Dance Club Songs
The Dance Club Songs chart is a weekly chart published by Billboard in the United States. It is a national survey of the songs which are the most popular in nightclubs across the country and is compiled from reports from a national sample of disc jockeys, it was launched as the Disco Action Top 30 chart on August 28, 1976, became the first chart by Billboard to document the popularity of dance music. Since its inception, several artists garnered multiple achievements. In January 2017, Billboard proclaimed Madonna as the most successful artist in the history of the chart, ranking her first in their list of the 100 top all time dance artists and Janet Jackson being the second most successful dance club artist of all-time. Katy Perry holds the record for having eighteen consecutive number-one songs. Perry's third studio album, Teenage Dream, became the first album in the history of the chart to produce at least seven number-one songs between 2010–12, a record it held until Rihanna's eighth studio album Anti produced seven chart toppers through 2016-17.
Rihanna is the only artist to have achieved five number-one songs in a calendar year. The first number-one song on the Dance Club Songs chart for the issue dated August 28, 1976, was "You Should Be Dancing" by the Bee Gees; the current number-one song on the Dance Club Songs chart for the issue dated April 13, 2019, is "The Boss 2019" by Diana Ross. Dance Club Songs has undergone several incarnations since its inception in 1974. A top-ten list of tracks that garnered the largest audience response in New York City discothèques, the chart began on October 26, 1974 under the title Disco Action; the chart went on to feature playlists from various cities around the country from week to week. Billboard continued to run regional and city-specific charts throughout 1975 and 1976 until the issue dated August 28, 1976, when a thirty-position National Disco Action Top 30 premiered; this expanded to forty positions in 1979 the chart expanded to sixty positions eighty, reached 100 positions from 1979 until 1981, when it was reduced to eighty again.
During the first half of the 1980s the chart maintained eighty slots until March 16, 1985 when the Disco charts were splintered and renamed. Two charts appeared: Hot Dance/Disco, which ranked club play, Hot Dance Music/Maxi-Singles Sales, which ranked 12-inch single sales. Only Hot Dance Club Songs still exists today. In 2003 Billboard introduced the Hot Dance Airplay chart, based on radio airplay of six dance music stations and top 40 mix shows electronically monitored by Nielsen Broadcast Data Systems; these stations are a part of the electronically monitored panel that encompasses the Hot 100. On January 26, 2013, Billboard added a new chart, Dance/Electronic Songs, which tracks the 50 most popular Dance and Electronic singles and tracks based on digital single sales, radio airplay, club play as reported on the component Dance/Electronic Digital Songs, Dance/Electronic Streaming Songs, Dance Club Songs charts. Radio airplay is not limited to that counted on the Dance/Mix Show Airplay chart.
Although the disco chart began reporting popular songs in New York City nightclubs, Billboard soon expanded coverage to feature multiple charts each week which highlighted playlists in various cities such as San Francisco, San Diego, Los Angeles, Phoenix and Houston. During this time, Billboard rival publication Record World was the first to compile a dance chart which incorporated club play on a national level. Noted Billboard statistician Joel Whitburn has since "adopted" Record Worlds chart data from the weeks between March 29, 1975 and August 21, 1976 into Billboards club play history. For the sake of continuity, Record Worlds national chart is incorporated into both Whitburn's Dance/Disco publication as well as the 1975 and 1976 number-ones lists. With the issue dated August 28, 1976, Billboard premiered its own national chart and their data is used from this date forward. For the full list of all 100 All Time Top Dance Club Artists, click here. 19th week — "Wordy Rappinghood"/"Genius of Love" by Tom Tom Club 19th week — "Walking on a Dream" by Empire of the Sun 17th week — "Losing It" by Fisher 16th week — "The Look of Love" by ABC 16th week — "Most Precious Love" by Blaze presents U.
