Industrial music is a genre of experimental music which draws on harsh, transgressive or provocative sounds and themes. AllMusic defines industrial music as the "most abrasive and aggressive fusion of rock and electronic music", "initially a blend of avant-garde electronics experiments and punk provocation"; the term was coined in the mid-1970s with the founding of Industrial Records by members of Throbbing Gristle and Monte Cazazza. While the genre name originated with Throbbing Gristle's emergence in the United Kingdom, concentrations of artists and labels vital to the genre emerged in Chicago; the first industrial artists experimented with noise and aesthetically controversial topics and visually, such as fascism, sexual perversion, the occult. Prominent industrial musicians include Throbbing Gristle, Monte Cazazza, SPK, Boyd Rice, Cabaret Voltaire, Z'EV. On Throbbing Gristle's 1977 debut album The Second Annual Report, they coined the slogan "industrial music for industrial people". Chicago-based independent label Wax Trax Records featured a heavy roster of industrial music acts.
The precursors that influenced the development of the genre included acts such as electronic music group Kraftwerk, experimental rock acts such as Pink Floyd and Frank Zappa, psychedelic rock artists such as Jimi Hendrix, composers such as John Cage. Musicians cite writers such as William S. Burroughs, philosophers such as Friedrich Nietzsche as influences. While the term was self-applied by a small coterie of groups and individuals associated with Industrial Records in the late 1970s, it was broadened to include artists influenced by the original movement or using an "industrial" aesthetic. A few years in the 1980s, artists on Chicago-based Wax Trax Records such as Front 242, KMFDM, Front Line Assembly and Sister Machine Gun gained prominence on the industrial music scene. Over time, the genre's influence blended with styles including ambient and rock. Electro-industrial music is a primary subgenre; the two other most notable hybrid genres are industrial rock and industrial metal, which include bands such as Nine Inch Nails and Ministry, both of which released platinum-selling albums in the 1990s.
These distinct genres are referred to as industrial. Industrial music drew from a broad range of predecessors. According to the Oxford English Dictionary, the genre was first named in 1942 when The Musical Quarterly called Dmitri Shostakovich's 1927 Symphony No. 2 "the high tide of'industrial music'." In 1972 The New York Times described works by Ferde Grofé as a part of "his'industrial music' genre called on such instruments as four pairs of shoes, two brooms, a locomotive bell, a pneumatric drill and a compressed-air tank". Though these compositions are not directly tied to what the genre would become, they are early examples of music designed to mimic machinery noise and factory atmosphere. In his book Interrogation Machine: Laibach and NSK, Alexei Monroe argues that Kraftwerk were significant in the development of industrial music, as the "first successful artists to incorporate representations of industrial sounds into nonacademic electronic music." Industrial music was created by using mechanical and electric machinery, advanced synthesizers and electronic percussion as the technology developed.
Monroe argues for Suicide as an influential contemporary of the industrial musicians. Groups cited as inspirational by the founders of industrial music include The Velvet Underground, Joy Division, Martin Denny. Genesis P-Orridge of Throbbing Gristle had a cassette library including recordings by the Master Musicians of Jajouka, Charles Manson, William S. Burroughs. P-Orridge credited 1960s rock such as The Doors, Pearls Before Swine, The Fugs, Captain Beefheart, Frank Zappa in a 1979 interview. Chris Carter enjoyed and found inspiration in Pink Floyd and Tangerine Dream. Boyd Rice was influenced by the music of tiki culture. Z'EV cited Christopher Tree, John Coltrane, Miles Davis, Tim Buckley, Jimi Hendrix, Captain Beefheart, among others together with Tibetan, Javanese and African music as influential in his artistic life. Cabaret Voltaire cited Roxy Music as their initial forerunners, as well as Kraftwerk's Trans-Europe Express. Cabaret Voltaire recorded pieces reminiscent of musique concrète and composers such as Morton Subotnick.
