1.
Electronic music
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In general, a distinction can be made between sound produced using electromechanical means and that produced using electronic technology. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, purely electronic sound production can be achieved using devices such as the theremin, sound synthesizer, and computer. During the 1920s and 1930s, electronic instruments were introduced and the first compositions for instruments were composed. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds, Music produced solely from electronic generators was first produced in Germany in 1953. Electronic music was created in Japan and the United States beginning in the 1950s. An important new development was the advent of computers for the purpose of composing music, algorithmic composition was first demonstrated in Australia in 1951. In America and Europe, live electronics were pioneered in the early 1960s, during the 1970s to early 1980s, the monophonic Minimoog became once the most widely used synthesizer at that time in both popular and electronic art music. In the 1980s, electronic music became dominant in popular music, with a greater reliance on synthesizers, and the adoption of programmable drum machines. Electronically produced music became prevalent in the domain by the 1990s. Contemporary electronic music includes many varieties and ranges from art music to popular forms such as electronic dance music. Today, pop music is most recognizable in its 4/4 form. At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments and these initial inventions were not sold, but were instead used in demonstrations and public performances. The audiences were presented with reproductions of existing music instead of new compositions for the instruments, while some were considered novelties and produced simple tones, the Telharmonium accurately synthesized the sound of orchestral instruments. It achieved viable public interest and made progress into streaming music through telephone networks. Critics of musical conventions at the time saw promise in these developments, ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments. He predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music, futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery. They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises, developments of the vacuum tube led to electronic instruments that were smaller, amplified, and more practical for performance. In particular, the theremin, ondes Martenot and trautonium were commercially produced by the early 1930s, from the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them
2.
George Martin
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Sir George Henry Martin CBE was an English record producer, arranger, composer, conductor, audio engineer and musician. He was referred to as the Fifth Beatle, including by Paul McCartney, Martin produced 30 number-one hit singles in the United Kingdom and 23 number-one hits in the United States. Martin produced comedy and novelty records in the early 1950s, working with Peter Sellers, Spike Milligan and Bernard Cribbins and his career spanned more than six decades of work in music, film, television and live performance. He held a number of executive roles at media companies and contributed to a wide range of charitable causes, including his work for The Princes Trust. In recognition of his services to the industry and popular culture. Martin was born in Highbury, London, when he was six, Martins family acquired a piano that sparked his interest in music. As a child, he attended schools, including a convent school in Holloway, St Josephs School, and at St Ignatius College. When WWII broke out, and St. Ignatius College students were evacuated to Welwyn Garden City, his family left London, I remember well the very first time I heard a symphony orchestra. I was just in my teens when Sir Adrian Boult brought the BBC Symphony Orchestra to my school for a public concert. Hearing such glorious sounds I found it difficult to them with ninety men and women blowing into brass. Despite Martins continued interest in music, and fantasies about being the next Rachmaninov and he worked briefly as a quantity surveyor, and later for the War Office as a Temporary Clerk, which meant filing paperwork and making tea. In 1943, when he was 17, he joined the Fleet Air Arm of the Royal Navy and became an aerial observer, the war ended before Martin was involved in any combat, and he left the service in 1947. Martins oboe teacher was Margaret Eliot, after that, Martin explained that he had just picked it up by himself. On 3 January 1948 – while still at the Academy – Martin married Sheena Chisholm and he later married Judy Lockhart-Smith on 24 June 1966, and they also had two children, Lucie and Giles Martin. Following his graduation, he worked for the BBCs classical music department, then joined EMI in 1950 as an assistant to Oscar Preuss, the head of EMIs Parlophone Records from 1950 to 1955. Although having been regarded by EMI as a vital German imprint in the past, after taking over Parlophone when Preuss retired in 1955, Martin recorded classical and Baroque music, original cast recordings, and regional music from around Britain and Ireland. Martin also produced numerous comedy and novelty records, later that decade Martin worked with Peter Sellers on two very popular comedy LPs. One was released on 10 format and called The Best Of Sellers, the album was Bridge on the River Wye
3.
