Blink-182 is the fifth studio album by American rock band Blink-182, released on November 18, 2003 by Geffen Records. Following their ascent to stardom and success of their prior two releases, the trio was compelled to take a break and subsequently participated in various side projects; when they regrouped, they felt inspired to approach song structure and arrangements differently on their next effort together. Recorded from January to October 2003 with producer Jerry Finn, Blink-182 marked a departure from the band's earlier work, infusing experimental elements, inspired by lifestyle changes and side projects, into their usual pop punk sound, its songs are sonically expansive and downcast, leading critics to view it as a more elaborate, mature side of the band. The songwriting is more personal in nature and explores darker territory, touching upon the realities of adulthood and unexpected hardships. In addition, its recording process was long and unconventional. Fans were split regarding the band's "new" direction, but the album proved successful, selling 2.2 million copies in the United States.
It received positive reviews, with critics welcoming its change in tone. Lead singles "Feeling This" and "I Miss You" received the most radio airplay out of the four singles released, peaked high on Billboard charts; the worldwide touring schedule, which saw the band travel to Japan and Australia found the three performing for troops stationed in the Middle East. The album was the band's last recording with longtime producer Jerry Finn and their final original material before a four-year-long hiatus. Take Off Your Pants and Jacket became Blink-182's first number one album in the United States upon its June 2001 release. Hit singles "The Rock Show" and "First Date" continued the band's mainstream success worldwide, with MTV cementing their image as video stars. However, guitarist Tom DeLonge felt as though his creativity was stifled by label limitations, sessions became contentious among the trio, they rescheduled European tour dates in the aftermath of the September 11 attacks, they were called off a second time after DeLonge suffered a herniated disc in his back.
With time off from touring, DeLonge felt an "itch to do something where he didn't feel locked in to what Blink was," and channeled his chronic back pain and resulting frustration into Box Car Racer, a post-hardcore disc that further explores his Fugazi and Refused inspiration. Refraining from paying for a studio drummer, he invited Blink drummer Travis Barker to record drums on the project. Box Car Racer, intended as a one-time experimental project, became a full-fledged band with Barker behind the kit and Hazen Street guitarist David Kennedy on guitar. Blink bassist Mark Hoppus felt betrayed and jealous, it would create an unresolved tension within the trio that followed the band for several years. "At the end of 2001, it felt. It wasn't spoken about. Barker, joined rap rock group Transplants in 2002 and was featured on their first album, Transplants. In addition, Blink-182 co-headlined the Pop Disaster Tour with Green Day, alongside opening acts Jimmy Eat World, Saves the Day, Kut U Up in 2002.
It was an "uncomfortable" time in the band according to Hoppus, but they had "hundreds of discussions about it" and moved on. Barker felt the dynamics of the band changed with Hoppus and DeLonge's marriages: "Blink-182 were no longer just three inseparable guys who were touring together." Meanwhile, he began dating model Shanna Moakler, inviting tabloid attention, adding to the "awkwardness" present in the band. The post-hardcore sound of Box Car Racer inspired the change in tone and experimental nature the band approached Blink-182 with. Hoppus described his desire for the album to experiment with different arrangements in a 2002 interview: "Before, we got one guitar sound that we changed a little bit through the record; this time we want to try a whole different setup for each song." Hoppus recalled that Barker entered the production process by urging the band to " as the next Blink-182 record — think of it as the first Blink-182 record." The members were inspired after hearing Houston: We Have a Drinking Problem by Bad Astronaut and its expansive sound.
"Once the door was opened by Tom and Travis with Box Car Racer, Mark started to be more on board with that concept. He was more flexible and the next Blink album was able to be a pretty big departure from the previous two", said assistant engineer Sam Boukas. "Box Car Racer opened the door in that sense and I think the three of them wanted to be more creative and have more creative liberty on that next album." In January 2003, the band rented a home in the San Diego luxury community of Rancho Santa Fe, planning to record the entire album there. In addition to the home being converted into a studio, pay-per-view pornography was on continuous play, it included a space to "smoke hella weed" in the garage; the trio instead approached each song together. The band "attacked" each song and worked on three to four songs per day moving on to the next one when feeling "burned out" on a track; the band had fun at the home studio. The band recorded at the home until April 2003, when the owners of the house "kicked them out."