Nurse with Wound cited a long list of obscure free improvisation and Krautrock as recommended listening. 23 Skidoo borrowed from Fela Kuti and Miles Davis's On the Corner. Many industrial groups, including Einstürzende Neubauten, took inspiration from world music. Many of the initial industrial musicians preferred to cite artists or thinkers, rather than musicians, as their inspiration. Simon Reynolds declares that "Being a Throbbing Gristle fan was like enrolling in a university course of cultural extremism." John Cage was an initial inspiration for Throbbing Gristle. SPK appreciated Jean Dubuffet, Marcel Duchamp, Jean Baudrillard, Michel Foucault, Walter Benjamin, Marshall McLuhan, Friedrich Nietzsche, Gilles Deleuze. Cabaret Voltaire took conceptual cues from Burroughs, J. G. Ballard, Tristan Tzara. Whitehouse and Nurse with Wound dedicated some of their work to the Marquis de Sade. Another influence on the industrial aesthetic was Lou Reed's Metal Machine Music. Pitchfork Music cites this album as "inspiring, in part, much of the contemporary avant-garde music scene—noise, in particular."
The album consists of g
Compact disc is a digital optical disc data storage format, co-developed by Philips and Sony and released in 1982. The format was developed to store and play only sound recordings but was adapted for storage of data. Several other formats were further derived from these, including write-once audio and data storage, rewritable media, Video Compact Disc, Super Video Compact Disc, Photo CD, PictureCD, CD-i, Enhanced Music CD; the first commercially available audio CD player, the Sony CDP-101, was released October 1982 in Japan. Standard CDs have a diameter of 120 millimetres and can hold up to about 80 minutes of uncompressed audio or about 700 MiB of data; the Mini CD has various diameters ranging from 60 to 80 millimetres. At the time of the technology's introduction in 1982, a CD could store much more data than a personal computer hard drive, which would hold 10 MB. By 2010, hard drives offered as much storage space as a thousand CDs, while their prices had plummeted to commodity level. In 2004, worldwide sales of audio CDs, CD-ROMs and CD-Rs reached about 30 billion discs.
By 2007, 200 billion CDs had been sold worldwide. From the early 2000s CDs were being replaced by other forms of digital storage and distribution, with the result that by 2010 the number of audio CDs being sold in the U. S. had dropped about 50% from their peak. In 2014, revenues from digital music services matched those from physical format sales for the first time. American inventor James T. Russell has been credited with inventing the first system to record digital information on an optical transparent foil, lit from behind by a high-power halogen lamp. Russell's patent application was filed in 1966, he was granted a patent in 1970. Following litigation and Philips licensed Russell's patents in the 1980s; the compact disc is an evolution of LaserDisc technology, where a focused laser beam is used that enables the high information density required for high-quality digital audio signals. Prototypes were developed by Sony independently in the late 1970s. Although dismissed by Philips Research management as a trivial pursuit, the CD became the primary focus for Philips as the LaserDisc format struggled.
In 1979, Sony and Philips set up a joint task force of engineers to design a new digital audio disc. After a year of experimentation and discussion, the Red Book CD-DA standard was published in 1980. After their commercial release in 1982, compact discs and their players were popular. Despite costing up to $1,000, over 400,000 CD players were sold in the United States between 1983 and 1984. By 1988, CD sales in the United States surpassed those of vinyl LPs, by 1992 CD sales surpassed those of prerecorded music cassette tapes; the success of the compact disc has been credited to the cooperation between Philips and Sony, which together agreed upon and developed compatible hardware. The unified design of the compact disc allowed consumers to purchase any disc or player from any company, allowed the CD to dominate the at-home music market unchallenged. In 1974, Lou Ottens, director of the audio division of Philips, started a small group with the aim to develop an analog optical audio disc with a diameter of 20 cm and a sound quality superior to that of the vinyl record.
