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International Day For Monuments and Sites
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The International Day for Monuments and Sites(World Heritage Day) is held on 18 April each year around the world with different types of activities, including visits to monuments and heritage sites, conferences, round tables and newspaper articles. Each year has a theme, for example sustainable tourism in 2017.[1]
History[edit]
The International Day for Monuments and Sites was proposed by the International Council on Monuments and Sites (ICOMOS) on 18 April 1982 and approved by the General Assembly of UNESCO in 1983. The aim is to promote awareness about the diversity of cultural heritage of humanity, their vulnerability and the efforts required for their protection and conservation.[2]
References[edit]
Jump up ^ [1]
Jump up ^ [2]
External links[edit]
Official website
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values: Día Internacional de los Monumentos y Sitios – Spanish

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text:
One- and two-tailed tests
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A two-tailed test applied to the normal distribution.
A one-tailed test, showing the p-value as the size of one tail.
In statistical significance testing, a one-tailed test and a two-tailed test are alternative ways of computing the statistical significance of a parameter inferred from a data set, in terms of a test statistic. A two-tailed test is appropriate if the estimated value may be more than or less than the reference value, for example, whether a test taker may score above or below the historical average. A one-tailed test is appropriate if the estimated value may depart from the reference value in only one direction, for example, whether a machine produces more than one-percent defective products. Alternative names are one-sided and two-sided tests; the terminology "tail" is used because the extreme portions of distributions, where observations lead to rejection of the null hypothesis, are small and often "tail off" toward zero as in the normal distribution or "bell curve", pictured on the right.
Contents
1 Applications
2 Coin flipping example
3 History
4 Specific tests
5 See also
6 References
Applications[edit]
One-tailed tests are used for asymmetric distributions that have a single tail, such as the chi-squared distribution, which are common in measuring goodness-of-fit, or for one side of a distribution that has two tails, such as the normal distribution, which is common in estimating location; this corresponds to specifying a direction. Two-tailed tests are only applicable when there are two tails, such as in the normal distribution, and correspond to considering either direction significant.[1][2][3]
In the approach of Ronald Fisher, the null hypothesis H0 will be rejected when the p-value of the test statistic is sufficiently extreme (vis-a-vis the test statistic's sampling distribution) and thus judged unlikely to be the result of chance. In a one-tailed test, "extreme" is decided beforehand as either meaning "sufficiently small" or meaning "sufficiently large" – values in the other direction are considered not significant. In a two-tailed test, "extreme" means "either sufficiently small or sufficiently large", and values in either direction are considered significant.[4] For a given test statistic there is a single two-tailed test, and two one-tailed tests, one each for either direction. Given data of a given significance level in a two-tailed test for a test statistic, in the corresponding one-tailed tests for the same test statistic it will be considered either twice as significant (half the p-value), if the data is in the direction specified by the test, or not significant at all (p-value above 0.05), if the data is in the direction opposite that specified by the test.
For example, if flipping a coin, testing whether it is biased towards heads is a one-tailed test, and getting data of "all heads" would be seen as highly significant, while getting data of "all tails" would be not significant at all (p = 1). By contrast, testing whether it is biased in either direction is a two-tailed test, and either "all heads" or "all tails" would both be seen as highly significant data. In medical testing, while one is generally interested in whether a treatment results in outcomes that are better than chance, thus suggesting a one-tailed test; a worse outcome is also interesting for the scientific field, therefore one should use a two-tailed test that corresponds instead to testing whether the treatment results in outcomes that are different from chance, either better or worse.[5] In the archetypal lady tasting tea experiment, Fisher tested whether the lady in question was better than chance at distinguishing two types of tea preparation, not whether her ability was different from chance, and thus he used a one-tailed test.
Coin flipping example[edit]
Main article: Checking whether a coin is fair
In coin flipping, the null hypothesis is a sequence of Bernoulli trials with probability 0.5, yielding a random variable X which is 1 for heads and 0 for tails, and a common test statistic is the sample mean (of the number of heads) X ¯ . {\displaystyle {\bar {X}}.} If testing for whether the coin is biased towards heads, a one-tailed test would be used – only large numbers of heads would be significant. In that case a data set of five heads (HHHHH), with sample mean of 1, has a 1 / 32 = 0.03125 ≈ 0.03 {\displaystyle 1/32=0.03125\approx 0.03} chance of occurring, (5 consecutive flips with 2 outcomes - ((1/2)^5 =1/32), and thus would have p ≈ 0.03 {\displaystyle p\approx 0.03} and would be significant (rejecting the null hypothesis) if using 0.05 as the cutoff. However, if testing for whether the coin is biased towards heads or tails, a two-tailed test would be used, and a data set of five heads (sample mean 1) is as extreme as a data set of five tails (sample mean 0), so the p-value would be 2 / 32 = 0.0625 ≈ 0.06 {\displaystyle 2/32=0.0625\approx 0.06} and this would not be significant (not rejecting the null hypothesis) if using 0.05 as the cutoff.
History[edit]
p-value of chi-squared distribution for different number of degrees of freedom
The p-value was introduced by Karl Pearson[6] in the Pearson's chi-squared test, where he defined P (original notation) as the probability that the statistic would be at or above a given level. This is a one-tailed definition, and the chi-squared distribution is asymmetric, only assuming positive or zero values, and has only one tail, the upper one. It measures goodness of fit of data with a theoretical distribution, with zero corresponding to exact agreement with the theoretical distribution; the p-value thus measures how likely the fit would be this bad or worse.
