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
Dutch people or the Dutch are a Germanic ethnic group native to the Netherlands. They speak the Dutch language. Dutch people and their descendants are found in migrant communities worldwide, notably in Aruba, Guyana, Curaçao, Brazil, Australia, South Africa, New Zealand, the United States; the Low Countries were situated around the border of France and the Holy Roman Empire, forming a part of their respective peripheries, the various territories of which they consisted had become autonomous by the 13th century. Under the Habsburgs, the Netherlands were organised into a single administrative unit, in the 16th and 17th centuries the Northern Netherlands gained independence from Spain as the Dutch Republic; the high degree of urbanization characteristic of Dutch society was attained at a early date. During the Republic the first series of large-scale Dutch migrations outside of Europe took place; the Dutch have left behind a substantial legacy despite the limited size of their country. The Dutch people are seen as the pioneers of capitalism, their emphasis on a modern economy, a free market had a huge influence on the great powers of the West the British Empire, its Thirteen Colonies, the United States.
The traditional arts and culture of the Dutch encompasses various forms of traditional music, architectural styles and clothing, some of which are globally recognizable. Internationally, Dutch painters such as Rembrandt and Van Gogh are held in high regard; the dominant religion of the Dutch was Christianity, although in modern times the majority are no longer religious. Significant percentages of the Dutch are adherents of humanism, atheism or individual spirituality; as with all ethnic groups, the ethnogenesis of the Dutch has been a complex process. Though the majority of the defining characteristics of the Dutch ethnic group have accumulated over the ages, it is difficult to pinpoint the exact emergence of the Dutch people; the text below hence focuses on the history of the Dutch ethnic group. For Dutch colonial history, see the article on the Dutch Empire. In the first centuries CE, the Germanic tribes formed tribal societies with no apparent form of autocracy, beliefs based Germanic paganism and speaking a dialect still resembling Common Germanic.
Following the end of the migration period in the West around 500, with large federations settling the decaying Roman Empire, a series of monumental changes took place within these Germanic societies. Among the most important of these are their conversion from Germanic paganism to Christianity, the emergence of a new political system, centered on kings, a continuing process of emerging mutual unintelligibility of their various dialects; the general situation described above is applicable to most if not all modern European ethnic groups with origins among the Germanic tribes, such as the Frisians, Germans and the North-Germanic peoples. In the Low Countries, this phase began when the Franks, themselves a union of multiple smaller tribes, began to incur the northwestern provinces of the Roman Empire. In 358, the Salian Franks, one of the three main subdivisions among the Frankish alliance settled the area's Southern lands as foederati. Linguistically Old Frankish or Low Franconian evolved into Old Dutch, first attested in the 6th century, whereas religiously the Franks converted to Christianity from around 500 to 700.
On a political level, the Frankish warlords abandoned tribalism and founded a number of kingdoms culminating in the Frankish Empire of Charlemagne. However, the population make-up of the Frankish Empire, or early Frankish kingdoms such as Neustria and Austrasia, was not dominated by Franks. Though the Frankish leaders controlled most of Western Europe, the Franks themselves were confined to the Northwestern part of the Empire; the Franks in Northern France were assimilated by the general Gallo-Roman population, took over their dialects, whereas the Franks in the Low Countries retained their language, which would evolve into Dutch. The current Dutch-French language border has remained identical since, could be seen as marking the furthest pale of gallicization among the Franks; the medieval cities of the Low Countries, which experienced major growth during the 11th and 12th century, were instrumental in breaking down the relatively loose local form of feudalism. As they became powerful, they used their economical strength to influence the politics of their nobility.