However, due to the unsatisfactory performance of the analog format, two Philips research engineers recommended a digital format in March 1974. In 1977, Philips established a laboratory with the mission of creating a digital audio disc; the diameter of Philips's prototype compact disc was set at 11.5 cm, the diagonal of an audio cassette. Heitaro Nakajima, who developed an early digital audio recorder within Japan's national public broadcasting organization NHK in 1970, became general manager of Sony's audio department in 1971, his team developed a digital PCM adaptor audio tape recorder using a Betamax video recorder in 1973. After this, in 1974 the leap to storing digital audio on an optical disc was made. Sony first publicly demonstrated an optical digital audio disc in September 1976. A year in September 1977, Sony showed the press a 30 cm disc that could play 60 minutes of digital audio using MFM modulation. In September 1978, the company demonstrated an optical digital audio disc with a 150-minute playing time, 44,056 Hz sampling rate, 16-bit linear resolution, cross-interleaved error correction code—specifications similar to those settled upon for the standard compact disc format in 1980.
Technical details of Sony's digital audio disc were presented during the 62nd AES Convention, held on 13–16 March 1979, in Brussels. Sony's AES technical paper was published on 1 March 1979. A week on 8 March, Philips publicly demonstrated a prototype of an optical digital audio disc at a press conference called "Philips Introduce Compact Disc" in Eindhoven, Netherlands. Sony executive Norio Ohga CEO and chairman of Sony, Heitaro Nakajima were convinced of the format's commercial potential and pushed further development despite widespread skepticism; as a result, in 1979, Sony and Philips set up a joint task force of engineers to design a new digital audio disc. Led by engineers Kees Schouhamer Immink and Toshitada Doi, the research pushed forward laser and optical disc technology. After a year of experimentation and discussion, the task force produced the Red Book CD-DA standard. First published in 1980, the stand
RPM was a Canadian music industry publication that featured song and album charts for Canada. The publication was founded by Walt Grealis in February 1964, supported through its existence by record label owner Stan Klees. RPM ceased publication in November 2000. RPM stood for "Records, Music"; the magazine was reported to have variations in its title over the years such as RPM Weekly and RPM Magazine. RPM maintained several format charts, including Top Singles, Adult Contemporary, Urban, Rock/Alternative and Country Tracks for country music. On 21 March 1966, RPM expanded its Top Singles chart from 40 positions to 100. On December 6, 1980 the main chart became a Top 50 chart and remained this way until August 4, 1984 whereupon it returned to being a Top 100 Singles chart. For the first several weeks of its existence, the magazine did not compile a national chart, but printed the current airplay lists of several major market Top 40 stations. A national chart was introduced beginning with the June 22, 1964 issue, with its first-ever national #1 single being "Chapel of Love" by The Dixie Cups.
Prior to the introduction of RPM's national chart, the CHUM Chart from Toronto radio station CHUM was considered the de facto national chart. The final #1 single in the magazine was "Music" by Madonna; the modern Juno Awards had their origins in an annual survey conducted by RPM since its founding year. Readers of the magazine were invited to mail in survey ballots to indicate their choices under various categories of people or companies; the RPM Awards poll was transformed into a formal awards ceremony, The Gold Leaf Awards in 1970. These became the Juno Awards in following years; the RPM Awards for 1964 were announced in the 28 December 1964 issue: Top male vocalist: Terry Black Top female singer: Shirley Matthews Most promising male vocalist: Jack London Most promising female vocalist: Linda Layne Top vocal instrumental group: The Esquires Top female vocal group: Girlfriends Top instrumental group: Wes Dakus & The Rebels Top folk group: The Courriers Top country male singer: Gary Buck Top country female singer: Pat Hervey Industry man of the year: Johnny Murphy of Cashbox Canada Top record company: Capitol Records of Canada Top Canadian Content record company: Capitol Records of Canada Top national record promoter: Paul White, Capitol Records of Canada Top regional record promoter: Ed Lawson, Quality Records Top album of the year: That Girl by Phyllis MarshallA column on page 6 of that issue noted that the actual vote winner for Top Canadian Content record company was disqualified due to a conflict of interest involving an employee of that company, working for RPM.