D. A. U. F. L. Featuring Barbara Tucker 16th week — "Where Have You Been" by Rihanna 16th week — "Right Now" by Rihanna featuring David GuettaSources: Thriller by Michael Jackson "The Boss" — Diana Ross, The Braxtons, Kristine W, again Diana Ross. Enrique Iglesias, Dave Audé and Pitbull are tied with 14 number-ones on the chart, the most among male artists. Iglesias, however, is the only male vocalist to accomplish this feat, while Audé is the only producer to achieve this milestone, as his singles feature a different vocalist. Rihanna is the first artist to earn 4 number-ones on the chart in a year and is the first act to earn 5 number-ones in a year as well. Three acts have attained thirteen number-one songs: Deborah Cox, Whitney Houston, Yoko Ono. Kylie Minogue became the first act to have two songs in the top three on March 5, 2011, her song "Better than Today" was number-one while "Higher", a song by Taio Cruz on which Minogue features, was number three. On July 28, 2016, Rihanna became the secon
What? Where? When?
What? Where? When? is an intellectual game show well known in Russian-language media and other CIS states since the mid-1970s. Today it is produced for television by TV Igra on the Russian Channel One and exists as a competitive game played in clubs organized by the World Association of Clubs. Over 39,000 teams worldwide play the sport version of the game, based on the TV show. Throughout the game, a team of 6 experts attempts to answer questions sent in by viewers. For each question, the time limit is 1 minute; the questions require a combination of skills such as logical thinking, insight, etc. to find the correct answer. The person who sent in the question earns a prize if the experts cannot get the correct answer, while the team of experts earns points if they manage to get the correct answer; the basic rules of the game are: The game is played between a "team of TV viewers" and a team of six experts. Viewers ask questions to the experts, the experts, during a one-minute discussion, try to find the answer to the given question.
If the experts answer the question they earn a point. If their answer is wrong, the viewers' team gets a point, the viewer who sent in this question receives a monetary prize; the experts do not receive monetary prizes, except for the best player in case that they win the final game of the series or the year. The experts sit around the round table divided into 13 sectors, 12 of which contain envelopes with questions mailed in by viewers and pre-checked for validity, while the 13th sector indicates a question randomly selected from questions submitted by Internet during the show. Questions from the 13th sector are not pre-checked thus their quality and validity are not guaranteed; the arrow on the spinning top selects the sector. If the arrow points to a sector, played, the next clockwise sector is selected. A question may involve material media demonstrated to the players. Sometimes the subject of the question is placed inside a "black box" brought into the room and placed on the table but not opened until the correct answer is announced.
In this case, the question ends with, "What is in the black box?" The experts may choose to answer the question before the minute starts. If their answer is correct, they win an extra minute that can be used to discuss one question in the game, they may answer during the minute, but with no chance to win an extra minute. Members of other teams of experts attend the game and informally discuss questions among themselves during the show. Once per game, but only if the viewers' team is in the lead, the playing team can ask for help from other experts present in the hall, who have 20 seconds to help. Enough, despite the fact that teams compete with each other and have no material reasons to assist, the traditions of collaborative work in the club and the spirit of friendship—even between members of different teams—usually urge them to suggest the best answers they have to the playing team; the game continues up to 6 points scored by either side. When the experts get 5 points, they may declare "the final round" which means that only one expert remains to play the round.
This clears the score, this question "costs" 6 points. The expert must give the exact answer to win the game with the score 6:0. In the 2012 series, the rule of a "minute for loan" was added: if the viewers' team has 5 points, the experts' team may choose to have one extra minute for a particular question and answer one of the questions without discussing it. Blitz: three easier questions with 20 seconds to discuss each one; the experts must answer all three questions to win the point. Superblitz: same as blitz, but only one expert remains at the table. In recent years, the last expert to win a superblitz within a calendar year is awarded a prize. 13th sector: the computer randomly selects one of the questions received on the Internet during the game. 0: questions by the game-makers. Host Vladimir Voroshilov entered the room, chose one of three questions placed in the sector, asked it himself; this was the only time. In some series the zero sector had the special rule: it was played only if the arrow pointed at it directly, the clockwise rule did not apply.