Normal distribution, showing two tails
The distinction between one-tailed and two-tailed tests was popularized by Ronald Fisher in the influential book Statistical Methods for Research Workers[7], where he applied it especially to the normal distribution, which is a symmetric distribution with two equal tails. The normal distribution is a common measure of location, rather than goodness-of-fit, and has two tails, corresponding to the estimate of location being above or below the theoretical location (e.g., sample mean compared with theoretical mean). In the case of a symmetric distribution such as the normal distribution, the one-tailed p-value is exactly half the two-tailed p-value:[7]
Some confusion is sometimes introduced by the fact that in some cases we wish to know the probability that the deviation, known to be positive, shall exceed an observed value, whereas in other cases the probability required is that a deviation, which is equally frequently positive and negative, shall exceed an observed value; the latter probability is always half the former.
—  Ronald Fisher, Statistical Methods for Research Workers
Fisher emphasized the importance of measuring the tail – the observed value of the test statistic and all more extreme – rather than simply the probability of specific outcome itself, in his The Design of Experiments (1935).[8] He explains this as because a specific set of data may be unlikely (in the null hypothesis), but more extreme outcomes likely, so seen in this light, the specific but not extreme unlikely data should not be considered significant.
Specific tests[edit]
If the test statistic follows a Student's t-distribution in the null hypothesis – which is common where the underlying variable follows a normal distribution with unknown scaling factor, then the test is referred to as a one-tailed or two-tailed t-test. If the test is performed using the actual population mean and variance, rather than an estimate from a sample, it would be called a one-tailed or two-tailed Z-test.
The statistical tables for t and for Z provide critical values for both one- and two-tailed tests. That is, they provide the critical values that cut off an entire region at one or the other end of the sampling distribution as well as the critical values that cut off the regions (of half the size) at both ends of the sampling distribution.
See also[edit]
Paired difference test, when two samples are being compared
References[edit]
Jump up ^ Kock, N. (2015). One-tailed or two-tailed P values in PLS-SEM? International Journal of e-Collaboration, 11(2), 1-7.
Jump up ^ Mundry, R., & Fischer, J. (1998). Use of statistical programs for nonparametric tests of small samples often leads to incorrect P values: Examples from Animal Behaviour. Animal behaviour, 56(1), 256-259.
Jump up ^ Pillemer, D. B. (1991). One-versus two-tailed hypothesis tests in contemporary educational research. Educational Researcher, 20(9), 13-17.
Jump up ^ John E. Freund, (1984) Modern Elementary Statistics, sixth edition. Prentice hall. ISBN 0-13-593525-3 (Section "Inferences about Means", chapter "Significance Tests", page 289.)
Jump up ^ J M Bland, D G Bland (BMJ, 1994) Statistics Notes: One and two sided tests of significance
Jump up ^ Pearson, Karl (1900). "On the criterion that a given system of deviations from the probable in the case of a correlated system of variables is such that it can be reasonably supposed to have arisen from random sampling" (PDF). Philosophical Magazine. Series 5. 50 (302): 157–175. doi:10.1080/14786440009463897.
^ Jump up to: a b Fisher, Ronald (1925). Statistical Methods for Research Workers. Edinburgh: Oliver & Boyd. ISBN 0-05-002170-2.
Jump up ^ Fisher, Ronald A. (1971) [1935]. The Design of Experiments (9th ed.). Macmillan. ISBN 0-02-844690-9.
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text:
Raindrops Keep Fallin' on My Head
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
For other uses, see Raindrops Keep Fallin' on My Head (disambiguation).
"Raindrops Keep Fallin' on My Head"
From the motion picture
Butch Cassidy and the Sundance Kid
Single by B. J. Thomas
from the album Raindrops Keep Fallin' on My Head
B-side
"Never Had It So Good"
Released
October 1969[1]
Length
2:57
Label
Scepter Records
Songwriter(s)
Hal David (credited as Mack David) and Burt Bacharach (later as Luther Dixon)
Producer(s)
Hal David and Burt Bacharach
B. J. Thomas singles chronology
"Pass the Apple Eve"
(1969) "Raindrops Keep Fallin' on My Head"
(1969) "Everybody's Out of Town"
(1970)
"Pass the Apple Eve"
(1969) "Raindrops Keep Fallin' on My Head"
(1969) "Everybody's Out of Town"
(1970)
Gold record presented to backup singer Linda November for her work on "Raindrops Keep Fallin' on My Head"
"Raindrops Keep Fallin' on My Head" is a song written by Hal David and Burt Bacharach for the 1969 film Butch Cassidy and the Sundance Kid.[2] It won an Academy Award for Best Original Song.[2] David and Bacharach also won Best Original Score. The song was recorded by B. J. Thomas in seven takes, after Bacharach expressed dissatisfaction with the first six. In the film version of the song, Thomas had been recovering from laryngitis, which made his voice sound hoarser than in the 7-inch release. The film version featured a separate vaudeville-style instrumental break in double time while Paul Newman performed bicycle stunts.