Therefore, runner-up Capitol Records was declared the category's winner. The Annual RPM Awards for 1965 were announced in the 17 January 1966 issue, with more country music categories than the previous year: Top male vocalist: Bobby Curtola Top female singer: Catherine McKinnon Most promising male vocalist: Barry Allen Most promising female vocalist: Debbie Lori Kaye Top vocal/instrumental group: The Guess Who Top female vocal group: Girlfriends Top instrumental group: Wes Dakus & The Rebels Top folk group: Malka and Joso Top folk singer: Gordon Lightfoot Best produced single: "My Girl Sloopy", Little Caesar and the Consuls Best produced album: Voice of an Angel by Catherine McKinnon Top country male singer: Gary Buck Top country female singer: Dianne Leigh Most promising country male singer: Angus Walker Most promising country female singer: Sharon Strong Top country instrumental vocal group: Rhythm Pals Top country instrumentalist: Roy Penney Top country radio personality: Al Fisher, CFGM Toronto Top Canadian disc jockey: Chuck Benson, CKYL Peace River Top record company: Capitol Records of Canada Top Canadian Content record company: Capitol Records of Canada Top national record promoter: Paul White, Capitol Records of Canada Top regional record promoter: Charlie Camilleri, Quality Records The winners were: Top male vocalist: Barry Allen Top female singer: Catherine McKinnon Most promising male vocalist: Jimmy Dybold Most promising female vocalist: Lynda Lane Top vocal/instrumental group: Staccatos Top female vocal group: Allan Sisters Top instrumental group: Wes Dakus & The Rebels Top folk group: 3's a Crowd Top folk singer: Gordon Lightfoot Best produced single: "Let's Run Away", Staccatos Top country male singer: Gary Buck Top country female singer: Dianne Leigh Most promising country male singer: Johnny Burke Most promising country female singer: Debbie Lori Kaye Top country instrumental vocal group: Mercey Brothers Top country instrumentalist: Roy Penney Top country radio personality: Ted Daigle Top country radio station: CFGM Top record company: Capitol Records of Canada Top Canadian Content record company: Red Leaf Records Top national record promoter: Paul White, Capitol Records of Canada Top regional record promoter: Al Nair Top Canadian music industry man of the year: Stan Klees List of number-one singles in Canada List of RPM number-one alternative rock singles List of RPM number-one country singles List of RPM number-one dance singles RPM archive charts RPM Library and Archives Canada: "The RPM Story" The Canadian Encyclopedia: RPM Charts archive from 1964 to 1999 on worldcharts.co.uk Megan Thow.
"Critical Miss". Ryerson Review of Journalism. Archived from the original on 27 September 2007. Retrieved 15 September 2007
Alan Charles Wilder is an English musician, arranger, record producer, a former member of the electronic band Depeche Mode from 1982 to 1995. Since his departure from the band, the musical project called Recoil became his primary musical enterprise, which started as a side project to Depeche Mode in 1986. Wilder has provided production and remixing services to the bands Nitzer Ebb and Curve, he is a classically trained musician. Alan Charles Wilder was raised in Acton, West London, he began piano through the encouragement of his parents. On, he learned the flute at St Clement Danes grammar school and became a leading musician in his school bands. After school, Alan worked as a studio assistant at DJM Studios; this led to him ending up working for bands such as The Dragons and the Tenderspots, Real to Real, The Hitmen, The Korgis, appearing on the UK No. 13 single "If I Had You". Following the departure of Vince Clarke, Depeche Mode placed an advertisement in the music magazine Melody Maker: "Keyboard player needed for established band – no timewasters."
Though the ad was looking for someone under 21 he lied about his age to get the job, got away with it. He joined Depeche Mode in January 1982 as a tour keyboardist, soon thereafter as a full member of the recording band. Wilder wrote a handful of songs for Depeche Mode, including "Two Minute Warning" and "The Landscape Is Changing" from the album Construction Time Again, "If You Want" from the album Some Great Reward and co-wrote "Black Day" from the album Black Celebration. However, Wilder's more notable contributions to Depeche Mode were as a musician and producer. In addition to playing synthesizer throughout his time with Depeche Mode, Wilder played piano on the band's signature ballad "Somebody," and oboe on the band's hit anthem, "Everything Counts." In the documentary film 101, Wilder demonstrates how different synthesizer parts of a song are split and arranged across a sampling keyboard for playing them live during the concert, just one small example of Wilder's ongoing contributions to Depeche Mode during his time as a member of the group.