Barker, unwilling to leave Moakler, would drive from Los Angeles to San Diego each day. He subse
Big Day Out
The Big Day Out was an annual music festival, held in five Australian cities: Sydney, Gold Coast and Perth, as well as Auckland, New Zealand. The festival was held during summer in January of each year but was sometimes held as late as early February in some cities including Perth; the event was conceptualised. Promoters Ken West and Vivian Lees sought another act as middle-level support for the band's tour, they succeeded in securing Nirvana to play the Sydney leg at Horden Pavilion. The Big Day Out debuted on the 1992 Australia Day public holiday in Sydney and expanded to Melbourne and Perth the following year; the Gold Coast and Auckland were added to the schedule in 1994. As of 2003, it featured seven or eight stages, accommodating popular contemporary rock music, electronic music, mainstream international acts and local acts. Auckland was taken out of the tour schedule in 2013, but the festival returned to the city for its last run in 2014. After the partnership between Ken West and Vivian Lees was dissolved in 2011, Lees sold his stake in the event to Australian DJ and music promoter AJ Maddah, the co-promoter with American festival promoter C3 Presents from 2013 to 2014.
In early June 2014, C3 attained full ownership of the Big Day Out festival and announced the cancellation of the 2015 event on 26 June 2014 with the option for the festival to return in the future left open. Despite this, the event has yet to return in subsequent years and as of 2018 there are no plans for any event to be held in future. Annual music festivals had been gaining momentum for some time, the United States had launched Lollapalooza in Chicago, Illinois in 1991. Australia had seen various music festivals but nothing annual. Big Day Out was founded by Ken West and Vivian Lees–the festival began in 1992 as a Sydney-only show, with the headline act, Violent Femmes, playing alongside Nirvana, a range of other foreign and local alternative music acts, at the Hordern Pavilion. In 1993 the scope of the festival was extended to include Melbourne and Adelaide. West revealed in an interview that he was looking to create "urban mayhem" and "controlled chaos". In 1994 the Big Day Out was extended further to include Auckland, New Zealand and the Gold Coast, was held over a three-week period.
The geographical locations of the 1994 festival occurred on an annual basis until 1997, when organisers West and Lees announced a year-long hiatus, causing concern that the festival was nearing the end of its existence. Following the start of the 21st century, the festival was involved in two major controversies. Firstly, 16-year-old Jessica Michalik was killed after she was crushed at a 2001 Sydney show during a performance by the band Limp Bizkit. Michalik's death temporarily placed the future of the BDO festival in jeopardy, but the event continued after the Sydney Coroner's Court criticised the crowd control measures at the site and inflammatory comments made by Limp Bizkit's Fred Durst after the crush occurred; the festival celebrated its 100th performance in 2010. In the period leading up to the 100-show milestone, which occurred at the second of two Sydney dates in 2010, Lees claimed in an Australian article that the BDO's ability to build relationships with acts during their careers had become an important part of the BDO culture.
In the same Australian article, journalist Iain Shedden described the BDO as one of the "most successful and long-running rock festivals in the world", aligning the festival with the established Australian horse-racing event, the Melbourne Cup. Lees explained the growth and increased complexity of the festival in the 2010 Australian article, stating that, while a crew of 70 people crossed Australia in 1993 for the inaugural event, the 2010 festival consisted of 700 people. Lees highlighted the increased needs of Australian bands in his explanation: It does get easier but it's getting bigger and that makes it more complicated... You're more confident about what you're doing and having some gravitas, but at the same time, because we're having more and more expectations put on us by everyone, the complexities are increasing. Aussie bands that used to take five or six people on the road are now taking 11; that seems to be the magic number for a new starting-off band. What they are doing is working to put on the best show they can.
Through that the festival needs more riders, more hotel rooms, more everything. Due to the increasing popularity of the event, a second Sydney show was held; the extreme popularity of Metallica in 2004 led to this addition, followed by another second-show addition in Sydney for the 2010 event, when Muse was the headline act. A second Sydney date returned in 2011, in response to the co-headline acts and Rammstein. In November 2011, the business partnership between Lees and West was dissolved, the latter next partnered with Austin, United States -based company C3 Presents, which runs the Lollapalooza festival in the US. C3 purchased a 51 per cent stake in the company following a split, caused by "internal and external" pressures, whereby Lees severed all connections with the business. Prior to November 2011, Creative Festival Entertainment was the production company of the BDO festival. On 17 January 2012, West announced that the Auckland BDO event, held on 20 January 2012, would be the last Big Day Out in New Zealand, explaining that the festival would only be held in Australia in 2013.