The single by B. J. Thomas reached number 1 on charts in the United States, Canada, Norway and reached number 38 in the UK Singles Chart.[2] It topped the Billboard Hot 100 for four weeks in January 1970 and was also the first American number-one hit of the 1970s. The song also spent seven weeks atop the Billboard adult contemporary chart.[3] Billboard ranked it as the No. 4 song of 1970.[4] According to Billboard magazine, Thomas' single had sold over 2 million copies by March 14, 1970, with eight-track and cassette versions also climbing the charts.[5]
Contents
1 History
2 Chart performance
2.1 Weekly singles charts
2.2 Year-end charts
3 Covers
4 See also
5 References
History[edit]
Ray Stevens was first offered the opportunity to record it for the film, but turned it down. He chose instead to record the song "Sunday Morning Coming Down", written by Kris Kristofferson. Bob Dylan is supposed to have been approached for the song, but he, too, reportedly declined.[6] The trumpet solos in the song are performed by Chuck Findley.[7]
In 2004, it finished at number 23 on AFI's 100 Years...100 Songs survey of top tunes in American cinema. In 2008, the single was ranked 85th on Billboard's Hot 100 All-Time Top Songs[8] and placed 95th in the 55th Anniversary edition of the All-Time Hot 100 list in 2013.[9] Billboard Magazine also ranked the song 15th on its Top 50 Movie Songs of All Time list in 2014.[10]
The song, initially when it came out, I believe it was October of 69, the movie didn't come out until December, it did get some bad reviews. It was a very unique and different sounding song, Bacharach and David never had any qualms about trying to do anything different, or push the envelope so to speak. So nowadays, it sounds pretty tame, but back then, radio resisted it to some degree. But, when the movie came out it hit hugely and sold about 200,000 to 300,000 records a day [and continued selling] for about three years.
—  B.J. Thomas, Interview, Pods o' Pop (August 22, 2011)[11]
On December 3, 2013, the National Academy of Recording Arts and Sciences announced that the single would be inducted into the 2014 Grammy Hall Of Fame.[12]
"Raindrops Keep Fallin' on My Head" was used in the film Spy Hard, which parodied the scene in Butch Cassidy and the Sundance Kid. Police Constable Pan-Am sings the opening lines at the end of his appearance in Series 2, Episode 4 of Monty Python's Flying Circus. It is on the soundtracks to Forrest Gump and Spider-Man 2, in the latter accentuating Peter Parker's blissful mood after abandoning his Spider-Man identity and its responsibilities. It was used in the Kevin Smith film Clerks II. The first episode of the second season of the popular medical drama Grey's Anatomy is named after the song. It is also used in The Simpsons, episode 16 of the fourth season, called "Duffless", at the end of the episode, while credits are presented. It was also used in a season 1 episode of Arrested Development entitled "Altar Egos". It was also used in the 2003 film The In-Laws starring Michael Douglas and Albert Brooks, which was a remake of the 1979 Peter Falk / Alan Arkin film.
Chart performance[edit]
Weekly singles charts[edit]
B. J. Thomas version
Chart (1969-70)
Peak
position
Australian Singles Chart[13] 20
Austria Top 40 11
Canadian RPM Top Singles 1
Canadian RPM Adult Contemporary 1
Dutch Top 40 28
French Singles Chart 56
German Singles Chart 40
Irish Singles Chart 9
Italian Singles Chart 31
Norwegian Singles Chart 1
New Zealand Singles Chart[14] 3
South African Singles Chart 1
UK Singles Chart[2] 38
US Billboard Hot 100 1
US Billboard Easy Listening 1
US Cash Box Top 100 1
Johnny Farnham version
Chart (1970)
Peak
position
Australian Singles Chart[15] 1
Year-end charts[edit]
Chart (1970)
Rank
Canada RPM Top Singles[16] 6
US Billboard Hot 100[17] 4
US Cash Box[18] 13
Covers[edit]
The song has been covered numerous times. In 1969, Craig Douglas released a version produced by Tony Hatch. From January 24 to March 13, 1970, it was a number-one hit (for seven weeks) in Australia on the Go-Set National Top 40 for local pop singer, Johnny Farnham.[15][19] In 1970, it was also covered by Dionne Warwick on her album I'll Never Fall in Love Again, by Engelbert Humperdinck on his album We Made It Happen, Johnny Mathis on his album Raindrops Keep Fallin' on My Head, Perry Como on his album It's Impossible, The Four Tops on their album Changing Times, Andy Williams on his album, Raindrops Keep Fallin' on My Head, and The Free Design on their album Stars/Time/Bubbles/Love. Portuguese-born television and radio presenter Pedro Biker released a Danish version re-entitled "Regndråber Drypper I Mit Hår" in 1970.[20] A Swedish version was also made in 1970, "Regnet det bara öser ner" sung by Siw Malmkvist. Genesis referenced the song title in their lyrics of In the Cage" in 1974.
It has been covered in French by French singer Sacha Distel, whose version Toute La Pluie Tombe Sur Moi was a number 10 hit in the UK Singles Chart,[2] and number 13 in Ireland, as well as number 10 in France. Distel also recorded a version with the original English lyrics, and another in Italian, Gocce Di Pioggia Su Di Me. Bobbie Gentry's version reached number 40 in the UK chart.[2] Paul Mauriat recorded it with his Grand Orchestra it 1973. It was the only known cover in the USSR.