The sector could be played up to 3 times this way. After Voroshilov's death, the sector was replaced with the 13th sector; the TV viewer gets 50000₽+10000₽*n where n is number of points the TV viewers have won if experts answer incorrectly, or request additional minute, call the club or minute in credit The best question gets 150000₽ more In the final of the year team of tv viewers play for superprize: the deposit. This sum divides by each player that have won The best player of the year gets The Diamond Owl Question: What, according to Christopher Morley, was invented by a woman, kissed on the forehead? Answer: High heels. Question: Continue the sequence: love, Rome, column, heaven... Answer: Wonder. Question: The ancient Scandinavians used so called kennings, a kind of literary trope. For example, “the land of the spirit” meant the
"Candy Shop" is the second single by rapper 50 Cent from his second commercial album, The Massacre. It features Olivia, was written by 50 Cent. "Candy Shop" peaked at number one on the Billboard Hot 100, becoming 50 Cent's third number one single and fifth top-ten single. It received mixed reviews from critics, with some calling it a retread of 50 Cent's collaboration with Lil' Kim on "Magic Stick". At the 2006 Grammy Awards, it was nominated for Best Rap Song, at the 2005 MTV Video Music Awards, the music video was nominated for Best Male Video. In an interview with XXL magazine, rapper Fat Joe claimed that he helped produce the track while working with producer Scott Storch, he stated: "I'm pretty sure the world don't know we produced Candy Shop together. I produced it with him... Scott called me like 50 times, 100 times:'Yo, you sure you don't want to use it? 50 Cent called me. 50 Cent want it.' I never had a problem with this dude. I was like,'Go ahead.'" When writing the song, 50 Cent stated: "I attempted to be as sexual as possible, from a male perspective, without being vulgar or obscene".
"Candy Shop" is a mid-tempo dancefloor track. The song was produced by Scott Storch; the track samples The Salsoul Orchestra's "Love Break". The production was described by IGN as having a "Middle Eastern tinge" with synthesized strings that "unleash a darkly atonal whirl that sounds too much like something either Timbaland or The Neptunes or Mannie Fresh have concocted"; the Guardian wrote that the production contains "wan-sounding imitations of the Neptunes' sparse, breathy funk". PopMatters described the bridge as being "relaxed yet faintly ominous" with 50 Cent and Olivia crooning: "Girl what we do / And where we do / The things we do / Are just between me and you." Rolling Stone noted the chorus for 50 Cent's "amateur-sounding tenor croon". The song received mixed reviews from critics. PopMatters described it as "dripping with sexual energy and cool" and is "sexy as hell, but contains a pretty unmistakable edge of hostility, macho swagger, thunderous chest thumping." Entertainment Weekly wrote that it was an "appealing throwaway single" and lyrics such as "after you work up a sweat, you can play with the stick" are not seductions.
MusicOMH wrote that the chemistry between 50 Cent and Olivia "is as explicit as the lyrics... the bass line is made for grinding to". Author Ethan Brown, in a review of The Massacre, called the track "uninspiring" and "nearly identical" to his previous collaboration with Lil' Kim on "Magic Stick", he stated that 50 Cent seemed too content with his "hypersexual image" among other things and "not inspired enough to work beyond the same old attention-getting schemes." Pitchfork Media listed "Candy Shop" as a reprise of "Magic Stick" both "in beats and in timbre", Stylus magazine said it was "more of the same" as his previous collaboration. Billboard wrote that 50 Cent "shows little growth lyrically" with the song being "typical playa-friendly fodder"; the song was nominated at the 2006 Grammy Awards for Best Rap Song, but lost to Kanye West's "Diamonds from Sierra Leone". "Candy Shop" performed well in the United States, becoming 50 Cent's third number one single, fifth solo top-ten single, seventh overall top-ten single.