For the recording of the album Songs of Faith and Devotion and its corresponding Devotional Tour Wilder played live drums. For "Enjoy the Silence" from the album Violator, Wilder took Martin Gore's melancholy ballad-esque demo and re-envisioning the song as a percolating, melodic dance track; the resulting single went on to become one of the most commercially successful songs in Depeche Mode's history. On 26 June 1995, Wilder announced his departure from Depeche Mode: "Due to increasing dissatisfaction with the internal relations and working practices of the group, it is with some sadness that I have decided to part company from Depeche Mode. My decision to leave the group was not an easy one as our last few albums were an indication of the full potential that Depeche Mode was realizing. Since joining in 1982, I have continually striven to give total energy and commitment to the furthering of the group's success and in spite of a consistent imbalance in the distribution of the workload, willingly offered this.
Within the group, this level of input never received the respect and acknowledgement that it warrants. Whilst I believe that the calibre of our musical output has improved, the quality of our association has deteriorated to the point where I no longer feel that the end justifies the means. I have no wish to cast aspersions on any individual. Given these circumstances, I have no option, it seems preferable therefore, to leave on a relative high, as I still retain a great enthusiasm and passion for music, I am excited by the prospect of pursuing new projects. The remaining band members have my support and best wishes for anything they may pursue in the future, be it collectively or individually."After his split from Depeche Mode, Wilder was approached by Robert Smith with an offer to join The Cure. Wilder respectfully declined. According to Wilder himself, the possibility was offered on behalf of The Cure by Daryl Bamonte, he declined as joining another band was the last thing on his mind, he reunited with Depeche Mode during the Teenage Cancer Trust concert at the Royal Albert Hall in London on 17 February 2010, enjoyed a rapturous reception.
During the encore, Wilder accompanied Martin Gore on piano for "Somebody". Gore played a DJ set on one of Recoil's Selected Events. In 2011, Wilder provided two mixes for the Depeche Mode track "In Chains". Recoil began in 1986 as a two-track experimental EP. Entitled 1 + 2, this collection of primitive demos caught the attention of Mute Records label boss Daniel Miller and was inconspicuously released as a mini-album on 12" vinyl. An album, soon followed in 1988 and both were re-issued by Mute on CD as Hydrology plus 1 + 2. Wilder described the project at the time as "an antidote to Depeche Mode. Wilder found himself back in the studio to record what would become the most successful Depeche Mode album to date, Violator, it wasn't until the band allowed themselves
The Cold War was a period of geopolitical tension between the Soviet Union with its satellite states, the United States with its allies after World War II. A common historiography of the conflict begins between 1946, the year U. S. diplomat George F. Kennan's "Long Telegram" from Moscow cemented a U. S. foreign policy of containment of Soviet expansionism threatening strategically vital regions, the Truman Doctrine of 1947, ending between the Revolutions of 1989, which ended communism in Eastern Europe, the 1991 collapse of the USSR, when nations of the Soviet Union abolished communism and restored their independence. The term "cold" is used because there was no large-scale fighting directly between the two sides, but they each supported major regional conflicts known as proxy wars; the conflict split the temporary wartime alliance against Nazi Germany and its allies, leaving the USSR and the US as two superpowers with profound economic and political differences. The capitalist West was led by the United States, a federal republic with a two-party presidential system, as well as the other First World nations of the Western Bloc that were liberal democratic with a free press and independent organizations, but were economically and politically entwined with a network of banana republics and other authoritarian regimes, most of which were the Western Bloc's former colonies.