The Welsh rock band Manic Street Preachers cover version is credited with adding greater nuance to the song, the Financial Times citing their recording as transforming the song from carefree optimism to "an exhortation to keep going in the face of tragedy" and noting that Bradfield's voice "added grit to the facile lyric".[21] The group often spent their downtime on the tour bus watching the film Butch Cassidy and the Sundance Kid, and incorporated the song into live sets. After the disappearance of lyricist Richey Edwards, the band decided to continue rather than split up. Having booked studio time in France to record their fourth album, Everything Must Go, they were invited to record for the War Child album The Help Album. The project required all songs to be recorded in one day.[22] While band biographer Simon Price has described the recording and release of the record as a "coded message" that the band still existed,[23] Bradfield recalls the events differently: "...us putting it out wasn't planned as us saying 'We're OK, guys!', but the deadline was the next day after we'd arrived in this place, for some kind of new beginning."[22] The band's recorded version of the song contains the first recorded instance of drummer Sean Moore performing on trumpet,[23] and also appears on their 2003 B-sides and rarities compilation album Lipstick Traces (A Secret History of Manic Street Preachers). The Manics further reference the film Butch Cassidy and the Sundance Kid with the B-side "Sepia".[24]
The Barry Sisters covered the song in a Yiddish version ("Trop'ns Fin Regen Oif Mein Kop") on their 1973 album Our Way.[25][26]
Lisa Miskovsky covered the song in the extended version of her self-titled (2004) album.[27]
See also[edit]
1960s portal
Pop music portal
List of number-one singles in Australia during the 1970s
List of RPM number-one singles of 1970
List of number-one hits in Norway
List of number-one adult contemporary singles of 1969 (U.S.)
List of number-one adult contemporary singles of 1970 (U.S.)
List of Hot 100 number-one singles of 1970 (U.S.)
References[edit]
Jump up ^ "Audio Single: Raindrops Keep Fallin' on My Head - B.J. Thomas (October 1969)". SHS - secondhandsongs. Retrieved 2011-05-15.
^ Jump up to: a b c d e f Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 136. ISBN 1-904994-10-5.
Jump up ^ Whitburn, Joel (1996). The Billboard Book of Top 40 Hits, 6th Edition (Billboard Publications)
Jump up ^ Billboard Year-End Hot 100 singles of 1970
Jump up ^ "Photo caption". Billboard. 14 March 1970. p. 1. Retrieved 3 January 2015.
Jump up ^ A Song A Day - Raindrops Keeps Falling On My Head, Music Aloud
Jump up ^ "Herb Alpert FAQ | Herb Alpert/Tijuana Brass Discography and Collector Resource". Tijuanabrass.com. Retrieved 2016-10-02.
Jump up ^ The Billboard Hot 100 All-Time Top Songs (90-81) Archived September 29, 2008, at the Wayback Machine.
Jump up ^ Bronson, Fred (2 August 2013). "Hot 100 55th Anniversary: The All-Time Top 100 Songs". Billboard Magazine. Retrieved 3 August 2014.
Jump up ^ Dan, Reilly (27 February 2014). "Top 50 Movie Songs Of All Time". Billboard Magazine. Retrieved 3 August 2014.
Jump up ^ B.J. Thomas (2011). Pods o' Pop-BJ Thomas Interview and Songs (MP3). Pods o' Pop. Event occurs at 34m 18s. Archived from the original (Audio) on December 12, 2013. Retrieved 7 December 2013.
Jump up ^ "2014 Grammy Hall of Fame". Raindrops Keep Fallin' on my Head. THE RECORDING ACADEMY. 3 December 2013. Archived from the original on 3 December 2013. Retrieved 3 December 2013.
Jump up ^ Nimmervoll, Ed (January 24, 1970). "National Top 40". Go-Set. Waverley Press. Retrieved May 16, 2014. Note: Australian pop singer, Johnny Farnham's cover version sits at No. 1 (first week), while B. J. Thomas' version is at No. 20.
Jump up ^ "Flavour of New Zealand". Retrieved 27 November 2014.
^ Jump up to: a b Nimmervoll, Ed. "Go-Set Australian Charts – Top Records for the Year of 1970: Number One Singles 1970". Go-Set. Waverley Press. Retrieved May 16, 2014.
Jump up ^ "Item Display - RPM - Library and Archives Canada". collectionscanada.gc.ca.
Jump up ^ "Top 100 Hits of 1970/Top 100 Songs of 1970". Musicoutfitters.com. Retrieved 2016-10-02.
Jump up ^ Cash Box Year-End Charts: Top 100 Pop Singles, December 26, 1970
Jump up ^ Farnham, John (1969). "Raindrops keep fallin' on my head / Bacharach - David ; [performed by] Johnny Farnham. Two / [written and performed by] Johnny Farnham". National Library of Australia. Retrieved 30 July 2014. Sydney : Columbia [1969], DO-8965 7XCT3526 7XCT3527
Jump up ^ "Pedro Biker - Regndråber Drypper I Mit Hår/Sjælens Karrusel". Discogs. 1970. Retrieved 30 July 2014. Polydor - 2054 005, Denmark
Jump up ^ Aspden, Peter (22 May 2015). "The Life of a Song: 'Raindrops Keep Fallin' On My Head'". Financial Times. Retrieved 18 October 2016.
