It premiered in at the Alliance Theatre and has been revived several times. A Broadway production starring Audra McDonald was filmed and broadcast on HBO in ; McDonald received an Emmy Award nomination and a record-breaking Tony Award win, becoming the most decorated performer in Tony history with six awards across all four eligible competitive categories.
Billie Holiday recorded extensively for four labels: Columbia Records, which issued her recordings on its subsidiary labels Brunswick RecordsVocalion Records and OKeh Recordsfrom through ; Commodore Records in and ; Decca Records from through ; briefly for Aladdin Records in ; Verve Records and on its earlier imprint Clef Records from throughthen again for Columbia Records from to and finally for MGM Records in Many of Holiday's recordings appeared on rpm records prior to the long-playing vinyl record eraand only Clef, Verve, and Columbia issued albums during her lifetime that were not compilations of previously released material.
Many compilations have been issued since her death, as well as comprehensive box sets and live recordings. InJoel Whitburn 's company Record Research compiled information on the popularity of recordings released from the era predating rock and roll and created pop charts dating back to the beginning of the commercial recording industry.
The company's findings were published in the book Pop Memories — Several of Holiday's records are listed on the pop charts Whitburn created. Holiday began her recording career on a high note with her first major release, "Riffin' the Scotch", of which 5, copies were sold.
During her stay in Wilson's band, Holiday would sing a few bars and then other musicians would have a solo. Wilson, one of the most influential jazz pianists of the swing era,  accompanied Holiday more than any other musician. He Album) Holiday issued 95 recordings together.
In JulyHoliday began releasing sides under her own name. Holiday had 16 best-selling songs inmaking the year her most commercially successful. It was in this year that Holiday scored her sole number one hit as a featured vocalist on the available pop charts of the s, LP.
InHoliday recorded her biggest selling record, "Strange Fruit" for Commodore, charting at number 16 on the available pop charts for the s. InBillboard began publishing its modern pop charts, which included the Best Selling Retail Records chart, the precursor to the Hot None of Holiday's songs placed on the modern pop charts, partly because Billboard only published the first ten slots of the charts in some issues.
Minor hits and independent releases had no way of being spotlighted. Two of Holiday's songs placed on the chart, "Trav'lin' Light" with Paul Whiteman, which topped the chart, and "Lover Man", which reached number 5. From Wikipedia, the free encyclopedia. American jazz singer, songwriter and fashion model — This article is about the singer.
For her self-titled album, see Billie Holiday album. For the album originally titled Billie Holidaysee Last Recording. Holiday with her dog "Mister", c. Philadelphia, PennsylvaniaU. New York CityU. Jazz swing blues traditional pop. Musical artist. Main article: Billie Holiday discography.
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Kelley, Kitty Bantam Books Trade Paperbacks. Kennedy, Matthew Terrace Books. Kidder, David S. October 14, Kline, Pete The Capitol Years booklet. New York: Capitol Records. CDP 7 2. This, along with a continued rise in illicit file sharing, led to a steep decline in the sales of recorded music on physical formats  over the next three years. For critics, these works became another form of the full-length art pop records that had defined the album era with a rock guitar-based tradition, which was complicated further by the canonical acclaim afforded to Radiohead's electronic post-rock album Kid A Failing to match the landmark sales of OK Computerthe most acclaimed rock albums of the early s often revisited older sounds, as with the Strokes ' Is This Itthe White Stripes ' White Blood Cellsand Interpol 's Turn on the Bright Lightsor simply lacked Radiohead's extensive production and marketing budget, as in the case of Arcade Fire 's Funeral These developments led to rock's commercial and cultural prestige diminishing and the critical paradigm shifting from rockism to poptimism in subsequent years.
Meanwhile, the music industry's ability to sell albums still faced threats from piracy and competing media, such as DVDs, video Love Me Now Or Leave Me Later - Marvin Gaye - In Our Lifetime (Vinyl, and single-song downloading.
According to Nielsen SoundScan 's data fordigital tracks had sold more than million copies at around 99 cents each from online vendors like iTunes, indicating that consumers preferred to download individual songs over the higher-priced album in its entirety.