Synthesizer
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A synthesizer is an electronic musical instrument that generates electric signals that are converted to sound through instrument amplifiers and loudspeakers or headphones. Synthesizers may either imitate instruments like piano, Hammond organ, flute, vocals, natural sounds like ocean waves, etc. or generate new electronic timbres. Synthesizers without built-in controllers are called sound modules, and are controlled via USB, MIDI or CV/gate using a controller device. Synthesizers use various methods to generate electronic signals, synthesizers were first used in pop music in the 1960s. In the 1970s, synths were used in disco, especially in the late 1970s, in the 1980s, the invention of the relatively inexpensive, mass market Yamaha DX7 synth made synthesizers widely available. 1980s pop and dance music often made use of synthesizers. In the 2010s, synthesizers are used in genres of pop, rock. Contemporary classical music composers from the 20th and 21st century write compositions for synthesizer, the beginnings of the synthesizer are difficult to trace, as it is difficult to draw a distinction between synthesizers and some early electric or electronic musical instruments. One of the earliest electric musical instruments, the telegraph, was invented in 1876 by American electrical engineer Elisha Gray. He accidentally discovered the sound generation from a self-vibrating electromechanical circuit and this musical telegraph used steel reeds with oscillations created by electromagnets transmitted over a telegraph line. Gray also built a simple loudspeaker device into later models, consisting of a diaphragm in a magnetic field. This instrument was a remote electromechanical musical instrument that used telegraphy, though it lacked an arbitrary sound-synthesis function, some have erroneously called it the first synthesizer. In 1897, Thaddeus Cahill invented the Teleharmonium, which used dynamos, and was capable of additive synthesis like the Hammond organ, however, Cahills business was unsuccessful for various reasons, and similar but more compact instruments were subsequently developed, such as electronic and tonewheel organs. In 1906, American engineer, Lee De Forest ushered in the electronics age and he invented the first amplifying vacuum tube, called the Audion tube. This led to new entertainment technologies, including radio and sound films, ondes Martenot and Trautonium were continuously developed for several decades, finally developing qualities similar to later synthesizers. In the 1920s, Arseny Avraamov developed various systems of graphic sonic art, in 1938, USSR engineer Yevgeny Murzin designed a compositional tool called ANS, one of the earliest real-time additive synthesizers using optoelectronics. The earliest polyphonic synthesizers were developed in Germany and the United States, during the three years that Hammond manufactured this model,1,069 units were shipped, but production was discontinued at the start of World War II. Both instruments were the forerunners of the electronic organs and polyphonic synthesizers
4.
WCFL (AM)
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WCFL was the callsign of a commercial radio station in Chicago, Illinois, United States. It was owned by the Chicago Federation of Labor, hence its call letters, the station is now known as WMVP. Its transmitter is located in Downers Grove and is still in use by WMVP, the station billed itself as The Voice of Labor from its inception until its sale to Mutual in 1978. In 1922, the American Federation of Labor began discussions regarding owning and operating its own radio station, by 1925, the AFL decided not to enter the broadcasting business but to purchase time for organized labors message on commercially operated radio. The dream stayed alive with the Chicago Federation of Labor, who believed having an owned and operated radio station would be a way to spread its message. In 1924, the Federation gave its approval to work establishing a radio station. The original plan for WCFL called for it to be a station, operating on the support of its listeners. Spearheading the drive to make WCFL a reality was the Federations Secretary, Edward Nockels, without his efforts, there would have been no radio station at all. WCFL officially began on December 4,1925, the Federations hopes were dashed when the US Department of Commerce refused to grant WCFL a wavelength on January 13,1926. Just five days after what could have become an end to the station, initially the Illinois Manufacturers Association attempted to keep WCFL off the air by protesting the use of public property for the stations transmitter and broadcasting site. The station purchased the land in Downers Grove where the current transmitter operates in 1928, Nockels believed having a union-based community spring up around the WCFL transmitter would be beneficial to both those purchasing lots and building homes and to the station itself. The labor union entered the estate business shortly before the Depression hit. AM1000 began operation as WCFL in test broadcasts on June 19,1926 and it was officially on the air the next day at 610 KC with 1,000 watts of power, one of the last non-profit radio stations to take to the airwaves. The first broadcast consisted of two hours of music, the station initially used studios at Navy Pier, but during the winter of 1926–1927 found that the weather often made them inaccessible. In 1928, WCFL applied to the Federal Radio Commission for an increase in its transmitter power, several other radio stations were now also operating on the 620 KC frequency along with WCFL and the Lane Tech station. The commission disagreed with the reasoning that such increases were necessary to serve union members, further, it cut the operating power of WCFL to only 1,500 watts. General Order 40 brought WCFL to the 970 KC frequency, shared with KJR in Seattle, still at 1,500 watts and now allowed to operate in daylight only. While the original idea of a self-supporting WCFL was based on each Federation members donation of $1 a year for all operating expenses, by 1926
5.