^ Jump up to: a b Price, Simon (2 June 2016). "And If You Need An Explanation: Manic Street Preachers interviewed". Quietus. Retrieved 18 October 2016.
^ Jump up to: a b Price, Simon (1999). Everything (A Book About Manic Street Preachers). Virgin. pp. 199–200. ISBN 0-7535-0139-2.
Jump up ^ Price, Simon (1999). Everything (A Book About Manic Street Preachers). Virgin. p. 220. ISBN 0-7535-0139-2.
Jump up ^ "Our Way". Album Cover Notes. Stereophonic. Retrieved 10 April 2014.
Jump up ^ "Our Way". MTV. Retrieved 10 April 2014. Label: Reboot Stereophonic
Jump up ^ "Lisa Miskovsky - Lisa Miskovsky (New Version)". Discogs. 2004. Retrieved 30 July 2014. Stockholm Records - 986 737-6
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B. J. Thomas
Albums
On My Way
Longhorns & Londonbridges
Reunion
You Gave Me Love (When Nobody Gave Me a Prayer)
Love Shines
The Living Room Sessions
Singles
"I'm So Lonesome I Could Cry"
"Hooked on a Feeling"
"Raindrops Keep Fallin' on My Head"
"I Just Can't Help Believing"
"Most of All"
"Long Ago Tomorrow"
"Rock and Roll Lullaby"
"(Hey Won't You Play) Another Somebody Done Somebody Wrong Song"
"Don't Worry Baby"
"I Recall a Gypsy Woman"
"Whatever Happened to Old-Fashioned Love"
"New Looks from an Old Lover"
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"Night Life"
"As Long As We Got Each Other"
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Burt Bacharach
Albums
Hit Maker!: Burt Bacharach plays the Burt Bacharach Hits
Woman
Painted from Memory (with Elvis Costello)
At This Time
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What's New Pussycat?
After the Fox
Casino Royale
Butch Cassidy and the Sundance Kid
Lost Horizon
Arthur
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A-M
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"Arthur's Theme (Best That You Can Do)"
"Baby It's You"
"Back at You"
"Blue Guitar"
"Blue on Blue"
"Do You Know the Way to San Jose"
"Don't Make Me Over"
"Don't Say Goodbye Girl"
"Don't You Believe It"
"God Give Me Strength"
"Heartlight "
"A House Is Not a Home"
"I Just Don't Know What to Do with Myself"
"I Say a Little Prayer"
"I Want You"
"I'll Never Fall in Love Again"
"Living Together, Growing Together"
"Long Ago Tomorrow"
"The Look of Love"
"Love Power"
"Magic Moments"
"Make It Easy on Yourself"
"Making Love"
"Message to Michael"
"My Little Red Book"
N-Z
"On My Own"
"One Less Bell to Answer"
"Only Love Can Break a Heart"
"Please Stay"
"Rain on Me"
"Raindrops Keep Fallin' on My Head"
"Reach Out for Me"
"Slow Jamz"
"The Story of My Life"
"That's What Friends Are For"
"(There's) Always Something There to Remind Me"
"(They Long to Be) Close to You"
"This Guy's in Love with You"
"Three Wheels on My Wagon"
"Tower of Strength"
"Trains and Boats and Planes"
"Turkey Lurkey Time"
"Twenty Four Hours from Tulsa"
"Walk On By"
"What the World Needs Now Is Love"
"What's New Pussycat?"
"The Windows of the World"
"Wishin' and Hopin'"
"Wives and Lovers"
Tribute albums
Connie Francis Sings Bacharach & David
Sings the Music of Bacharach & Kaempfert
Four Bacharach & David Songs
One Amazing Night
To Hal and Bacharach
Back to Bacharach
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Related articles
Back to Bacharach and David
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John Farnham
Studio albums
Sadie
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Looking Through a Tear
Christmas Is... Johnny Farnham
Johnny
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Then Again...
Romeo's Heart
33⅓
The Last Time
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Jack
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EPs & Singles
"Sadie (The Cleaning Lady)"
"Underneath the Arches"
"I Saw Mommy Kissing Santa Claus"
"One"
"Raindrops Keep Fallin' on My Head"
"Help!"