The song was a fast climber on the Hot 100 debuting at #53 on the Billboard Hot 100. In its second week on the chart, the song jumped to #30. "Candy Shop" jumped to #8 in its third week. In its fourth week, the song charted at #2, it peaked at # 1 in its fifth week. It remained on the chart for 23 weeks; the track reached number one on the Hot R&B/Hip-Hop Songs, Hot Rap Tracks, Rhythmic Top 40 charts. The song did well on pop-oriented charts, reaching #2 on the Pop 100 and #5 on the Top 40 Mainstream. "Candy Shop" was helped on the Hot 100 and Pop 100 by its strong digital downloads, peaking at #1 on the Hot Digital Songs. The RIAA certified the track Platinum in 2006. Across Europe, the song reached number one in Austria, Belgium and Switzerland, the top five in Ireland, the Netherlands, the United Kingdom. In Australia, the track peaked at number three, was certified Platinum by the Australian Recording Industry Association, on the 2005 year-end chart, it was listed at #24, it reached number two in New Zealand.
The music video was directed by Jessy Terrero on January 11–12, 2005, filmed in Hollywood, California. Due to rapper Trick Daddy's music video for "Sugar" having candy references, 50 Cent said, "we tried to do something a little different" and not follow the same route; the video features Olivia as the lead dancer and several models including Chessika Cartwright, Stephanie "Lyric" Evans, It features cameo appearances from Lil Scrappy, former WWE Diva and TNA Knockout Kristal Marshall, former Deal Or No Deal model Leyla Milani, G-Unit member Lloyd Banks, Young Buck. It was nominated for Best Male Video at the 2005 MTV Video Music Awards, but lost to Kanye West's "Jesus Walks". On February 2, 2005, the video debuted on MTV's Total Request Live at number nine and remained on the chart for 46 days, it reached number one on the MuchMusic video charts. UK CD single #1"Candy Shop" - 3:31 "Disco Inferno" - 3:34UK CD single #2"Candy Shop" - 3:34 "Candy Shop" - 3:34 "Candy Shop" - 0:38 "Candy Shop" - 3:34 In 2006, a cover version was used in the Frogz toys by Gemmy Industries.
The particular model that plays the song has sparked controversy, as parents believed it to be inappropiate for children. Dan Finnerty and The Dan Band famously covered the song in the film The Hangover (2009
Floyd Smith (musician)
Floyd George Smith, sometimes credited as Floyd "Guitar" Smith, was an American jazz guitarist and record producer. Born in St. Louis, Smith studied music theory as a teenager and learned ukulele as a child before taking up guitar, he spent his early career in territory bands, playing in groups such as Eddie Johnson's Crackerjacks, the Jeter-Pillars Orchestra, the Sunset Royal Orchestra, the Brown Skin Models, Andy Kirk's 12 Clouds Of Joy. His composition "Floyd's Guitar Blues", recorded with Andy Kirk's orchestra in March 1939, has been claimed as the first hit record to feature a blues solo on electric guitar. Smith was stationed in Britain as a sargeant, he met and played with Django Reinhardt in Paris. Following the war, he rejoined Andy Kirk's band before forming his own small ensembles, he played with Wild Bill Davis in the 1950s, Bill Doggett in the early 1960s, recorded with drummer Chris Columbo's bands during the late 1950s and early 1960s. He settled in Indianapolis and formed his own jazz trio.