However, in April 2013, the promoters said that they were seeking to reschedule an Auckland event in 2014. The 2012 festival was beset by difficulties and was d
Billboard is an American entertainment media brand owned by the Billboard-Hollywood Reporter Media Group, a division of Eldridge Industries. It publishes pieces involving news, opinion, reviews and style, is known for its music charts, including the Hot 100 and Billboard 200, tracking the most popular songs and albums in different genres, it hosts events, owns a publishing firm, operates several TV shows. Billboard was founded in 1894 by William Donaldson and James Hennegan as a trade publication for bill posters. Donaldson acquired Hennegen's interest in 1900 for $500. In the early years of the 20th century, it covered the entertainment industry, such as circuses and burlesque shows, created a mail service for travelling entertainers. Billboard began focusing more on the music industry as the jukebox and radio became commonplace. Many topics it covered were spun-off into different magazines, including Amusement Business in 1961 to cover outdoor entertainment, so that it could focus on music.
After Donaldson died in 1925, Billboard was passed down to his children and Hennegan's children, until it was sold to private investors in 1985, has since been owned by various parties. The first issue of Billboard was published in Cincinnati, Ohio by William Donaldson and James Hennegan on November 1, 1894, it covered the advertising and bill posting industry, was known as Billboard Advertising. At the time, billboards and paper advertisements placed in public spaces were the primary means of advertising. Donaldson handled editorial and advertising, while Hennegan, who owned Hennegan Printing Co. managed magazine production. The first issues were just eight pages long; the paper had columns like "The Bill Room Gossip" and "The Indefatigable and Tireless Industry of the Bill Poster". A department for agricultural fairs was established in 1896; the title was changed to The Billboard in 1897. After a brief departure over editorial differences, Donaldson purchased Hennegan's interest in the business in 1900 for $500 to save it from bankruptcy.
That May, Donaldson changed it from a monthly to a weekly paper with a greater emphasis on breaking news. He improved editorial quality and opened new offices in New York, San Francisco and Paris, re-focused the magazine on outdoor entertainment such as fairs, circuses and burlesque shows. A section devoted to circuses was introduced in 1900, followed by more prominent coverage of outdoor events in 1901. Billboard covered topics including regulation, a lack of professionalism and new shows, it had a "stage gossip" column covering the private lives of entertainers, a "tent show" section covering traveling shows, a sub-section called "Freaks to order". According to The Seattle Times, Donaldson published news articles "attacking censorship, praising productions exhibiting'good taste' and fighting yellow journalism"; as railroads became more developed, Billboard set up a mail forwarding system for traveling entertainers. The location of an entertainer was tracked in the paper's Routes Ahead column Billboard would receive mail on the star's behalf and publish a notice in its "Letter-Box" column that it has mail for them.
This service was first introduced in 1904, became one of Billboard's largest sources of profit and celebrity connections. By 1914, there were 42,000 people using the service, it was used as the official address of traveling entertainers for draft letters during World War I. In the 1960s, when it was discontinued, Billboard was still processing 1,500 letters per week. In 1920, Donaldson made a controversial move by hiring African-American journalist James Albert Jackson to write a weekly column devoted to African-American performers. According to The Business of Culture: Strategic Perspectives on Entertainment and Media, the column identified discrimination against black performers and helped validate their careers. Jackson was the first black critic at a national magazine with a predominantly white audience. According to his grandson, Donaldson established a policy against identifying performers by their race. Donaldson died in 1925. Billboard's editorial changed focus as technology in recording and playback developed, covering "marvels of modern technology" such as the phonograph, record players, wireless radios.
It began covering coin-operated entertainment machines in 1899, created a dedicated section for them called "Amusement Machines" in March 1932. Billboard began covering the motion picture industry in 1907, but ended up focusing on music due to competition from Variety, it created a radio broadcasting station in the 1920s. The jukebox industry continued to grow through the Great Depression, was advertised in Billboard, which led to more editorial focus on music; the proliferation of the phonograph and radio contributed to its growing music emphasis. Billboard published the first music hit parade on January 4, 1936, introduced a "Record Buying Guide" in January 1939. In 1940, it introduced "Chart Line", which tracked the best-selling records, was followed by a chart for jukebox records in 1944 called Music Box Machine charts. By the 1940s, Billboard was more of a music industry specialist publication; the number of charts it published grew after World War II, due to a growing variety of music interests and genres.
