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Pop music



In a similar vein to the previous decade, female singers have had a big influence on the pop music in the first decade of the twenty-first century, with rhythmic ballads, hip hop pieces and dance tracks: "Music" (2000); "Fallin'", "All for You" and "Whenever, Wherever" (all 2001); "Foolish", "What about Us?", "Beautiful", "I Begin To Wonder", "Murder on the Dancefloor" and "Can't Get You Out Of My Head"(all 2002); "Crazy in Love" and "White Flag" (both 2003); "Goodies", "If I Ain't Got You", "1, 2 Step", " Toxic", "Since U Been Gone", "Come Clean", "Slow" (all 2004); "Hips Don't Lie", "Hollaback Girl" , Hung Up and "We Belong Together" (all 2005); and "The Sweet Escape", With Love", "Umbrella" and "Gimme More" (all 2007).

Traditional rock and modern rock made forays into pop with consecrated artists and newcomers both introducing songs to the pop music: "Smooth", "Maria Maria" and "It's My Life" (all 2000), "Drops of Jupiter (Tell Me)", "Hanging By A Moment" and "Stuck in a Moment You Can't Get Out Of" (both 2001), "This Love" (2003), and "Boulevard of Broken Dreams" (2005). Entirely digital productions integrated new technology and sounds, and as electronic dance music entered the mainstream, pop artists started using producers and remixers who contributed their styles to the genre: "Feel Good Inc." (2005) and "Crazy" (2006) are good examples.

Once more, African Americans contributed heartily to pop with diverse styles. Some hits were hip hop-based, such as "Hot in Herre" and "Dilemma" (both 2002), "In da Club" and "Ignition" (both 2003), "Yeah!" and "Goodies" (both 2004), "Candy Shop" and "Don't Phunk with My Heart" (both 2005). Other chart-toppers were variations on reggae beats ("It Wasn't Me" (2000) and "Get Busy" (2003) or more traditional rap compositions such as "The Way You Move" (2003).

The international appeal of pop was evident in the new millennium, with artists from around the world influencing the genre and local variants merging with the mainstream.

Russia made its breakthrough to the international charts with "All the Things She Said" (2002) which even topped the UK Singles Chart.

Latin pop was successful with songs from Spain, "Hero" (late 2001/early 2002), "The Ketchup Song" (2002); and Colombia, "Whenever, Wherever" (2002) and "Hips Don't Lie" (2006).

Irish entered the charts with Westlife hits: "Fool Again" and "My Love" (2000), "Uptown Girl" and "Queen of My Heart" (2001), "Bop Bop Baby", "World Of Our Own", and "Unbreakable" (2002), "Mandy" (2003), "You Raise Me Up" (2005).

Canada entered the charts with "That's the Way It Is" (2000).

British artists did the same with "Feel" (2003); "You're Beautiful" (2005); "You Give Me Something" (2006) and "Rehab" (both 2006); "Smile";"Tell Me 'Bout It" and "Bleeding Love" (all 2007).

Moldova hit the European charts with "Dragostea din Tei" (2003), "Despre tine" (2004); and Romania did with "Kylie" (2005).

Australia reentered the global pop scene with the mainstream return of superstar Kylie Minogue whose single "Can't Get You Out Of My Head" was number 1 in 40+ countries. Australia also saw other success stories with Natalie Imbruglia, Delta Goodrem, Holly Valance and Dannii Minogue.

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Top selling Pop Artists

Artist Records Sold Genre Albums Years Active
1. Michael Jackson 350 Million + Pop 20 1967-present
2. Madonna 290 million + Pop 21 1982-present
3. Elton John 250 Million + Pop 56 1964 - present
4. Celine Dion 215 Million + Pop 45 1982-present
5. Julio Iglesias 200 Million + Pop 77 1968-present
6. Mariah Carey 190 million + Pop 14 1990-present
7. Cher 180 Million + Pop 31 1964- present
8. Whitney Houston 170 Million + Pop 14 1985-present
9. ABBA 160 Million + Pop 33 1972-1982
10. Janet Jackson 130 Million + Pop 11 1982 - present
11. Bee Gees 110 Million + Pop 29 1965-present
12. Barbra Streisand 100 Million + Pop 60 1957- present
13. Backstreet Boys 100 Million + Pop 7 1993-present
14. The Jacksons 100 Million + Pop 19 1966- 1990
15. Britney Spears 88 Million + Pop 6 1998 - present (10 Years)
16. Robbie Williams 70 Million + Pop 13 1990 - present
17. New Kids On The Block 70 Million + Pop 8 1984–1994, 2008-present
18. Kylie Minogue 65 Million + Pop 21 1988-present
19. Spice Girls 55 Million + Pop 3 1996-2001, 2007-2008