In the 1970s, Smith moved into writing songs and record production, working with Dakar/Brunswick Records in Chicago, for which he recorded a few singles. He produced two albums with R&B star, Loleatta Holloway for Aware Records of Atlanta, as well as two with John Edwards, who became lead singer of the Detroit Spinners, he produced two Top 10 R&B hits on Aware with Holloway. In the late 1970s, he produced tracks on several albums with Loleatta Holloway for Gold Mine/Salsoul Records, he managed the former gospel singer and married her. He died in Indianapolis, Indiana in March 1982 at the age of 65 and was buried in the New Crown Cemetery. "Blue Moods" // "Saturday Nite Boogie" "Gloomy Evening" // "Floydynasty" – with Horace Henderson "After Hours" // "Me And You" – with Horace Henderson "Don't Cry Baby" // "You May Be Trash To Someone" – note: B-side by the Billy Valentine Trio. "Getting Nowhere Fast" // "Soul Strut" Floyd's Guitar Blues – with Wild Bill Davis and Chris Columbo. "The Bump" // "I Want'Cha To Let Me Come Home" "I Just Can't Give You Up" // "I Just Can't Give You Up" With Jo Jo Adams The Chronological Jo Jo Adams 1946–1953 – includes Smith's December 1946 six-side Hy-Tone session featuring the classic re-recording of "Floyd's Guitar Blues".
With Mildred Bailey and Her Oxford Greys The Chronological Mildred Bailey 1939 – includes Bailey's March 1939 six-side Vocalion session with Mary Lou Williams, Floyd Smith, John Williams, Eddie Dougherty. With Chris Columbo and The Swinging Gentlemen "Oh, Yeah!, Pt. 1" // "Oh, Yeah!, Pt. 2" With Wild Bill Davis Trio Here's Wild Bill Davis On The Loose Wild Bill Davis At Birdland – reissued as Lullaby Of Birdland in 1972. Evening Concerto Wild Bill Davis On Broadway Wild Bill Davis In Hollywood Impulsions – reissued on CD in 1987 by Black & Blue. With Bill Doggett and His Combo Oops! The Swinging Sounds Of Bill Doggett With Dizzy Gillespie and His Orchestra The Chronological Dizzy Gillespie And His Orchestra 1949–1950 – includes the 18-piece Gillespie orchestra's January 1950 four-side Capitol session. With Al Grey Al Grey & Wild Bill Davis – with Eddie "Cleanhead" VinsonWith Earl Hines Swingtette The Chronological Earl Hines And His Orchestra 1947–1949 – includes Hines' December 1948 four-side MGM session with Floyd Smith, Arvell Shaw, Sid Catlett.
With Andy Kirk and His Clouds Of Joy The Chronological Andy Kirk And His 12 Clouds Of Joy 1939–1940 – includes the Kirk orchestra's original Decca recording of "Floyd's Guitar Blues". The Chronological Andy Kirk And His Clouds Of Joy 1940–1942 The Chronological Andy Kirk And His Orchestra 1943–1949 With Johnny "Hammond" Smith The Stinger – reissued on CD as Good'Nuff in 2003 by Prestige. With Buddy Tate Buddy Tate & Wild Bill Davis – reissued on CD as Broadway in 1987 by Black & Blue. With Mary Lou Williams The Chronological Mary Lou Williams 1927–1940 – includes Williams' January 1940 four-side Varsity session with Earl Thompson, Buddy Miller, Dick Wilson, Floyd Smith, Booker Collins, Ben Thipgen. Sources Further Reading"Floyd Smith". Grove Dictionary of Jazz, 2nd ed, 2001. John Chilton, Who's Who of Jazz. 1972
Jocelyn Lorette Brown, sometimes credited as Jocelyn Shaw, is an American R&B and dance singer. Although she has only one Billboard Hot 100 chart entry in her name, she has an extensive background in the music industry and is well known in the world of dance music. Brown sang on 23 hit singles from the Official UK Singles Chart, 8 of which have reached the Top 20. Brown was born on November 1950 in Kinston, North Carolina into a musical family, her aunt, Barbara Roy, was a singer in a female group called'Ecstasy and Pain' whilst her mother, two aunts and grandmother were all accomplished singers. She spent her pre-school years being looked after by her grandmother in Kinston. However, it was her aunt's musical success which gave her the inspiration to become a singer herself, she began singing with gospel choirs in church in Brooklyn and became a favourite soloist in Washington, D. C. at her uncle's church. She left the gospel genre for a more secular form of music, singing along with a local band called'Machine' and New York-based funk and disco group Kleeer.
