish his autobiography, Is That It?, a UK best-seller. His first solo records sold reasonably well and spawned the hit singles "This Is The World Calling" and "The Great Song of Indifference", he occasionally performed with other artists, such as David Gilmour and Thin Lizzy. A performance of "Comfortably Numb" with Gilmour is documented in the 2002 DVD David Gilmour in Concert. In 1992, he performed at the Freddie Mercury Tribute Concert with the surviving members of Queen at the old Wembley Stadium, singing a song he jokingly claimed to have co-written with Mercury, called "Too Late God".
The song was co-written by Karl Hyde. Geldof has worked as a DJ for XFM radio. In 1998, he erroneously announced Ian Dury's death from cancer due to hoax information from a listener, disgruntled at the station's change of ownership; the event caused music paper NME to call Geldof "the world's worst DJ". Along with U2's Bono, he has devoted much time since 2000 to campaigning for debt relief for developing countries, his commitments in this field, including the organisation of the Live 8 concerts, kept Geldof from producing any more musical output since 2001's Sex, Age & Death album. In 2002, he was listed as one of the 100 Greatest Britons in a poll conducted among the general public, despite the fact that he is not British. After Live 8, Geldof returned to his career as a musician by releasing a box set containing all of his solo albums entitled Great Songs of Indifference – The Anthology 1986–2001 in late 2005. Following that release, Geldof toured, albeit with mixed success. In July 2006, Geldof arrived at Milan's Arena Civica, a venue capable of holding 12,000 people, to play a scheduled concert to find that the organisers had not put the tickets on general sale and
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
Shout (The Isley Brothers song)
"Shout" is a popular American song recorded by the Isley Brothers. Released in 1959, it was written by the brothers themselves as a call and response answer to Jackie Wilson's "Lonely Teardrops", which they would cover in live performances. While the song did not reach higher than #47 on the Billboard Hot 100, it became the brothers' first gold single on the basis of its longevity, it became a much-covered tune, with many U. S. and international artists recording the song. One month after the initial release, Johnny O'Keefe covered it in his Australian TV show Six O'Clock Rock and released it as a single, reaching #2 in Australia, his 1964 re-recording was only a minor hit at #49. Joey Dee and the Starliters reached #6 with their recording of the song in 1962, while the Isley Brothers' version re-charted that same year at #94. Scottish pop singer Lulu had a #7 UK hit with the song in 1964, a #8 UK hit with a re-recorded version in 1986; the Shangri-Las included a version of the song in their debut LP Leader of the Pack in 1965 as did the Kingsmen on their Volume 3 album in 1965 and 15 Great Hits album in 1966.
Tommy James and the Shondells recorded a version of the song on their 1967 album, I Think We're Alone Now. Question Mark & the Mysterians recorded a version of the song on Action; the Ronettes covered the song in live performances as well, including their appearance in The Big TNT Show. The Trammps released a version of the song in 1975; the song, as performed by Otis Day and the Knights, was prominently featured in the 1978 fraternity house film National Lampoon's Animal House. Alvin and the Chipmunks covered the song for their 1996 album Club Chipmunk: The Dance Mixes with Simon providing the lead vocals; the Beatles included a live version of the song on their 1996 rarities compilation, Anthology 1. American rock group Bon Jovi has covered this song live preceded by "Bad Medicine". American punk rock band Green Day performed the song on their 2005 live album Bullet in a Bible after "King for a Day". Green Day has regularly performed the song during their live shows since at least 2005, always after "King for a Day".
Bruce Springsteen performs this song live in a medley with "Twist and Shout". Blaine Anderson and Brittany Pierce performed the song in the 2013 Glee episode "Girls On Film". Robbie Williams performed the song as part of a "Call & Response Medley" on his Swings Both Ways tour in 2014, along with "Reet Petite" and "Hit the Road Jack"; the song was inducted to the Grammy Hall of Fame in 1999. It ranked #118 on Rolling Stone's list of "The 500 Greatest Songs of All Time". Glee on an episode in Season 4 of Glee, March 4, 2013 Ronald Isley – lead vocals Rudolph Isley – background vocals O'Kelly Isley Jr. – background vocalsThe Shangri-Las version Mary Weiss — lead vocals Mary Ann Ganser — background vocals Margie Ganser — background vocalsLulu version Lulu — lead vocalsThe Beatles version John Lennon — vocals, lead guitar Paul McCartney — vocals, bass George Harrison — vocals, lead guitar Ringo Starr — vocals, drumsBuffalo Bills version Scott Kemper — vocals, keyboards"I Know/Shout" - Save Ferris version Monique Powell - vocals The 1959 original by the Isley Brothers appeared in the 1967 film Thoroughly Modern Millie, the 1982 comedy film Diner, the Cheers fourth season episode "Suspicion".
The Isley Brothers' version was featured in "Night Out", a 1990 third-season episode of The Wonder Years, in which Kevin Arnold and Winnie Cooper are invited to a notorious make-out party. With time, "Shout" has woven itself more into many iconic American media, such as a dance song in which people progressively crouch down to the dance floor as the song gets quieter. For example, at the end of the third quarter of an Oregon Ducks game at Autzen Stadium, in recognition of National Lampoon's Animal House being filmed at the University of Oregon in 1977-78, the crowd traditionally dances to the song. Since 1987, the National Football League's Buffalo Bills have used a one-minute customized cover version of the song by Scott Kemper as their fight song; the Indiana Pacers briefly used Kemper's version of "Shout." Lyrics of this song at MetroLyrics Performance of "Shout" at The Dick Clark Show on YouTube Performance of "Shout" live by Johnny O'Keefe on YouTube
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