Teddy Sheringham
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Edward Paul Teddy Sheringham MBE is an English football manager and player who was the player-manager of Stevenage until he was sacked on 1 February 2016. Sheringham played as a forward, mostly as a second striker, Sheringham began his career at Millwall, where he scored 111 goals between 1983 and 1991, and is the clubs second all-time leading scorer. He left to join First Division Nottingham Forest, a year later, Sheringham scored Forests first ever Premiership goal, and was signed by Tottenham Hotspur. After five seasons at Spurs, Sheringham joined Manchester United where he won three Premiership titles, one FA Cup, one UEFA Champions League, an Intercontinental Cup, in 2001, he was named both the PFA Players Player of the Year and FWA Footballer of the Year. The pinnacle of his career came when he scored the equaliser, after leaving Manchester United at the end of the 2000–01 season, Sheringham re-joined Tottenham Hotspur, where he was a losing finalist in the 2001–02 Football League Cup. The following season, Sheringham appeared for West Ham in the 2006 FA Cup Final, Sheringham is currently the tenth-highest goalscorer in the history of the Premiership with 147 goals, and is the competitions 19th-highest appearance maker. He holds the record as the oldest outfield player to appear in a Premier League match, Sheringham was capped 51 times for the England national football team, scoring 11 times. He appeared in the 1998 and 2002 FIFA World Cups, as well as the 1996 UEFA European Championship, Sheringham retired from competitive football at the end of the 2007–08 season with Colchester United, at the age of 42. Having been appointed as the manager of Stevenage in May 2015, he registered himself as a player at the club in November of that year, aged 49. He was signed up, initially as an apprentice and scored on only his second appearance for the club in a match away at Bournemouth in January 1984. He was the top goalscorer in four seasons and played in every game of the season twice, in 1986–87. The 1987–88 season saw the club promoted to the First Division, then the highest tier of English league football, Sheringham scored the first goal in Millwalls first home game in Division One. Sheringham said in his autobiography, It was an exhilarating time. There we were, little Millwall, in our first season in the First Division, everybody said it couldnt last and of course it couldnt and it didnt, but we gave them all a good run for their money. We were beating the best teams when we shouldnt and getting away draws to which we had no right. Millwalls spell in the top flight was not to last as they were relegated in the following season, Sheringham was again top scorer for Millwall with twelve goals, having missed ten league games through injury. Sheringhams outstanding form during the 1990–91 season saw him finish as the leagues highest scorer with 37 goals, with Millwall failing to return to the top flight, a departure for Sheringham looked inevitable. In his final season at Millwall, Sheringham broke all of the goalscoring records
6.