Brown further developed her musical career in the late 1970s singing on records by studio-created bands like Revanche, Inner Life, Disco-Tex and the Sex-O-Lettes, Bad Girls and Change singing with the Salsoul Orchestra, Soiree or Dazzle in 1979. In 1980, she appeared in Bette Midler's concert movie Divine Madness singing backup as a "Harlette" along with Ula Hedwig and Diva Gray. In 1984, Brown released a number of singles in her own name, including "Somebody Else's Guy", which reached #2 on the Billboard R&B Singles chart and became the title track of her first album, released that same year. Although she scored another big Dance hit two years with the oft-sampled tune, "Love's Gonna Get You", her solo career never took off and she continued to sing on other people's records, she has more than twenty hits on the Hot Dance Music/Club Play chart, four of which have hit number one. She continues to have chart hits in the 21st century, she toured with Boy George, as a backing vocalist, worldwide with Culture Club in 1985 and appeared on their 1986 album, From Luxury to Heartache.
In 1987, she co-wrote with Boy George his top 30 United Kingdom hit, "Keep Me In Mind". Since 1990, she has lived in London. In 1990, the line "I've got the power" was sampled from her 1986 dance hit, "Love's Gonna Get You" by electronica group Snap! for their worldwide hit, "The Power" as well as hip hop group Boogie Down Productions on their single "Love's Gonna Get'cha" and was the basis for the UK top 3 hit "I'm Gonna Get You" by Bizarre Inc. featuring Angie Brown. Brown appeared on Right Said Fred's smash hit "Don't Talk Just Kiss". Brown appeared on both seasons of BBC One's celebrity singing talent show Just the Two of Us. In 2006, Brown released a CD entitled Unreleased. In 2007, Brown collaborated with the AllStars both live, at a series of music festivals in the UK, in the studio recording of their new album, All About the Music, she sang the United States national anthem, "The Star-Spangled Banner", at Wembley Stadium, for the first regular season American football game played on foreign soil.
The game was between the winless Miami Dolphins. In 2011, she returned to British reality television, appearing in the second series of Pop star to Opera star, but was voted out in week two, the second of two heats, after being sent home by the judging panel when placed in the bottom two of the public phone vote, she sang a'gypsy song' from the musical Carmen, well known for its accomplished arias and performances. More in both June 2012 and 2013, Brown has appeared at the open air'Happy Days Festival' held at Imber Court in Esher, Surrey. 1984: Somebody Else's Guy 1987: One from the Heart 1995: Jocelyn's Classic R&B Mastercuts 1995: Jocelyn's Classic Reggae Mastercuts 2006: Unreleased 2006: Circles 2010: True Praise List of Number 1 Dance Hits List of artists who reached number one on the US Dance chart List of disco artists List of house music artists Jocelyn Brown discography at Discogs Artist page at Digisoul Records MySpace page Allmusic entry
West Side Story
West Side Story is a musical with book by Arthur Laurents, music by Leonard Bernstein and lyrics by Stephen Sondheim. It was inspired by William Shakespeare's play Juliet; the story is set in the Upper West Side neighborhood in New York City in the mid 1950s, an ethnic, blue-collar neighborhood. The musical explores the rivalry between the Jets and the Sharks, two teenage street gangs of different ethnic backgrounds; the members of the Sharks, from Puerto Rico, are taunted by a white gang. The young protagonist, Tony, a former member of the Jets and best friend of the gang's leader, falls in love with Maria, the sister of Bernardo, the leader of the Sharks; the dark theme, sophisticated music, extended dance scenes, focus on social problems marked a turning point in American musical theatre. Bernstein's score for the musical includes "Jet Song", "Something's Coming", "Maria", "Tonight", "America", "Cool", "One Hand, One Heart", "I Feel Pretty", "Somewhere", "Gee, Officer Krupke" and "A Boy Like That".