Some major Cold War frontlines such as Indochina and the Congo were still Western colonies in 1947. The Soviet Union, on the other hand, was a self-proclaimed Marxist–Leninist state led by its Communist Party, which in turn was dominated by a totalitarian leader with different titles over time, a small committee called the Politburo; the Party controlled the state, the press, the military, the economy, many organizations throughout the Second World, including the Warsaw Pact and other satellites, funded communist parties around the world, sometimes in competition with communist China following the Sino-Soviet split of the 1960s. The two worlds were fighting for dominance in low-developed regions known as the Third World. In time, a neutral bloc arose in these regions with the Non-Aligned Movement, which sought good relations with both sides. Notwithstanding isolated incidents of air-to-air dogfights and shoot-downs, the two superpowers never engaged directly in full-scale armed combat. However, both were armed in preparation for a possible all-out nuclear world war.
Each side had a nuclear strategy that discouraged an attack by the other side, on the basis that such an attack would lead to the total destruction of the attacker—the doctrine of mutually assured destruction. Aside from the development of the two sides' nuclear arsenals, their deployment of conventional military forces, the struggle for dominance was expressed via proxy wars around the globe, psychological warfare, massive propaganda campaigns and espionage, far-reaching embargoes, rivalry at sports events, technological competitions such as the Space Race; the first phase of the Cold War began in the first two years after the end of the Second World War in 1945. The USSR consolidated its control over the states of the Eastern Bloc, while the United States began a strategy of global containment to challenge Soviet power, extending military and financial aid to the countries of Western Europe and creating the NATO alliance; the Berlin Blockade was the first major crisis of the Cold War. With the victory of the Communist side in the Chinese Civil War and the outbreak of the Korean War, the conflict expanded.
The USSR and the US competed for influence in Latin America and the decolonizing states of Africa and Asia. The Soviets suppressed the Hungarian Revolution of 1956; the expansion and escalation sparked more crises, such as the Suez Crisis, the Berlin Crisis of 1961, the Cuban Missile Crisis of 1962, the closest the two sides came to nuclear war. Meanwhile, an international peace movement took root and grew among citizens around the world, first in Japan from 1954, when people became concerned about nuclear weapons testing, but soon in Europe and the US; the peace movement, in particular the anti-nuclear movement, gained pace and popularity from the late 1950s and early 1960s, continued to grow through the'70s and'80s with large protest marches and various non-parliamentary activism opposing war and calling for global nuclear disarmament. Following the Cuban Missile Crisis, a new phase began that saw the Sino-Soviet split complicate relations within the Communist sphere, while US allies France, demonstrated greater independence of action.
The USSR crushed the 1968 Prague Spring liberalization program in Czechoslovakia, while the US experienced internal turmoil from the civil rights movement and opposition to the Vietnam War, which ended with the defeat of the US-backed Republic of Vietnam, prompting further adjustments. By the 1970s, both sides had become interested in making allowances in order to create a more stable and predictable international system, ushering in a period of détente that saw Strategic Arms Limitation Talks and the US opening relations with the People's Republic of China as a strategic counterweight to the Soviet Union. Détente collapsed at the end of the decade with the beginning of the Soviet–Afghan War in 1979; the early 1980s were another period of elevated tension, with the Soviet downing of KAL Flight 007 and the "Able Archer" NATO military exercises, both in 1983. The United States increased diplomatic and economic pressures on the Soviet Union, at a time when the communist state was suffering from economic stag
UK Singles Chart
The UK Singles Chart is compiled by the Official Charts Company, on behalf of the British record industry, listing the top-selling singles in the United Kingdom, based upon physical sales, paid-for downloads and streaming. The Official Chart, broadcast on BBC Radio 1 and MTV, is the UK music industry's recognised official measure of singles and albums popularity because it is the most comprehensive research panel of its kind, today surveying over 15,000 retailers and digital services daily, capturing 99.9% of all singles consumed in Britain across the week, over 98% of albums. To be eligible for the chart, a single is defined by the Official Charts Company as either a'single bundle' having no more than four tracks and not lasting longer than 25 minutes or one digital audio track not longer than 15 minutes with a minimum sale price of 40 pence; the rules have changed many times as technology has developed, the most notable being the inclusion of digital downloads in 2005 and streaming in July 2014.