It had eight charts by 1987, covering different genres and formats, 28 charts by 1994. By 1943, Billboard had about 100 employees; the magazine's offices moved to Brighton, Ohio in 1946 to New York City in 1948. A five-column tabloid format was adopted in November 1950 and coated paper was first used in Billboard's print issues in January 1963, allowing for photojournalis
Up All Night (Blink-182 song)
"Up All Night" is a song by American rock band Blink-182, released on July 14, 2011 as the lead single from the group's sixth studio album, Neighborhoods. The song was the band's first single following a four-year hiatus, it was the first song the trio created upon their reformation in February 2009. Although the band wanted to release the track as a digital single in July 2009, they decided it was too ambitious to complete before their fall reunion tour; the track grew heavier over the course of two-year recording process. The song premiered July 14, 2011, on Los Angeles radio station KROQ-FM and the band's official website. A digital single was released the following day. Critics received the song positively, with many favorably noting similarities with the band's side-projects. Two music videos were released for "Up All Night" in August 2011; the main video, directed by Isaac Rentz, features the band playing in a neighborhood during a reckless block party, a second video features a montage compiled from fan-made YouTube videos that used the band's music illegally.
Critics reacted to both videos favorably, with many media outlets covering the fan-made compilation. After the reunion at the 2009 Grammy Awards, Blink-182 began production on a new studio album; as the band got back together, drummer Travis Barker said that the trio "got inspired" by practicing their old songs and listening to them again, they decided to record demos. There were four demos done, only one was near completion, called "Up All Night"; the song was titled "The Night the Moon Was Gone", a name DeLonge's daughter, came up with. They realized that it was too ambitious to complete it before their reunion tour began in July; when the band set off on tour, Tom DeLonge described the song as "almost finished." The band raised concerns that the song would debut to some fans as a bootleg-recorded version on sites such as YouTube, opted to not release it: "It’s not so much that we were concerned that it was going to get played somewhere where we didn’t have control of it," said DeLonge. "We were just concerned that the first impressions weren’t going to be the beautiful hard work that we put into recording the song and the way we recorded it.
The foundation of the song remains the same as when the band first began work on it in 2009, but as they recorded more songs, they kept coming back to "Up All Night", the song became "harder and heavier than its original incarnation", according to Hoppus, "Initially the chorus had much more air. It was a lofty, synth-y chorus, but we wanted the first song that people heard to be much more of a rocker." The band changed much of the song's instrumentation and wrote heavier guitar and bass parts, DeLonge wrote the guitar progression for the chorus. Barker began work on the drum portion of the song which, according to Hoppus "really solidified the rock element of the track; the half-time intro of the last section was all him, I think punctuates the song well." According to sheet music published at Musicnotes.com by Hal Leonard Corporation, "Up All Night" is written in common time with a tempo of 156 beats per minute. Barker, in June 2009, called "Up All Night" a "logical step-forward" from the music found on the band's previous effort, Blink-182.
Barker hinted that when the band was able to get back together and record, that would be the direction they would take. He called the track "heavy," and added that it sounded like "if you mixed Box Car Racer and Blink." Hoppus commented, "'Up All Night' contains elements of everything the band has done, pushes further than they've gone before." "Up All Night" premiered on Blink-182's website and Los Angeles-based radio station KROQ-FM on July 14, 2011. Though scheduled to play on Friday at 7:30am, the song's premiere was moved earlier, to Thursday night. In response to the single release, the official Blink-182 website crashed several times, Hoppus' new Google+ account crashed, Blink-182 was a top trending topic on Twitter worldwide. "Up All Night" was commercially successful in North America. In the United States, the song debuted at number 65 on the Hot 100 on August 6, 2011. On September 3, the song debuted on the Billboard Alternative Songs chart, going on to peak at number 3, spending 20 weeks on the chart.