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References

  1. ^ Lonergan, Hit Records, 1950-1975, P. v: "Many people do not properly understand the Pop Charts and what they mean. 'Pop' is short for popular, and at the simplest level, a statistical compilation of the current successful musical records based on sales, ..."
  2. ^ Collins English Language Dictionary: pop (html). Retrieved on 2007-12-01.
  3. ^ Shuker, Roy (1994). Understanding Popular Music. Routledge. “Commercially mass produced music for a mass market, and including the variety of genres variously subsumed by terms such as rock and roll, rock, dance, hip hop and R&B.” 
  4. ^ Rimmer, D. (1985). Like Punk Never Happened: Culture Club and the New Pop. Faber. “The new pop isn't rebellious. It embraces the star system. It conflates art, business and entertainment. It cares more about sales and royalties and the strength of the dollar than anything else and to make matters worse, it isn't in the least bit guilty about it.” 
  5. ^ Hill, D. (1986). Designer Boys and Material Girls: Manufacturing the 80's Pop Dream. Blandford Press. “Pop implies a very different set of values to rock. Pop makes no bones about being a mainstream. It accepts and embraces the requirement to be instantly pleasing and to make a pretty picture of itself. Rock, on the other hand, has liked to think it was somehow more profound, non-conformist, self-directed and intelligentyahoo.com.” 
  6. ^ United Kingdom Broadcasting Act 1990 — Part III, chapter I, article 85, point 6 (html). Retrieved on 2007-12-01. “Pop music includes rock music and other kinds of modern popular music which are characterised by a strong rhythmic element and a reliance on electronic amplification for their performance (whether or not, in the case of any particular piece of rock or other such music, the music in question enjoys a current popularity as measured by the number of recordings sold)”
  7. ^ Online Etymology Dictionary: pop (html). Retrieved on 2007-12-01.
  8. ^ Johnson, Who Needs Classical Music?, p. 44: "Today, identification with a certain kind of music is often inseparable from identification with a singer or group and this with a larger network of signs that collectively define a wider cultural position. In contemporary commercial music this cultural position is fundamentally allied to a statement of fashion position: a definition of how one is placed within contemporary fashion."
  9. ^ Bell, The Singing Thing, p. 40: "More than ever before, the tribal factor is evident in contemporary commercial music. Indeed, one has difficulty in finding a blanket term for this entity. Pop and rock are now specialist rather than general categories. They take their place alongside rap, acid house, funk and a dozen others, all of which have their own devotees."
  10. ^ Shuker, Popular Music, p. xii: "The diversity of popular music genres is indicative of the difficulties of defining popular music in any succinct and broadly acceptable manner. Genres defy static, academic definition indpendent of those making and listening to the music."
  11. ^ Frith, The Cambridge Companion to Pop and Rock, p. 35: "The other way in which the music industry seeks to bring order to the music market is in the use of genre lables. Pop music marketing has always meant marketing different types of music to different types of consumer. The is most obvious in the lay out of record shops; discs are racked a rock, country, dance, rap, raggae, world music in miniature, with its own magaznes, radio programmes, live venues and specialist shops and web sites. As Keith Negus has shown, far from record companies imposing a single corporate culture on the worlds, they see, rather, to accommodate the different ways in which different musics are used by different audiences. Each record company division—rock, salsa, country, rap—has its own commercial and cultural character."
  12. ^ Negus, Music Genres and Corporate Cultures, p. 14: "A central theme of this book is the idea that and industry produces culture and culture produces and industry."
  13. ^ Watkins, Hip Hop Matters, p. 44-45: "Before SoundScan [1991] pop was largely defined by aesthetic attributes—sweet melodies, stylistic conservatism, and amicable lyrics. After SoundScan pop was just as likely to be defined by economics and marketplace resonance. The focus in this instance was on weekly sales figures and dollars. under the latter definition, it became necessary to expand how the industry and the culture defined and experienced pop music. the shift meant tha genres such as rap, despite an emotional and aesthetic core that ran couter to tradition, could now be added to the pop mix."
  14. ^ Official UK Charts Company
  15. ^ Official UK Charts Company
  16. ^ Official UK Charts Company
  17. ^ Official UK Charts Company
  18. ^ Official UK Charts Company
  19. ^ Official UK Charts Company
  20. ^ Official UK Charts Company
  21. ^ Official UK Charts Company
  22. ^ Official UK Charts Company
  23. ^ Official UK Charts Company
  24. ^ Billboard Genre Index
  25. ^ Billboard Genre Index
  26. ^ Billboard Genre Index
  27. ^ Billboard Genre Index
  28. ^ Billboard Genre Index
  29. ^ Billboard Genre Index
  30. ^ Billboard Genre Index
  31. ^ Billboard Genre Index
  32. ^ Billboard Genre Index
  33. ^ Billboard Genre Index
  34. ^ Billboard Genre Index
  35. ^ Billboard Genre Index
  36. ^ Billboard Genre Index
  37. ^ Billboard Genre Index
  38. ^ Billboard Genre Index
  39. ^ All Music Guide genres: pop (html). Retrieved on 2007-12-01.
  40. ^ Billboard history — War of the speeds (html). Retrieved on 2007-12-01.
  41. ^ Gramophone records — Speeds (html). Retrieved on 2007-12-01.
  42. ^ Gramophone records — Materials (html). Retrieved on 2007-12-01.
  43. ^ LP album (html). Retrieved on 2007-12-01.
  44. ^ History of multitrack recording (html). Retrieved on 2007-12-01.
  45. ^ Stereophonic sound (html). Retrieved on 2007-12-01.
  46. ^ Chronomedia, 1954 (html). Retrieved on 2007-12-01.
  47. ^ Chronomedia, 1955 (html). Retrieved on 2007-12-01.
  48. ^ Even pirates have their day (html). Retrieved on 2007-12-24. “In Britain, however, 20-plus years after the end of WWII, they didn’t even have Top 40. Music broadcast was limited to the BBC and for only part of the day. The BBC's lack of music programming was the result of what was called needle time, which prevented the playing of records over the air for more than a set length of time per day. Needle time, it was thought, would keep the unionized musicians employed, while the record companies believed it would prevent the loss of record sales due to the ability to listen for free over the airwaves.”
  49. ^ John Peel biography — 1967 Part One (html). Retrieved on 2007-12-24. “The BBC also had to play a certain amount of live music, according to the Musicians' Union, to ensure that performing musicians could make a living. This was called the 'Needle Time' restriction.”