The original 1957 Broadway production, conceived and choreographed by Jerome Robbins and produced by Robert E. Griffith and Harold Prince, marked Sondheim's Broadway debut, it ran for 732 performances before going on tour. The production was nominated for six Tony Awards including Best Musical in 1957, but the award for Best Musical went to Meredith Willson's The Music Man. Robbins won the Tony Award for his choreography and Oliver Smith won for his scenic designs; the show had an longer-running London production, a number of revivals and international productions. A 1961 musical film adaptation, directed by Robert Wise and Robbins, starred Natalie Wood, Richard Beymer, Rita Moreno, George Chakiris and Russ Tamblyn; the film was nominated for eleven Academy Awards and won ten, including George Chakiris for Supporting Actor, Rita Moreno for Supporting Actress, Best Picture. In 1947, Jerome Robbins approached Leonard Bernstein and Arthur Laurents about collaborating on a contemporary musical adaptation of Romeo and Juliet.
He proposed that the plot focus on the conflict between an Irish Catholic family and a Jewish family living on the Lower East Side of Manhattan, during the Easter–Passover season. The girl emigrated from Israel. Eager to write his first musical, Laurents agreed. Bernstein wanted to present the material in operatic form, but Robbins and Laurents resisted the suggestion, they described the project as "lyric theater", Laurents wrote a first draft he called East Side Story. Only after he completed it did the group realize it was little more than a musicalization of themes, covered in plays like Abie's Irish Rose; when he opted to drop out, the three men went their separate ways, the piece was shelved for five years. In 1955, theatrical producer Martin Gabel was working on a stage adaptation of the James M. Cain novel Serenade, about an opera singer who comes to the realization he is homosexual, he invited Laurents to write the book. Laurents suggested Bernstein and Robbins join the creative team. Robbins felt if the three were going to join forces, they should return to East Side Story, Bernstein agreed.
Laurents, was committed to Gabel, who introduced him to the young composer/lyricist Stephen Sondheim. Sondheim auditioned by playing the score for Saturday Night, his musical, scheduled to open in the fall. Laurents was not impressed with the music. Sondheim did not care for Laurents' opinion. Serenade was shelved. Laurents was soon hired to write the screenplay for a remake of the 1934 Greta Garbo film The Painted Veil for Ava Gardner. While in Hollywood, he contacted Bernstein, in town conducting at the Hollywood Bowl; the two met at The Beverly Hills Hotel, the conversation turned to juvenile delinquent gangs, a recent social phenomenon that had received major coverage on the front pages of the morning newspapers due to a Chicano turf war. Bernstein suggested they rework East Side Story and set it in Los Angeles, but Laurents felt he was more familiar with Puerto Ricans in the United States and Harlem than he was with Mexican Americans and Olvera Street; the two contacted Robbins, enthusiastic about a musical with a Latin beat.
He arrived in Hollywood to choreograph the dance sequences for The King and I, he and Laurents began developing the musical while working on their respective projects, keeping in touch with Bernstein, who had returned to New York. When the producer of The Painted Veil replaced Gardner with Eleanor Parker and asked Laurents to revise his script with her in mind, he backed out of the film, freeing him to devote all his time to the stage musical. In New York City, Laurents went to the opening night party for a new play by Ugo Betti. There he met Sondheim, who had heard that East Side Story, now retitled West Side Story, was back on track. Bernstein had decided he needed to concentrate on the music, he and Robbins had invited Betty Comden and Adolph Green to write the lyrics, but the team opted to work on Peter Pan instead. Laurents asked Sondheim, he resisted, because he was determined to write the full score for his next project. But Oscar Hammerstein convinced him that he would benefit from the experience, he accepted.
Meanwhile, Laurents had written a new draft of the book changing the characters' backgrounds: Anto
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