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"Pressure Down"
"A Touch of Paradise"
"Reasons"
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"Two Strong Hearts"
"Beyond the Call"
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Bobbie Gentry
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Academy Award for Best Original Song
1934–1940
"The Continental"
Music: Con Conrad
Lyrics: Herb Magidson (1934)
"Lullaby of Broadway"
Music: Harry Warren
Lyrics: Al Dubin (1935)
"The Way You Look Tonight"
Music: Jerome Kern
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"Sweet Leilani"
Music and lyrics: Harry Owens (1937)
"Thanks for the Memory"
Music: Ralph Rainger
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Lyrics: E. Y. Harburg (1939)
"When You Wish Upon a Star"
Music: Leigh Harline
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Music: Jerome Kern
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"You'll Never Know"
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"Swinging on a Star"
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"On the Atchison, Topeka and the Santa Fe"
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"Zip-a-Dee-Doo-Dah"
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"Buttons and Bows"
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"Mona Lisa"
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"Secret Love"
Music: Sammy Fain
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"Three Coins in the Fountain"
Music: Jule Styne
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"Love Is a Many Splendored Thing"
Music: Sammy Fain
Lyrics: Paul Francis Webster (1955)
"Que Sera, Sera (Whatever Will Be, Will Be)"
Music and lyrics: Jay Livingston and Ray Evans (1956)
"All the Way"
Music: Jimmy Van Heusen
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"Gigi"
Music: Frederick Loewe
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"High Hopes"
Music: Jimmy Van Heusen
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"Never on Sunday"
Music and lyrics: Manos Hatzidakis (1960)
1961–1970
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Music: Henry Mancini
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"Days of Wine and Roses"
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"Call Me Irresponsible"
Music: Jimmy Van Heusen
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"Chim Chim Cher-ee"
Music and lyrics: Richard M. Sherman and Robert B. Sherman (1964)
"The Shadow of Your Smile"
Music: Johnny Mandel
Lyrics: Paul Francis Webster (1965)
"Born Free"
Music: John Barry
Lyrics: Don Black (1966)
"Talk to the Animals"
Music and lyrics: Leslie Bricusse (1967)
"The Windmills of Your Mind"
Music: Michel Legrand
Lyrics: Alan and Marilyn Bergman (1968)
"Raindrops Keep Fallin' on My Head"
Music: Burt Bacharach
Lyrics: Hal David (1969)
"For All We Know"
Music: Fred Karlin
Lyrics: Robb Royer and Jimmy Griffin (1970)
1971–1980
"Theme from Shaft"
Music and lyrics: Isaac Hayes (1971)
"The Morning After"
Music and lyrics: Al Kasha and Joel Hirschhorn (1972)
"The Way We Were"
Music: Marvin Hamlisch
Lyrics: Alan and Marilyn Bergman (1973)
"We May Never Love Like This Again"
Music and lyrics: Al Kasha and Joel Hirschhorn (1974)
"I'm Easy"
Music and lyrics: Keith Carradine (1975)
"Evergreen (Love Theme from A Star Is Born)"
Music: Barbra Streisand
Lyrics: Paul Williams (1976)
"You Light Up My Life"
Music and lyrics: Joseph Brooks (1977)
"Last Dance"
Music and lyrics: Paul Jabara (1978)
"It Goes Like It Goes"
Music: David Shire
Lyrics: Norman Gimbel (1979)
"Fame"
Music: Michael Gore
Lyrics: Dean Pitchford (1980)
1981–1990
"Arthur's Theme (Best That You Can Do)"
Music and lyrics: Burt Bacharach, Carole Bayer Sager, Christopher Cross and Peter Allen (1981)
"Up Where We Belong"
Music: Jack Nitzsche and Buffy Sainte-Marie
Lyrics: Will Jennings (1982)
"Flashdance... What a Feeling"
Music: Giorgio Moroder
Lyrics: Keith Forsey and Irene Cara (1983)
"I Just Called to Say I Love You"
Music and lyrics: Stevie Wonder (1984)
"Say You, Say Me"
Music and lyrics: Lionel Richie (1985)
"Take My Breath Away"
Music: Giorgio Moroder
Lyrics: Tom Whitlock (1986)
"(I've Had) The Time of My Life"
Music: Franke Previte, John DeNicola and Donald Markowitz
Lyrics: Franke Previte (1987)
"Let the River Run"
Music and lyrics: Carly Simon (1988)
"Under the Sea"
Music: Alan Menken
Lyrics: Howard Ashman (1989)
"Sooner or Later (I Always Get My Man)"
Music and lyrics: Stephen Sondheim (1990)
1991–2000
"Beauty and the Beast"
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"A Whole New World"
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Lyrics: Tim Rice (1992)
"Streets of Philadelphia"
Music and lyrics: Bruce Springsteen (1993)
"Can You Feel the Love Tonight"
Music: Elton John
Lyrics: Tim Rice (1994)
"Colors of the Wind"
Music: Alan Menken
Lyrics: Stephen Schwartz (1995)
"You Must Love Me"
Music: Andrew Lloyd Webber
Lyrics: Tim Rice (1996)
"My Heart Will Go On"
Music: James Horner
Lyrics: Will Jennings (1997)
"When You Believe"
Music and lyrics: Stephen Schwartz (1998)
"You'll Be in My Heart"
Music and lyrics: Phil Collins (1999)
"Things Have Changed"
Music and lyrics: Bob Dylan (2000)
2001–2010
"If I Didn't Have You"
Music and lyrics: Randy Newman (2001)
"Lose Yourself"
Music: Eminem, Jeff Bass and Luis Resto
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Music and lyrics: Fran Walsh, Howard Shore and Annie Lennox (2003)
"Al otro lado del río"
Music and lyrics: Jorge Drexler (2004)
"It's Hard out Here for a Pimp"
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"Falling Slowly"
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Chicago blues
From Wikipedia, the free encyclopedia
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Chicago blues
Stylistic origins
Delta blues
instrumentation
Cultural origins
Early 20th century, Chicago, United States
Typical instruments
Electric guitar
harmonica
drums
piano
bass guitar
upright bass
saxophone
Subgenres
Electric blues
Fusion genres
Rock and roll
rock music
rhythm and blues
Maxwell Street blues performers and onlookers circa 1950
The Chicago blues is a form of blues music indigenous to Chicago, Illinois. Chicago blues is an electric blues style of urban blues. Urban blues evolved from classic blues following the Great Migration, or the Great Northern Drive, which was both forced and voluntary at times, of African Americans from the southern United States to the industrial cities of the north, such as Chicago. Muddy Waters directly joined that migration, like many others, such as in Florida, avoiding the more harshly southern Jim Crow laws. Bruce Iglauer, founder of Alligator Records stated that, "Chicago blues is the music of the industrial city, and has an industrial sense about it." Additionally, recognizing the shift in blues, Chicago blues singer and guitarist Kevin Moore expressed the blues transition stating, "You have to put some new life into it, new blood, new perspectives. You can't keep talking about mules, workin' on the levee."[1] Chicago blues was heavily influenced by Mississippi bluesmen who traveled to Chicago in the early 1940s. The development of blues, up to Chicago blues, is arguably as follows: Country blues, to city blues, to urban blues. Chicago blues is based on the sound of the electric guitar and the harmonica, with the harmonica played through a PA system or guitar amplifier.