The OCC website contains the Top 100 chart. Some media outlets only list the Top 75 of this list; the chart week runs from 00:01 Friday to midnight Thursday, with most UK physical and digital singles being released on Fridays. From 3 August 1969 until 5 July 2015, the chart week ran from 00:01 Sunday to midnight Saturday; the Top 40 chart is first issued on Friday afternoons by BBC Radio 1 as The Official Chart from 16:00 to 17:45, before the full Official Singles Chart Top 100 is posted on the Official Charts Company's website. A rival chart show, The Vodafone Big Top 40, is based on iTunes downloads and commercial radio airplay across the Global Radio network only, is broadcast on Sunday afternoons from 16:00 to 19:00 on 145 local commercial radio stations across the United Kingdom; the Big Top 40 is not regarded by the industry or wider media. There is a show called "Official KISS Top 40", counting down 40 most played songs on Kiss FM every Sunday 17:00 to 19:00; the UK Singles Chart began to be compiled in 1952.
According to the Official Charts Company's statistics, as of 1 July 2012, 1,200 singles have topped the UK Singles Chart. The precise number of chart-toppers is debatable due to the profusion of competing charts from the 1950s to the 1980s, but the usual list used is that endorsed by the Guinness Book of British Hit Singles and subsequently adopted by the Official Charts Company; the company regards a selected period of the New Musical Express chart and the Record Retailer chart from 1960 to 1969 as predecessors for the period prior to 11 February 1969, where multiples of competing charts coexisted side by side. For example, the BBC compiled its own chart based on an average of the music papers of the time; the first number one on the UK Singles Chart was "Here in My Heart" by Al Martino for the week ending date 14 November 1952. As of the week ending date 18 April 2019, the UK Singles Chart has had 1352 different number-one hits; the current number-one single is "Someone You Loved" by Lewis Capaldi.
Before the compilation of sales of records, the music market measured a song's popularity by sales of sheet music. The idea of compiling a chart based on sales originated in the United States, where the music-trade paper Billboard compiled the first chart incorporating sales figures on 20 July 1940. Record charts in the UK began in 1952, when Percy Dickins of the New Musical Express gathered a pool of 52 stores willing to report sales figures. For the first British chart Dickins telephoned 20 shops, asking for a list of the 10 best-selling songs; these results were aggregated into a Top 12 chart published in NME on 14 November 1952, with Al Martino's "Here in My Heart" awarded the number-one position. The chart became a successful feature of the periodical. Record Mirror compiled its own Top 10 chart for 22 January 1955; the NME chart was based on a telephone poll. Both charts expanded in size, with Mirror's becoming a Top 20 in October 1955 and NME's becoming a Top 30 in April 1956. Another rival publication, Melody Maker, began compiling its own chart.
It was the first chart to include Northern Ireland in its sample. Record Mirror began running a Top 5 album chart in July 1956. In March 1960, Record Retailer had a Top 50 singles chart. Although NME had the largest circulation of charts in the 1960s and was followed, in March 1962 Record Mirror stopped compiling its own chart and published Record Retailer's instead. Retailer began independent auditing in January 1963, has been used by the UK Singles Chart as the source for number-ones since the week ending 12 March 1960; the choice of Record Retailer as the source has been criticised. With available lists of which record shops were sampled to compile the charts some shops were subjected to "hyping" but, with Record Retailer being less followed than some charts, it was subject to less hyping. Additionally, Retailer was set up by independent record shops and had no funding or affiliation with record companies. However, it had a smaller sample size than some ri
West Berlin was a political enclave which comprised the western part of Berlin during the years of the Cold War. There was no specific date on which the sectors of Berlin occupied by the Western Allies became "West Berlin", but 1949 is accepted as the year in which the name was adopted. West Berlin aligned itself politically with the Federal Republic of Germany and was directly or indirectly represented in its federal institutions. West Berlin was formally controlled by the Western Allies and was surrounded by the Soviet-controlled East Berlin and East Germany. West Berlin had great symbolic significance during the Cold War, as it was considered by westerners as an "island of freedom", it was subsidised by West Germany as a "showcase of the West". A wealthy city, West Berlin was noted for its distinctly cosmopolitan character, as a centre of education and culture. With about two million inhabitants, West Berlin had the largest population of any city in Germany during the Cold War era. West Berlin was 100 miles east and north of the Inner German border and only accessible by land from West Germany by narrow rail and highway corridors.