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See also

Adult contemporary music
Adult oriented pop music
Adult standards
Beat music
Background music
Beautiful music
Best-selling music artist		 Billboard charts
Category:Grammy Awards for pop music
Category:Pop albums
Category:Pop music groups
Category:Pop musicians
Category:Pop record labels
Category:Pop singers		 Category:Pop songs
Contemporary Christian music
Easy listening
Elevator music
Eurodance
Funk Brothers
Hot Adult Contemporary Tracks		 Incidental music
Jazz fusion
List of best-selling music artists
List of popular music genres
Lounge music
Middle of the road
Spacesynth		 Spanish Tinge
Surf music
Top 40
Traditional pop music
Turbo-folk
United World Chart
Urban contemporary

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Bibliography

  • Adorno, Theodor W (1942) "On Popular Music". Institute of Social Research.
  • Bell, John L. The Singing Thing: A Case for Congregational Song. GIA Publications, 2000. ISBN 1579991009
  • Billboard Genre Index
  • Frith, Simon; Will Straw; John Street (eds). The Cambridge Companion to Pop and Rock. Cambridge University Press, 2001. ISBN 0521556600
  • Johnson, Julian. Who Needs Classical Music?: Cultural Choice and Musical Value. Oxford University Press, 2002. ISBN 0195146816
  • Pleasants, Henry (1969) "Serious Music and All That Jazz". Simon & Schuster.
  • Roxon, Lillian (1969) "Rock Encyclopedia". Grosset & Dunlap.
  • Gillet, Charlie (1970) "The Sound of the City. The Rise of Rock and Roll." Outerbridge & Dienstfrey.
  • Middleton, Richard (1990) "Studying Popular Music". Open University Press.
  • Bindas, Kenneth J (1992) "America's Musical Pulse: Popular Music in Twentieth-Century Society". Praeger.
  • Clarke, Donald (1995) "The Rise and Fall of Popular Music". St Martin's Press. http://www.musicweb.uk.net/RiseandFall/index.htm]
  • Lonergan, David F. Hit Records, 1950-1975. Scarecrow Press, 2004. ISBN 0-8108-5129-6
  • Negus, Keith. Music Genres and Corporate Cultures Routledge, 1999. ISBN 041517399X
  • Maultsby, Portia K (1996) "Intra- and International Identities in American Popular Music." Trading Culture.
  • Official UK Charts Company information pack
  • Dolfsma, Wilfred (1999) "Valuing Pop Music: Institutions, Values and Economics". Eburon.
  • Shuker, Roy. Popular Music: The Key Concepts. Routledge, (2 edition) 2002. ISBN 0415284252
  • Starr, Larry & Waterman, Christopher (2002) "American Popular Music: From Minstrelsy to MTV". Oxford University Press.
  • Frith, Simon (2004) "Popular Music: Critical Concepts in Media and Cultural Studies". Routledge.
  • Dolfsma, Wilfred. (2004) "Institutional Economics and the Formation of Preferences: The Advent of Pop Music". Edward Elgar Publishing.
  • Watkins, s. Craig. Hip Hop Matters: Politics, Pop Culture, and the Struggle for the Struggle for the Soul of a Movement. Beacon Press, 2005. ISBN 0807009822

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External links

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