On Billboard's Hot Rock Songs chart, the song spent 20 weeks, peaking at number 6. Music critics were positive regarding the song. James Montgomery of MTV News called the track "a booming, skittering mix of beats, arena-rock and yes, maybe a little indie," that recalled "perfectly" all of the members' various side-projects over the years, most prominently Blink-182 and the Box Car Racer song "Elevator". Billboard wrote that "The verse and bridge riffs retain their palm-muted glory, but the track's main riff is much heavier than anything in previous Blink singles." Vulture's Amons Barshad said that "Up All Night" is "still a bit of a curveball, just for not being the soothing pop-punk palliative you may have expected as the first comeback release. The verses have a spacey effect and bare bass line, familiar from early aughts single'Feeling This,' but the verses shout out'lies' and'demons,' and the guitar parts keep on slipping into a stomping hardcore riff." Clark Collis of Entertainment Weekly called the song a "thunderous, midtempo rocker."
Matthew Perpetua of Rolling Stone commented that the track "delivers the band's distinctive pop-punk hooks on a monumental, stadium-size scale," and, in a full review of the song, Rolling Stone's Monica Herrera summarized the song while giving it three and a half stars out of five: "Jagged riffs smash into warbled sci-fi synths, as DeLonge and bassist Mark Hoppus trade glum proverbs —'Everyone lives to tell the tale of how we die alo
A phonograph record is an analog sound storage medium in the form of a flat disc with an inscribed, modulated spiral groove. The groove starts near the periphery and ends near the center of the disc. At first, the discs were made from shellac. In recent decades, records have sometimes been called vinyl records, or vinyl; the phonograph disc record was the primary medium used for music reproduction throughout the 20th century. It had co-existed with the phonograph cylinder from the late 1880s and had superseded it by around 1912. Records retained the largest market share when new formats such as the compact cassette were mass-marketed. By the 1980s, digital media, in the form of the compact disc, had gained a larger market share, the vinyl record left the mainstream in 1991. Since the 1990s, records continue to be manufactured and sold on a smaller scale, are used by disc jockeys and released by artists in dance music genres, listened to by a growing niche market of audiophiles; the phonograph record has made a notable niche resurgence in the early 21st century – 9.2 million records were sold in the U.
S. in 2014, a 260% increase since 2009. In the UK sales have increased five-fold from 2009 to 2014; as of 2017, 48 record pressing facilities remain worldwide, 18 in the United States and 30 in other countries. The increased popularity of vinyl has led to the investment in new and modern record-pressing machines. Only two producers of lacquers remain: Apollo Masters in California, MDC in Japan. Phonograph records are described by their diameter in inches, the rotational speed in revolutions per minute at which they are played, their time capacity, determined by their diameter and speed. Vinyl records may be scratched or warped if stored incorrectly but if they are not exposed to high heat, carelessly handled or broken, a vinyl record has the potential to last for centuries; the large cover are valued by collectors and artists for the space given for visual expression when it comes to the long play vinyl LP. The phonautograph, patented by Léon Scott in 1857, used a vibrating diaphragm and stylus to graphically record sound waves as tracings on sheets of paper, purely for visual analysis and without any intent of playing them back.
In the 2000s, these tracings were first scanned by audio engineers and digitally converted into audible sound. Phonautograms of singing and speech made by Scott in 1860 were played back as sound for the first time in 2008. Along with a tuning fork tone and unintelligible snippets recorded as early as 1857, these are the earliest known recordings of sound. In 1877, Thomas Edison invented the phonograph. Unlike the phonautograph, it could both record and reproduce sound. Despite the similarity of name, there is no documentary evidence that Edison's phonograph was based on Scott's phonautograph. Edison first tried recording sound on a wax-impregnated paper tape, with the idea of creating a "telephone repeater" analogous to the telegraph repeater he had been working on. Although the visible results made him confident that sound could be physically recorded and reproduced, his notes do not indicate that he reproduced sound before his first experiment in which he used tinfoil as a recording medium several months later.
The tinfoil was wrapped around a grooved metal cylinder and a sound-vibrated stylus indented the tinfoil while the cylinder was rotated. The recording could be played back immediately; the Scientific American article that introduced the tinfoil phonograph to the public mentioned Marey and Barlow as well as Scott as creators of devices for recording but not reproducing sound. Edison invented variations of the phonograph that used tape and disc formats. Numerous applications for the phonograph were envisioned, but although it enjoyed a brief vogue as a startling novelty at public demonstrations, the tinfoil phonograph proved too crude to be put to any practical use. A decade Edison developed a improved phonograph that used a hollow wax cylinder instead of a foil sheet; this proved to be both a better-sounding and far more useful and durable device. The wax phonograph cylinder created the recorded sound market at the end of the 1880s and dominated it through the early years of the 20th century. Lateral-cut disc records were developed in the United States by Emile Berliner, who named his system the "gramophone", distinguishing it from Edison's wax cylinder "phonograph" and American Graphophone's wax cylinder "graphophone".