During the early 14th century, beginning in and inspired by the County of Flanders, the cities in the Low Countries gained huge autonomy and dominated or influenced the various political affairs of the fief, including marriage succession. While the cities were of great political importance, they formed catalys
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
Right of Way (album)
Right of Way is a trance album by DJ Ferry Corsten. It was the first album to be released under his own name; the album spawned three singles: "Punk", "Rock Your Body, Rock" and "It's Time". "Sublime" – 7:46 "Whatever!" – 4:47 "Rock Your Body, Rock" – 5:15 "Right of Way" – 7:46 "Kyoto" – 6:10 "Holding On" – 3:47 "Sweet Sorrow" – 6:15 "Hearts Connected" – 6:37 "Punk" – 4:45 "It's Time" – 5:22 "Show Your Style" – 3:10 "Star Traveller" – 6:13 "Skindeep" – 3:44 "In My Dreams" – 6:03Track 2, "Whatever!", contains a beat similar to the "Whatever" song by Ayumi Hamasaki. Not to be confused with the actual remix of Ayumi's version done by Ferry Corsten. Right of Way at MusicBrainz
A disc jockey abbreviated as DJ, is a person who plays existing recorded music for a live audience. Most common types of DJs include radio DJ, club DJ who performs at a nightclub or music festival and turntablist who uses record players turntables, to manipulate sounds on phonograph records; the disc in disc jockey referred to gramophone records, but now DJ is used as an all-encompassing term to describe someone who mixes recorded music from any source, including cassettes, CDs or digital audio files on a CDJ or laptop. The title DJ is used by DJs in front of their real names or adopted pseudonyms or stage names. In recent years it has become common for DJs to be featured as the credited artist on tracks they produced despite having a guest vocalist that performs the entire song: like for example Uptown Funk. DJs use audio equipment that can play at least two sources of recorded music and mix them together to create seamless transitions between recordings and develop unique mixes of songs; this involves aligning the beats of the music sources so their rhythms do not clash when played together or to enable a smooth transition from one song to another.
DJs use specialized DJ mixers, small audio mixers with crossfader and cue functions to blend or transition from one song to another. Mixers are used to pre-listen to sources of recorded music in headphones and adjust upcoming tracks to mix with playing music. DJ software can be used with a DJ controller device to mix audio files on a computer instead of a console mixer. DJs may use a microphone to speak to the audience; the "disc" in "disc jockey" referred to gramophone records, but now "DJ" is used as an all-encompassing term to describe someone who mixes recorded music from any source, including vinyl records, cassettes, CDs, or digital audio files stored on USB stick or laptop. DJs perform for a live audience in a nightclub or dance club or a TV, radio broadcast audience, or in the 2010s, an online radio audience. DJs create mixes and tracks that are recorded for sale and distribution. In hip hop music, DJs may create beats, using percussion breaks and other musical content sampled from pre-existing records.
In hip hop, rappers and MCs use. DJs use equipment that can play at least two sources of recorded music and mix them together; this allows the DJ to create seamless transitions between recordings and develop unique mixes of songs. This involves aligning the beats of the music sources so their rhythms do not clash when they are played together, either so two records can be played at the same time, or to enable the DJ to make a smooth transition from one song to another. An important tool for DJs is the specialized DJ mixer, a small audio mixer with a crossfader and cue functions; the crossfader enables the DJ to transition from one song to another. The cue knobs or switches allow the DJ to listen to a source of recorded music in headphones before playing it for the live club or broadcast audience. Previewing the music in headphones helps the DJ pick the next track they want to play, cue up the track to the desired starting location, align the two tracks' beats in traditional situations where auto sync technology is not being used.
This process ensures that the selected song will mix well with the playing music. DJs may use a microphone to speak to the audience; the title "DJ" is commonly used by DJs in front of their real names or adopted pseudonyms or stage names as a title to denote their profession. Some DJs focus on creating a good mix of songs for the club dancers or radio audience. Other DJs use turntablism techniques such as scratching, in which the DJ or turntablist manipulates the record player turntable to create new rhythms and sounds. DJs need to have a mixture of artistic and technical skills for their profession, because they have to understand both the creative aspects of making new musical beats and tracks, the technical aspects of using mixing consoles, professional audio equipment, and, in the 2010s, digital audio workstations and other computerized music gear. In many types of DJing, including club DJing and radio/TV DJing, a DJ has to have charisma and develop a good rapport with the audience. Professional DJs specialize in a specific genre of music, such as house music or hip hop music.