Urban blues started in Chicago and St. Louis, as music created by part-time musicians playing as street musicians, at rent parties, and other events in the black community. For example, bottleneck guitarist Kokomo Arnold was a steelworker and had a moonshine business that was far more profitable than his music.[2]
An early incubator for Chicago blues was the open-air market on Maxwell Street, one of the largest open-air markets in the nation. Residents of the black community would frequent it to buy and sell just about anything. It was a natural location for blues musicians to perform, earn tips, and jam with other musicians. The standard path for blues musicians was to start out as street musicians and at house parties and eventually make their way to blues clubs. The first blues clubs in Chicago were mostly in predominantly black neighborhoods on the South Side, with a few in the smaller black neighborhoods on the West Side. New trends in technology, chaotic streets and bars adding drums to an electric mix, gave birth to a new club culture. One of the most famous was Ruby Lee Gatewood's Tavern, known by patrons as "The Gates". During the 1930s virtually every big-name artist played there.[3]
What drove the blues to international influence was the promotion of record companies such as Paramount Records, RCA Victor, and Columbia Records.[4] Through such record companies Chicago blues became a commercial enterprise. The new style of music eventually reached Europe and the United Kingdom. In the 1960s, young British musicians were highly influenced by Chicago blues resulting in the British blues movement.
Contents
[hide]
1 Notable musicians
2 Notable record labels
2.1 Bluebird Records
2.2 Chess Records
2.3 Cobra Records
2.4 Delmark
2.5 Alligator Records
2.6 Earwig Music Company
3 Influence of Chicago blues
4 See also
5 References
6 Further reading
7 External links
Notable musicians[edit]
Guitarist Buddy Guy performing at the Bonnaroo Music Festival in 2006.
See also: List of Chicago blues musicians
Well-known Chicago blues players include singer/songwriters such as Muddy Waters, Howlin' Wolf,[5] Willie Dixon, Earl Hooker, Slim Harpo and Koko Taylor; guitar players such as Freddie King, Otis Rush, Jimmy Nick, Luther Allison, Magic Sam, Magic Slim, Linsey Alexander, Syl Johnson, Jimmy Rogers, Buddy Guy, Robert Lockwood Jr., Bo Diddley, Mike Bloomfield, Mike Wheeler, Homesick James, Johnny Shines, Johnny Young, Floyd Jones, Eddy Clearwater, Mighty Joe Young, Phil Guy, Lil' Ed Williams, J. B. Hutto, and Elmore James; harmonica players such as Big Walter Horton, Little Walter, Billy Boy Arnold, Charlie Musselwhite, Paul Butterfield, Junior Wells, Corky Siegel, Billy Branch, James Cotton,[6] Jimmy Reed,[5] Sugar Blue, and Sonny Terry; keyboardists such as Otis Spann, Lafayette Leake, Blind John Davis, and Erwin Helfer,[7] Eddie Ware, Steve Walsh
Notable record labels[edit]
Bluebird Records[edit]
Main article: Bluebird Records
Bluebird was an important Chicago blues label, notably due to the work of A&R/producer Lester Melrose, who created what is known as the "Bluebird Sound.". Many blues artists recorded for Bluebird, if only briefly, while Arthur Crudup, Lil Green and Tommy McClennan spent virtually their entire career with the label.[8]
Chess Records[edit]
Main article: Chess Records
Chess Records, run by brothers Leonard and Phil Chess, was probably the most famous of the Chicago record labels to feature or promote the blues.[5] Musician and critic Cub Koda even described Chess Records as "America's greatest blues label." It was active from 1950–1969 when the brothers sold the company. Most solo artists also did double duty as session musicians on the records of others.
Checker Records was a subsidiary of Chess that recorded Chicago blues musicians such as Bo Diddley, J. B. Lenoir, Robert Lockwood Jr. and Sonny Boy Williamson II.[9]
Cobra Records[edit]
Main article: Cobra Records
Cobra Records (together with its Artistic subsidiary) was an independent record label that operated from 1956 to 1959. The label was important for launching the recording careers of Chicago blues artists Otis Rush, Magic Sam, and Buddy Guy. It signaled the emergence of a distinctive West Side Sound.