It consisted of the American and French occupation sectors established in 1945. The Berlin Wall, built in 1961, physically separated West Berlin from its East Berlin and East German surroundings until it fell in 1989; the Potsdam Agreement established the legal framework for the occupation of Germany in the wake of World War II. According to this agreement, Germany would be formally under the administration of four Allies until a German government "acceptable to all parties" could be established; the territory of Germany, as it existed in 1937, would be reduced by most of Eastern Germany thus creating the former eastern territories of Germany. The remaining territory would be divided into four zones, each administered by one of the four allied countries. Berlin, surrounded by the Soviet zone of occupation—newly established in most of Middle Germany—would be divided, with the Western Allies occupying an enclave consisting of the western parts of the city. According to the agreement, the occupation of Berlin could end only as a result of a quadripartite agreement.
The Western Allies were guaranteed three air corridors to their sectors of Berlin, the Soviets informally allowed road and rail access between West Berlin and the western parts of Germany. At first, this arrangement was intended to be of a temporary administrative nature, with all parties declaring that Germany and Berlin would soon be reunited. However, as the relations between the Western Allies and the Soviet Union soured and the Cold War began, the joint administration of Germany and Berlin broke down. Soon, Soviet-occupied Berlin and western-occupied Berlin had separate city administrations. In 1948, the Soviets tried to force the Western Allies out of Berlin by imposing a land blockade on the western sectors—the Berlin Blockade; the West responded by using its air corridors for supplying their part of the city with food and other goods through the Berlin Airlift. In May 1949, the Soviets lifted the blockade, West Berlin as a separate city with its own jurisdiction was maintained. Following the Berlin Blockade, normal contacts between East and West Berlin resumed.
This was temporary. In 1952, the East German government began further isolating West Berlin; as a direct result, electrical grids were separated and phone lines were cut. The Volkspolizei and Soviet military personnel continued the process of blocking all the roads leading away from the city, resulting in several armed standoffs and at least one skirmish with the French Gendarmerie and the Bundesgrenzschutz that June. However, the culmination of the schism did not occur until 1961 with the construction of the Berlin Wall. From the legal theory followed by the Western Allies, the occupation of most of Germany ended in 1949 with the establishment of the Federal Republic of Germany and of the German Democratic Republic. Under Article 127 of the Basic Law of the Federal Republic, provision was made for federal laws to be extended to Greater Berlin as well as Baden, Rhineland-Palatinate and Württemberg-Hohenzollern within one year of its promulgation. However, because the occupation of Berlin could only be ended by a quadripartite agreement, Berlin remained an occupied territory under the formal sovereignty of the allies.
Hence, the Basic Law was not applicable to West Berlin. On 4 August 1950 the House of Representatives passed a new constitution, declaring Berlin to be a state of the Federal Republic and the provisions of the Basic Law as binding law superior to Berlin state law. However, this became statutory law only on 1 September and only with the inclusion of the western Allied provision according to which Art. 1, clauses 2 and 3, were deferred for the time being. It stated that: Article 87 is interpreted as meaning that during the transitional period Berlin shall possess none of the attributes of a twelfth Land; the provision of this Article concerning the Basic Law will only apply to the extent necessary to prevent a conflict between this Law and the Berlin Constitution... Thus civic liberties and personal rights guaranteed by the Basic Law were valid in West Berlin. In addition, West German federal statutes could