DJs have an extensive knowledge about the music they specialize in. Many DJs are avid music collectors of rare or obscure tracks and records. Radio DJs or radio personalities introduce and play music broadcast on AM, FM, digital or Internet radio stations. Club DJs referred as DJs in general, play music at musical events, such as parties at music venues or bars, music festivals and private events. Club DJs mix music recordings from two or more sources using different mixing techniques in order to produce non-stopping flow of music. One key technique used for seamlessly transitioning from one song to another is beatmatching. A DJ who plays and mixes one specific music genre is given the title of that genre; the quality of a DJ performance consists of two main features: technical skills, or how well can DJ operate the equipment and produce sm
A pseudonym or alias is a name that a person or group assumes for a particular purpose, which can differ from their first or true name. Pseudonyms include stage names and user names, ring names, pen names, aliases, superhero or villain identities and code names, gamer identifications, regnal names of emperors and other monarchs, they have taken the form of anagrams and Latinisations, although there are many other methods of choosing a pseudonym. Pseudonyms should not be confused with new names that replace old ones and become the individual's full-time name. Pseudonyms are "part-time" names, used only in certain contexts – to provide a more clear-cut separation between one's private and professional lives, to showcase or enhance a particular persona, or to hide an individual's real identity, as with writers' pen names, graffiti artists' tags, resistance fighters' or terrorists' noms de guerre, computer hackers' handles. Actors, voice-over artists and other performers sometimes use stage names, for example, to better channel a relevant energy, gain a greater sense of security and comfort via privacy, more avoid troublesome fans/"stalkers", or to mask their ethnic backgrounds.
In some cases, pseudonyms are adopted because they are part of a cultural or organisational tradition: for example devotional names used by members of some religious institutes, "cadre names" used by Communist party leaders such as Trotsky and Lenin. A pseudonym may be used for personal reasons: for example, an individual may prefer to be called or known by a name that differs from their given or legal name, but is not ready to take the numerous steps to get their name changed. A collective name or collective pseudonym is one shared by two or more persons, for example the co-authors of a work, such as Carolyn Keene, Ellery Queen, Nicolas Bourbaki. Or James S. A. Corey; the term is derived from the Greek ψευδώνυμον "false name", from ψεῦδος, "lie, falsehood" and ὄνομα, "name". A pseudonym is distinct from an allonym, the name of another person, assumed by the author of a work of art; this may occur when someone is ghostwriting a book or play, or in parody, or when using a "front" name, such as by screenwriters blacklisted in Hollywood in the 1950s and 1960s.
See pseudepigraph, for falsely attributed authorship. Sometimes people change their name in such a manner that the new name becomes permanent and is used by all who know the person; this is not an alias or pseudonym, but in fact a new name. In many countries, including common law countries, a name change can be ratified by a court and become a person's new legal name. For example, in the 1960s, black civil rights campaigner Malcolm Little changed his surname to "X", to represent his unknown African ancestral name, lost when his ancestors were brought to North America as slaves, he changed his name again to Malik El-Shabazz when he converted to Islam. Some Jews adopted Hebrew family names upon immigrating to Israel, dropping surnames, in their families for generations; the politician David Ben-Gurion, for example, was born David Grün in Poland. He adopted his Hebrew name in 1910, when he published his first article in a Zionist journal in Jerusalem. Many transgender people choose to adopt a new name around the time of their social transitioning, to resemble their desired gender better than their birth name.
Businesspersons of ethnic minorities in some parts of the world are sometimes advised by an employer to use a pseudonym, common or acceptable in that area when conducting business, to overcome racial or religious bias. Criminals may use aliases, fictitious business names, dummy corporations to hide their identity, or to impersonate other persons or entities in order to commit fraud. Aliases and fictitious business names used for dummy corporations may become so complex that, in the words of the Washington Post, "getting to the truth requires a walk down a bizarre labyrinth" and multiple government agencies may become involved to uncover the truth. A pen name, or "nom de plume", is a pseudonym adopted by an author; some female authors used male pen names, in particular in the 19th century, when writing was a male-dominated profession. The Brontë family used pen names for their early work, so as not to reveal their gender and so that local residents would not know that the books related to people of the neighbourhood.