YouTube
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YouTube is an American video-sharing website headquartered in San Bruno, California. The service was created by three former PayPal employees—Chad Hurley, Steve Chen, and Jawed Karim—in February 2005, Google bought the site in November 2006 for US$1.65 billion, YouTube now operates as one of Googles subsidiaries. Unregistered users can watch videos on the site, while registered users are permitted to upload an unlimited number of videos. Videos deemed potentially offensive are available only to registered users affirming themselves to be at least 18 years old, YouTube earns advertising revenue from Google AdSense, a program which targets ads according to site content and audience. YouTube was founded by Chad Hurley, Steve Chen, and Jawed Karim, Hurley had studied design at Indiana University of Pennsylvania, and Chen and Karim studied computer science together at the University of Illinois at Urbana-Champaign. Karim could not easily find video clips of either event online, Hurley and Chen said that the original idea for YouTube was a video version of an online dating service, and had been influenced by the website Hot or Not. YouTube began as a venture capital-funded technology startup, primarily from an $11.5 million investment by Sequoia Capital between November 2005 and April 2006, YouTubes early headquarters were situated above a pizzeria and Japanese restaurant in San Mateo, California. The domain name www. youtube. com was activated on February 14,2005, the first YouTube video, titled Me at the zoo, shows co-founder Jawed Karim at the San Diego Zoo. The video was uploaded on April 23,2005, and can still be viewed on the site, YouTube offered the public a beta test of the site in May 2005. The first video to reach one million views was a Nike advertisement featuring Ronaldinho in November 2005. Following a $3.5 million investment from Sequoia Capital in November, the site grew rapidly, and in July 2006 the company announced that more than 65,000 new videos were being uploaded every day, and that the site was receiving 100 million video views per day. The site has 800 million unique users a month and it is estimated that in 2007 YouTube consumed as much bandwidth as the entire Internet in 2000. The choice of the name www. youtube. com led to problems for a similarly named website, the sites owner, Universal Tube & Rollform Equipment, filed a lawsuit against YouTube in November 2006 after being regularly overloaded by people looking for YouTube. Universal Tube has since changed the name of its website to www. utubeonline. com, in October 2006, Google Inc. announced that it had acquired YouTube for $1.65 billion in Google stock, and the deal was finalized on November 13,2006. In March 2010, YouTube began free streaming of certain content, according to YouTube, this was the first worldwide free online broadcast of a major sporting event. On March 31,2010, the YouTube website launched a new design, with the aim of simplifying the interface, Google product manager Shiva Rajaraman commented, We really felt like we needed to step back and remove the clutter. In May 2010, YouTube videos were watched more than two times per day. This increased to three billion in May 2011, and four billion in January 2012, in February 2017, one billion hours of YouTube was watched every day
7.
Glam rock
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Glam artists drew on diverse sources ranging from bubblegum pop and 50s rock and roll to cabaret theatrics, science fiction, and complex art rock. The flamboyant clothing and visual styles of performers were often camp or androgynous, the UK charts were inundated with glam rock acts from 1971 to 1975, with glam also manifesting in all areas of British popular culture during this period. British glam rock artists include Marc Bolan and T. Rex, David Bowie, Sweet, Slade, Mud, Roxy Music, in the US the scene was much less prevalent, with Alice Cooper and Lou Reed the only American artists to score a hit. Other US glam artists include New York Dolls, Iggy Pop and it declined after the mid-1970s, but influenced other musical genres including punk rock, glam metal, New Romanticism, and gothic rock and has sporadically revived since the 1990s. Glam rock can be seen as a fashion as well as musical subgenre, Glam artists rejected the revolutionary principles of the late 1960s rock scene, instead glorifying decadence, superficiality, and the simple structures of earlier pop music. Musically it was diverse, varying between the simple rock and roll revivalism of figures like Alvin Stardust to the complex art rock of Roxy Music. Glam is most noted for its sexual and gender ambiguity and representations of androgyny and it was prefigured by the showmanship and gender identity manipulation of American acts such as the Cockettes and Alice Cooper, the latter of which combined glam with shock rock. Glam rock emerged from the English psychedelic and art scenes of the late 1960s. Its origins are associated with Marc Bolan, who had renamed his folk duo T, Rex and taken up electric instruments by the end of the 1960s. Often cited as the moment of inception is his appearance on the UK TV programme Top of the Pops in March 1971 wearing glitter and satins, to perform what would be his second UK Top 10 hit, Hot Love. In 1973, a few months after the release of the album Tanx, from late 1971, already a minor star, David Bowie developed his Ziggy Stardust persona, incorporating elements of professional makeup, mime and performance into his act. These performers were soon followed in the style by acts including Roxy Music, Sweet, Slade, Mott the Hoople, Mud, Glam was not only a highly successful trend in UK popular music, it became dominant in all other aspects of British popular culture during the 1970s. In the UK, the glitter rock was most often used to refer to the extreme version of glam pursued by Gary Glitter. The Glitter Band and Gary Glitter had between them eighteen top ten singles in the UK between 1972 and 1976, a second wave of glam rock acts, including Suzi Quatro, Roy Woods Wizzard and Sparks, dominated the British single charts from about 1974 to 1976. Quatro directly inspired the pioneering Los Angeles based all-girl group the Runaways. Existing acts, some not usually considered central to the genre, also adopted glam styles, including Rod Stewart, Elton John, Queen and, for a time, in Japan in the 1980s, visual kei was strongly influenced by glam rock aesthetics. Glam has since enjoyed continued influence and sporadic modest revivals in R&B crossover act Prince, and bands such as Marilyn Manson, Suede, Placebo, Chainsaw Kittens, Spacehog, movies that reflect glam rock aesthetics include, T. D. An Eyewitness Account Omnibus Press,2005 ISBN 1-84609-149-7 A Biased History of UK Glam Rock
8.