Cobra Records was started on Chicago's West Side in 1956 by Eli Toscano (a record store and television-repair shop owner). When his previous record label, Abco Records, created in early 1956 alongside Record man Joe Brown, failed to generate much interest, Toscano approached Willie Dixon about working for Cobra. Dissatisfied with his arrangement with Chess Records, Dixon joined Cobra. There he served in many capacities, including talent scout, producer, arranger, songwriter, and bassist, as well as guiding its artistic vision.
Delmark[edit]
Main article: Delmark
Delmark was formed when Bob Koester moved his Delmar label from St. Louis to Chicago in 1958 and remains active today. They are still known for jazz and blues. Artists recorded by the label include Roscoe Mitchell, Junior Wells, Robert Lockwood Jr. and Sonny Boy Williamson II.[10]
Alligator Records[edit]
Main article: Alligator Records
Bruce Iglauer, a former employee of Delmark, formed Alligator Records in 1971. Alligator Records remains a premier blues label to this day. They have recorded Chicago blues musicians such as Koko Taylor, Buddy Guy, Otis Rush, Hound Dog Taylor and Eddy "The Chief" Clearwater.[11]
Earwig Music Company[edit]
Main article: Earwig Music Company
Earwig Music Company is an American blues and jazz independent record label, founded by Michael Frank in October 1978 in Chicago. Since its founding, Earwig Music has issued 66 albums, fifty-one produced by Frank, among them the last recordings of Louis Myers, Maxwell Street Jimmy Davis, and Willie Johnson.
Influence of Chicago blues[edit]
Chicago blues was one of the most significant influences on modern rock music. Chuck Berry originally signed with Chess records—one of the most significant Chicago blues record labels. Berry met and was influenced by Muddy Waters in Chicago and Waters suggested he audition for Chess. Willie Dixon and other blues musicians played on some of Berry's early records.[12] Although The Beatles were not significantly influenced by Chicago blues music, later British invasion bands and artists such as The Rolling Stones, The Yardbirds, The Jimi Hendrix Experience, Cream, and Rory Gallagher[13] were all influenced by Chicago blues musicians such as Big Bill Broonzy, Willie Dixon,[14] Muddy Waters,[15] and Howlin' Wolf.[16]
See also[edit]
Chicago record labels
Chicago Blues Festival
Maxwell Street
Music of Chicago
References[edit]
Jump up ^ William H. Frey, "The New Great Migration: Black Americans' Return to the South, 1965–2000", The Brookings Institution, May 2004, pp. 1–3, accessed 19 March 2008.
Jump up ^ Oakley, Giles (1976). The Devil's Music: A History of the Blues. New York: Taplinger. p. 177. ISBN 0800821890.
Jump up ^ Rowe, Mike (1973). Chicago Blues: The City and the Music. London: Da Capo Press. pp. 40–49. ISBN 0-306-80145-0.
Jump up ^ Oakley, Giles (1976). The Devil's Music: A History of the Blues. New York: Taplinger. p. 172. ISBN 0800821890.
^ Jump up to: a b c Gilliland, John (1969). "Show 4 - The Tribal Drum: The rise of rhythm and blues. [Part 2]" (audio). Pop Chronicles. University of North Texas Libraries.
Jump up ^ Kerzner, Barry (2013-06-06). "James Cotton's "Cotton Mouth Man" Delivers". Chicagoblues.com. Retrieved 2014-05-18.
Jump up ^ "Chicago Blues – Artists". AllMusic. Retrieved 26 October 2013.
Jump up ^ "Bluebird Records | Big Road Blues". Sundayblues.org. Retrieved 2012-12-10.
Jump up ^ Rowe, Mike (1873). Chicago Blues the City and the Music. London: Da Capo Press. p. 126. ISBN 0-306-80145-0.
Jump up ^ Sandra, Pointer-Jones. "Delmark Records History". Blues Revue Quarterly. Retrieved 27 October 2013.
Jump up ^ Howard Reich (2011-10-11). "Alligator Records celebrates 40th anniversary at SPACE - Chicago Tribune". Articles.chicagotribune.com. Retrieved 2013-03-11.
Jump up ^ "Chuck Berry". history-of-rock.com. Retrieved 15 December 2013. While attending a nightclub in Chicago in 1955, Berry met his idol Muddy Waters and asked Waters where he might be able to cut a record. Waters directed him to Leonard Chess of Chess Records
Jump up ^ Connaughton, Marcus (2012). Rory Gallagher His Life and Times. The Collins Press. ISBN 9781848891531.
Jump up ^ Inaba, Mitsutoshi. Willie Dixon's Work on the Blues: From the Early Recordings through the Chess and Cobra Years, 1940--1971. Diss. University of Oregon, 2005. N.p.: UMI, 2005. Print.
Jump up ^ Foundation for Research in the Afro-American Creative Arts. “Muddy (né McKinley Morganfield) Waters.” The Black Perspective in Music Vol. 11. No. 2 (1983): 230-31. Print.
Jump up ^ “Howlin’ Wolf.” Encyclopedia of Popular Music. 4th ed. 2006. Print.
Further reading[edit]
Keil, Charles (1991) [1966]. Urban Blues. Chicago, IL: University of Chicago Press. pp. 255 + ix + 8pp of plates. ISBN 0-226-42960-1.
Oakley, Giles (1976). The Devil's Music: a History of the Blues. London: BBC. p. 287. ISBN 0-563-16012-8.
External links[edit]
ChicagoBlues.com
Chicago blues example and lesson
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