The Brontës used their neighbours as inspiration for characters in many of their books. Anne Brontë published The Tenant of Wildfell Hall under the name Acton Bell. Charlotte Brontë published Jane Eyre under the name Currer Bell. Emily Brontë published Wuthering Heights as Ellis Bell. A well-known example of the former is Mary Ann Evans. Another example is Amandine Aurore Lucile Dupin, a 19th-century French writer who used the pen name George Sand. In contrast, some twentieth and twenty first century male romance novelists have used female pen names. A few examples of male authors using female pseudonyms include Brindle Chase, Peter O'Donnell and Christopher Wood. A pen name may be used if a writer's real name is to be confused with the name of another writer or notable individual, or if their real name is deemed to be unsuitable. Authors who write both fiction and non-fiction, or in different genres, may use
Blueprint (Ferry Corsten album)
Blueprint is the sixth studio album by Dutch trance artist Ferry Corsten, released on 26 May 2017 though Flashover Recordings. It is a science fiction-influenced trance album with tracks containing a storyline narrated by American actor Campbell Scott; the plot narrative, unfolded at the beginning of each song, depicts humans on Earth who begin to hear an endlessly repeating sound emitted from space and the creation of an android by a man who had deciphered the sound's hidden message. The album features a single from Corsten's side project "Gouryella" titled "Venera", the first single released to promote the album. Along with "Venera", four other singles were released with the album, "Reanimate", "Trust", "Waiting", "Wherever You Are". Blueprint received positive reception from music critics, who praised the album's overall sound design and emotional listening experience evoked by each track. Unlike Ferry Corsten's earlier albums, Blueprint is a concept album whose concept is based on a science fiction-themed love story.
According to Ferry, the initial inspiration for creating a narrative-focused album came from his father reminding him of Jeff Wayne's Musical Version of The War of the Worlds, an album that they used to listen together. Like the main concept of Blueprint, it is a progressive rock and symphonic rock album which contains narratives from Welsh actor Richard Burton. "As a kid, I grew up looking at the vinyls with all the artwork and paintings of these aliens and stuff. I was fascinated by it!" When Ferry's father reminded him of the old album, a lightbulb went off: "You just said the magic words, I told him. You just gave me an idea," recounted Ferry. Being a science fiction fan since his younger days, Ferry decided to base the theme of Blueprint on that concept. "Ever since I was a little kid, I’ve been a big sci-fi fan. The interest in the unknown and what lies beyond. For this project I had a chance to work with both my favourite interests, sci-fi and music," said Ferry; the storyline was written by Hollywood screenwriter David Harrington Miller, introduced to Ferry by his manager.
"We hit it off well and working together was easy and fun. The flow was fantastic," said Ferry. Blueprint contains illustrations from Canadian visual artist Oska, is narrated by actor Campbell Scott. Blueprint was met with positive reviews upon release. Dancing Astronaut’s Kanvar Kohli complimented the usage of voice-overs for most of the tracks and highlighted the strength of the album's science-fiction theme, he praised Corsten for capturing the album's other-worldly sound design. Shivani Murthy from The Music Essentials states that the album, "has been impeccably conceptualized and executed with absolute perfection", giving listeners an ‘‘out of the world’’ experience. Shawn Russel Johnson from HuffPost described Blueprint as a "display of the artist's mastery of the trance genre", capable of manipulating the emotions of listeners with every track. In a mixed review, Justin Fleming from The Medium praised the artwork and singles on the album, but criticized the storyline for lacking overall depth.
"Those themes being reinforced are just not exciting for anyone who has seen a few popular science fiction stories with grander ideas," said Justin. He continued, "This album isn't reaching far and is saying that dance music can change our hearts and the world while delivering it in a way that doesn't directly say that. It's plain." Credits adapted from Discogs and AllMusic Ferry Corsten discography