Life on Mars (UK TV series)
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Life on Mars is a British television series broadcast on BBC One between 9 January 2006 and 10 April 2007. The series combines elements of fiction and police procedural, featuring an officer from the Greater Manchester Police who wakes up in the 1970s after being involved in a road accident. The title is a reference to David Bowies 1973 single Life on Mars, with its lyrics of Take a look at the law man, beating up the wrong guy. An American adaptation of the series was produced by ABC and ran for one season from October 2008 to April 2009, a Spanish adaptation of the series was broadcast from April to June 2009. A Russian adaptation of the series entitled The Dark Side of the Moon was broadcast in November 2012, Czech adaption World under the Head was broadcast by Czech Television from January to March 2017. A sequel to the series, Ashes to Ashes, referencing another David Bowie song, the series is due to be repeated on the UKTV channel Drama from April 21,2017. Life on Mars tells the story of Sam Tyler, a policeman in service with the Greater Manchester Police. After being hit by a car in 2006, Tyler awakens in 1973 to find himself working for a predecessor of the GMP, the Manchester and Salford Police, at the same station and location as in 2006. Early on in the series, it becomes apparent to Tyler that he awakes as a Detective Inspector, as part of the Criminal Investigation Department, Tyler finds himself working under the command of Gene Hunt. Originally titled Ford Granada after the 1970s car, the series was rejected by the BBC, in response, Graham stated, Back then, broadcasters just werent comfortable with something like that, something that wasnt set in the real world and that had a fantasy element to it. Later, Channel 4 drama executive John Yorke substantially redeveloped the original script, senior management eventually decided not to pursue the idea, with Graham stating that the reaction to the idea was, Its going to be silly, as told to Radio Times. The series eventually attracted the attention of BBC Wales Julie Gardner, John Yorke left Channel 4 to rejoin the BBC and together with Julie Gardner, he acted as joint commissioning editor on the show for its entire run. The programmes central character was originally to have been named Sam Williams, Graham asked his young daughter for her opinion and she suggested Sam Tyler, which became the characters name. Graham subsequently discovered that his daughter had named him after the Doctor Who character Rose Tyler, the initial geographical setting was to be London, this was then changed to Leeds and finally to Manchester, as part of a BBC initiative to make more programmes in the city. The name Sam Williams was subsequently used as a point in the second series. Eight one-hour episodes of Life on Mars were broadcast weekly on Monday nights at 9,00 pm by the BBC, the series episodes were mostly written by its creators Jordan, Graham and Pharaoh, later joined by Chris Chibnall as the fourth writer for the first series. For the second series, Graham, Pharaoh and Chibnall returned to write episodes, joined by Julie Rutterford, Guy Jenkin, the second series was broadcast weekly at the same time as the first, with the only difference being the change of transmission day from Monday to Tuesday. On 9 October 2006, it was confirmed that the series of Life on Mars would be the last
9.