With the rise of digital media in the s, the "popular collector" of physical albums had transitioned to the "digital" and "electronic" collector. The phrase "death of the album" was used in the media during the decline, usually attributing it to Internet sharing and downloading,   and the changing expectations of music listeners.
Music industry insiders  and writers in the s, such as Jon Caramanica  and Kevin Whitehead have described this period in the album's history as the "post-album era". Over the course of the decade, record labels generally invested in streaming platforms such as Spotify and Pandora Radiowith strategies focused on curated playlists and individual tracks rather than albums. Reporting later in the decade for Deseret NewsCourt Mann said that "services like Spotify and Apple Music have moved our [music] libraries off personal hard drives, iPods and CDs, and into the cloud.
Our music is decreasingly self-contained and private. While the album format was "dead" commercially, high-profile artists such as U2, theTaylor Swiftand Katy Perry still presented their work within a self-defined "album era", says Peter Robinson of The Guardian. Such artists presented their project's aesthetic lifetime in the style of themed album campaigns by past acts like Bowie, Madonna, and Pet Shop Boys.
By the mid s, popular recording artists had embraced the surprise album as a release strategy, issuing their albums with little or no prior announcement and promotion, in part as a way of combatting Internet leaks. She also noted Drake 's ability to sustain his popular appeal over time more with single-track releases and thus mastering the digital age's "desire for both instant gratification and long-term anticipation". Other critics still believed in the album as a viable concept in the 21st century.
InWired magazine had assigned Christgau to write an article discussing if the album was "a dying art form", to which he concluded: "For as long as artists tour, they'll peddle song collections with the rest of the merch, and those collections will be conceived as artfully as the artists possibly can.
Regarding professional acts, he said, "Writing songs is in their DNA, and if said songs are any good at all, recording them for posterity soon becomes irresistible.
Even in the so-called post-album era of the s, when listeners didn't have to purchase an album to hear it, the industry still hadn't moved on from albums, in large part because those extraneous elements of the rollout — the merch, the tour, the attention — still make record labels and other middlemen money.
In a year-ending essay on the album inAnn Powers wrote for Slate that the year found the format in a state of "metamorphosis" rather than dead. In her observation, many recording artists had revitalized the concept album around autobiographical narratives and personal themes, such as intimacy, intersectionalityAfrican-American life, boundaries among women, and grief associated with death.
She cited the review aggregator Metacritic 's tabulation of the most acclaimed albums from the s, which showcased musicianship from a diverse range of artists and often serious themes, such as grief, race relationsand identity politicswhile adding that, "Albums today offer a fresh way of approaching a changing industry".
BySwift remained the only artist "who still sells CDs" and had yet to embrace streaming services because they had not compensated recording artists fairly, according to Quartz.
Elaborating on this point, Los Angeles Times critic Mikael Wood said, "Yet as she kept her music off Spotify — conditioning her loyal audience to think of buying her songs and albums as an act of devotion — younger artists like [Ariana] Grande emerged to establish themselves as streaming favorites. Both countries led the world in physical music sales partly because of their cultures' mutual affinity for "physical objects", according to Quartz journalist Mun Keat Looi.
The Japanese industry had especially favored the CD format, due in part to its ease of manufacturing, distributing, and pricing control. InJapan had 6, physical music stores, leading the US approximately 1, and Germany for most in the world. While singles in Western countries had been antiquated for more than a decade, Japan's market for them endured largely because of the immense popularity of idol entertainers, boy bandsand girl groups.
Capitalizing on the fandom surrounding these performers, record companies and marketing agencies exploited the merchandising aspect of CDs with promotional gimmicks, such as releasing various editions of a single album, including them with tickets to artist events, and counting CD-single purchases as fan votes toward popularity contests for artists.
The focus went away from the music and toward the fan experience of connectivity with a favorite idol, according to The Japan Times correspondent Ronald Taylor. According to Looi, it explains how the country's innovative but isolationist character had resulted in "a love for a technology that the rest of the world has all but forgotten". On the enduring commercial popularity of CDs there, global music analyst Mark Mulligan explained that Japan's purchasing power and consumer demand had been concentrated among its rapidly aging population who were more likely to follow veteran idols like the boy band Arashi and the singer-songwriter Masaharu Fukuyamawhile less concentrated among young people attuned to digital and streaming services.