Berliner's earliest discs, first marketed in 1889, only in Europe, were 12.5 cm in diameter, were played with a small hand-propelled machine. Both the records and the machine were adequate only for use as a toy or curiosity, due to the limited sound quality. In the United States in 1894, under the Berliner Gramophone trademark, Berliner started marketing records of 7 inches diameter with somewhat more substantial entertainment value, along with somewhat more substantial gramophones to play them. Berliner's records had poor sound quality compared to wax cylinders, but his manufacturing associate Eldridge R. Johnson improved it. Abandoning Berliner's "Gramophone" tradem
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
Always (Blink-182 song)
"Always" is a song by American rock band Blink-182, released on November 1, 2004 as the fourth and final single from the group's fifth studio album, Blink-182. The song was the lowest charting single from the album, but the song's music video received extensive play on music video channels. Like much of the album, the song shows the band's 1980s influences, with the multiple-layered effected guitars and new wave synthesizers; the song can be found on the band's 2005 compilation Greatest Hits. All three of the band members associated the song with the music of the 1980s. Tom DeLonge, in an interview with MTV News, described the song as a "love song."In another interview with MTV News, DeLonge explained the song and addressed the lyrics of the choruses, jokingly: "Always" was written by bassist Mark Hoppus, drummer Travis Barker, guitarist Tom DeLonge, while sung by DeLonge and Hoppus and produced by Jerry Finn. The song is composed in the key of B major and is set in time signature of common time with a tempo of 158 beats per minute.
The vocal range spans from A3 to D7. Referred to as "the'80s song" during production, "Always" features an uptempo backbeat combined with a New Romantic-era keyboard, pulls from new wave influences; the song's outro features four separate bass guitars being played. Barker pulled from Missing Persons for inspiration whilst creating the song's percussion. Journalist Joe Shooman pointed out that the song's central guitar riff is remescient of The Only Ones' "Another Girl, Another Planet", he called it "the thickest-textured Blink track of all-time," and acknowledged its tribute to 1980s synth-driven pop. "Always" was announced as the fourth and final single from Blink-182 in August 2004. "It's gonna change people's lives and might change the world forever," guitarist Tom DeLonge jokingly predicted. It was first serviced to radio in mid-November 2004; the song was only performed twice in its original release, prior to the band’s "indefinite hiatus." It has nonetheless been performed since the band's return.
A. D. Amorosi of The Philadelphia Inquirer, in his 2003 review of Blink-182, called the song "contagious." Consequence of Sound, in a 2015 top 10 of the band's best songs, ranked it as number four, calling it "far and away the best track on the album." The music video for "Always" was directed by Joseph Kahn. The group shot it while on tour in Australia in mid-2004, at the same studio space used by the Wiggles, it features Australian pop singer Sophie Monk. The video is displayed as three horizontal panels, in which Monk flirts with DeLonge and Barker. However, the panels sever the onscreen participants in three. Monk appears as a fractured whole; the trio's characters attempt to plead with Monk, trying to repair a damaged relationship, which are depicted through fights, "the occasional making-up/making-out,", handled by Barker. In reference to the video, DeLonge said "It's like doing an algebraic formulation on paper when you watch it. It's the same kind of feeling but it's rad." Bassist Mark Hoppus called it the most technically complicated video the band had to shoot, as it required choreographed positioning in real time.
The video was photographed by Brad Rushing and edited by David Blackburn who won the MVPA Best Editing Award for his work. The song was a hit on music video channels, where it was among the most-played on Fuse, MTV2 and MuchMusic into January 2005. All tracks written by Blink-182; the two live tracks were broadcast live on The WB's Pepsi Smash concert series. Shooman, Joe. Blink-182: The Bands, The Breakdown & The Return. Independent Music Press. ISBN 978-1-906191-10-8. Official music video on YouTube Lyrics of this song at MetroLyrics