Moog synthesizer
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The Moog company pioneered the commercial manufacture of modular voltage-controlled analog synthesizer systems in the mid 1960s. The Moog synthesizer gained wider attention in the industry after it was demonstrated at the Monterey International Pop Festival in 1967. The commercial breakthrough of a Moog recording was made by Wendy Carlos in the 1968 record Switched-On Bach, the success of Switched-On Bach sparked a slew of other synthesizer records in the late 1960s to mid-1970s. Later Moog modular systems featured various improvements, such as a scaled-down, the Moog company pioneered the commercial manufacture of modular voltage-controlled analog synthesizer systems. Moog became interested in the design and construction of electronic music systems in the mid-1960s while completing a Ph. D. in Engineering Physics at Cornell University. The burgeoning interest in his designs enabled him to establish a company to manufacture. Pioneering electronic music experimenters like Leon Theremin, Louis and Bebe Barron, Electronic music studios typically had many oscillators, filters and other devices to generate and manipulate electronic sound. Early electronic music performance devices like the Theremin were also limited in function. In the period from 1950 to the mid-1960s, studio musicians, Moog began to develop his synthesizer systems after he met educator and composer Herbert Deutsch at a conference in late 1963. Over the next year, with encouragement from Myron Hoffman of the University of Toronto, Moog and this specific definition means that adding or subtracting control voltage simply transposes pitch, a very valuable feature. At a time when digital circuits were still relatively costly and in a stage of development. In the Moog topology, each module has one or more inputs that accept a voltage of typically 10 V or less. Thus, frequency determines pitch, attenuation determines instantaneous loudness, for instance, control voltages can be added or subtracted in a circuit almost identical to an adder in such a computer. Inside a synthesizer VCO, an exponential function provides the 1 volt per octave control of an oscillator that basically runs on a volts/kHz basis. Positive voltage polarity raises pitch, and negative lowers it, the result is that, for example, a standard keyboard can have its output scaled to that of a quarter-tone keyboard by changing its output to one-half volt per octave, with no other technical changes. The central component was the oscillator, which generated the primary sound signal, capable of producing a variety of waveforms including sawtooth, square. The inputs and outputs of any module could be cross-linked with patch cords and, together with the control knobs and switches, could create a nearly infinite variety of sounds. As a result, ownership and use was at first mainly limited to such as educational institutions and major recording studios
10.
Single (music)
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In music, a single or record single is a type of release, typically a song recording of fewer tracks than an LP record, an album or an EP record. This can be released for sale to the public in a variety of different formats, in most cases, a single is a song that is released separately from an album, although it usually also appears on an album. Typically, these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular, in other cases a recording released as a single may not appear on an album. As digital downloading and audio streaming have become prevalent, it is often possible for every track on an album to also be available separately. Nevertheless, the concept of a single for an album has been retained as an identification of a heavily promoted or more popular song within an album collection. Despite being referred to as a single, singles can include up to as many as three tracks on them. The biggest digital music distributor, iTunes, accepts as many as three tracks less than ten minutes each as a single, as well as popular music player Spotify also following in this trend. Any more than three tracks on a release or longer than thirty minutes in total running time is either an Extended Play or if over six tracks long. The basic specifications of the single were made in the late 19th century. Gramophone discs were manufactured with a range of speeds and in several sizes. By about 1910, however, the 10-inch,78 rpm shellac disc had become the most commonly used format, the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century.26 rpm. With these factors applied to the 10-inch format, songwriters and performers increasingly tailored their output to fit the new medium, the breakthrough came with Bob Dylans Like a Rolling Stone. Singles have been issued in various formats, including 7-inch, 10-inch, other, less common, formats include singles on digital compact cassette, DVD, and LD, as well as many non-standard sizes of vinyl disc. Some artist release singles on records, a more common in musical subcultures. The most common form of the single is the 45 or 7-inch. The names are derived from its speed,45 rpm. The 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable, the first 45 rpm records were monaural, with recordings on both sides of the disc. As stereo recordings became popular in the 1960s, almost all 45 rpm records were produced in stereo by the early 1970s