However, the mid s also saw an increase in digital music and subscription sales, indicating a trend away from physical purchases in the country. The report also observed a shift away from the global dominance of popular English-language acts and toward regional successes with cross-cultural appeal, such as BTS and J Balvindue in part to a more open-minded consumer culture and social connectivity between artists and listeners.
While top recording artists from the West continued to rely on traditional roles from major labels, others utilized digital service providers such as Spotify and Apple Music to either self-release their recordings or release them in partnership with an independent distributor.
Inalbum launches were hindered by the COVID pandemic and its related social distancing measures. Later that month, Amazon temporarily suspended incoming shipments of music CDs and vinyl records from US suppliers in an effort to prioritize items deemed more essential.
Consequently, many such acts who still adhered to a traditional rollout model, such as Willie Nelson and Alicia KeysAlbum) their album releases. That's because tens of thousands of new tracks appear on streaming services daily. To rise above the deluge, videos need to be shot months in advance, TV appearances need to be wrangled, streaming service curators courted, press opportunities locked down, tour dates and radio station visits and record store appearances lined up.
Without these components, artists risk releasing music to an uninterested, unaware, or simply overwhelmed public. And right now, almost all these profile-raising options are out of reach. Some major pop stars reimagined their release strategies during the pandemic.
Taylor Swift surprise-released her albums Folklore and Evermore in July and Decemberrespectively, abandoning a proper rollout campaign for the first time in her career, and setting several sales and streaming records.
Ariana Grande, more inspired by rap release strategies, released her album Positions with similarly minimal announcement and promotion.
The success of both artists during the pandemic came at the expense of pop stars who had planned traditional album launches, including Katy Perry, Lady Gaga, and Dua Lipa. In JuneBillboard reported that net physical album sales had risen for the first time in years due to the pandemic.
Reporting on music release trends during the pandemic, writers observed that they offered a greater connectivity for artists with their listeners during a paradigm-shifting period while empowering both groups at the expense of major labels.
On developments inTryon predicted that regional releases from around the world would rise in the global market and " generative music " would "rise as a result of contextual playlists", while albums in general would "continue to decline as the post-album era is becoming more prominent".
From Wikipedia, the free encyclopedia. Period in the music industry. See also: s in music and s in music. See also: s in musicconcept albumand cultural impact of the Beatles. See also: s in music. See also: s in the music industry. See also: s in the music industry and surprise album. Music portal Rock music portal. The absolute transformation of everything that we ever thought about music will take place within 10 years, and nothing is going to be able to stop it.
New Statesman. Retrieved November 9, Retrieved June 3, Palgrave Macmillan US. ISBN Washington University in St. Retrieved July 27, Peak Vinyl. The Atlantic. Classic Album Sundays.
While the group has evolved over the years, Dr. It has already captivated thousands of theater-goers during sold-out performances on Broadway. The week ending December 29 th the musical had the highest grossing week in the history of the Imperial Theatre. Otis Williams, the sole surviving, original Temptation, was also a blockbuster television mini-series which originally aired in Otis Williams, and Suzanne de Passe, head of de Passe Entertainment, and was reportedly viewed by 45 million fans when it originally aired.
The mini-series continues to air on cable networks and streaming channels today. The music carries me. What began in Detroit, when a remarkable combination of soulful voices united, was the genesis of an epic journey that introduced multiple superstars to the world and produced some of the greatest music of our era. Motown auditioned and signed the original Temptations in May of They were among the first African American musical artists to crossover into mainstream America and appear on popular, national mainstream television programs, such as The Ed Sullivan Showand The Hollywood Palace.
At the time, this was an unparalleled accomplishment for African American entertainers. According to published reports at the time, the special won its time slot, was the top-rated television variety show in and received an Emmy nomination. In JulyMotown put together a major television special for the group called The Temptations Show. In November of that same year, a third national television specialG.
The Temptations helped change the face of primetime television and fueled the growth in the performing arts and entertainment world for African American artists forever. The Temptations are the recipients of numerous awards and honors.
The two legendary groups still perform together today while on their respective concert tours. InDr. At the official ceremony, Dr. Otis Williams received a plaque marking the occasion on behalf of the legendary, classic five lineup.
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