1,721,534 research outputs found
Osborne, R H, 418560
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/408979Surname: OSBORNE. Given Name(s) or Initials: R H. Military Service Number or Last Known Location: 418560. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 54052.224423
Item: [2016.0049.41250] "Osborne, R H, 418560
Moby, Minstrelsy and Melville
No full textIn 1999 Mute Records released Play by Moby. Daniel Miller has admitted that the label was not in ‘great shape’ at this point and nor was Moby’s career. The performer had had chart success in the UK with his 1991 single ‘Go’, which was released by the Mute sub-label Rhythm King. His left-turn turn from electronica to hardcore punk with Animal Rights (1996) was poorly received, however, confusing fans and record company alike. Play was therefore an unexpected triumph. By 2016, it had sold more than 12 million copies, making it the world’s highest-selling electronica album. For Miller, this turnaround was ‘like the cavalry coming over the hill’, safeguarding Mute for the twenty-first century. This chapter explores the phenomenon of Play but in a tangential manner. It traces three overlapping stories. It explores ‘Blackface’ minstrelsy, the most popular form of entertainment in the US from the mid-1840s until the end of the nineteenth century. It addresses the work of the author Herman Melville, whose quest was ‘the absolute amidst its relative manifestations [...] the delicate and shifting relationship between its truth and its illusion’. And it examines Moby and the music he recorded and sampled for Play. This album, through its use of sampling, bears hallmarks of minstrelsy. It also raises questions about truth and illusion
The gold disc: one million pop fans can’t be wrong
Get PDFThis chapter looks at sales awards in the music industries. It addresses some of the standards and variables relating gold discs, silver discs, platinum discs and diamond discs. It looks at the history of these trophies and examines the rules by which they can be acquired. It looks at the record company accounting that the sales awards tend to obscure. It addresses the continuing use of these awards in the digital age. It looks at the musical culture that they endorse, examining their impact upon artistic creation and audience reception
Live music vs. recorded music
Get PDFThis chapter explores claims that the live music industry generates more revenue than the recorded music industry in the UK. To do so, it takes a close look at statistics compiled by PRS for Music and UK Music, addressing four questions: (1) What is the purpose of their statistics reports? (2) What do they include in their totals for ‘recording’ and ‘live’? (3) How is the statistical information categorized? (4) Are performers able to assess their share of the money
At the sign of the swingin’ symbol: the manipulation of the UK Singles Chart
Get PDFThis chapter provides a history of the statistical compilation of the UK singles chart, detailing who is responsible for compiling the singles chart, the breadth of the survey, the representation of the results, the frequency of the chart, and how a ‘single’ is defined
'I am a one in ten': success ratios in the recording industry
Get PDFThis chapter explores the recording industries statistic that only one in ten of its projects will succeed. It begins by outlining the origins of the one-in-ten statistic, before tracing its prevalence within the recording industry and its analyses within academia. It next examines the uses of the ratio when coupled with the employment of ‘new’ music. Finally, this chapter looks at the promotional literature of the International Federation of the Phonographic Industry (IFPI), which is deploying these tropes to defend the purpose of record companies in the digital age
Introduction
Get PDFThis is the introduction to the collection Music by Numbers, edited by Richard Osborne and Dave Laing. It outlines the use of music statistics in the music industries, details the chapter contributions and provides a tribute to the work of Dave Laing, who died during the editing process for this collection
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