A record label is a brand and a trademark associated with the marketing of music recordings and music videos. Most commonly, a record label is the company that manages such brands and trademarks, coordinates the production, manufacture, distribution, marketing and promotion, and enforcement of copyright protection of sound recordings and music videos; conducts talent scouting and development of new artists ("artists and repertoire" or "A&R"); and maintains contracts with recording artists and their managers. The term "record label" derives from the circular label in the center of a vinyl record which prominently displays the manufacturer's name, along with other information.^[1]

Music industry[link]

Within the music industry; most recording artists have become increasingly reliant upon record labels to broaden their consumer base, market their albums, and be both promoted and heard on mp3, radio, etc. and of course television also, with publicists that assist performers in positive media reports to market their merchandise, and make it available via stores and other media outlets. The Internet has increasingly been a way that some artists avoid costs and gain new audiences, as well as the use of videos in some cases, to sell their products.

Major vs. independent record labels[link]

Record labels may be small, localized, and "independent" ("indie"), or they may be part of a large international media group, or somewhere in between. The largest four record labels are called "major labels".^[2] A "sublabel" is a label that is part of a larger record company, but it trades under a different name.

Imprint[link]

When a label is strictly a trademark or brand, not a company, then it is usually called an imprint, a term used for the same concept in the publishing industry. An imprint is sometimes marketed as being a project, unit, or division of a record label company, even though there is no legal business structure associated with the imprint.

Major labels[link]

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Major labels 1988–1998 (Big Six)

1. Warner Music Group
2. EMI
3. Sony Music (known as CBS Records until January 1991 then known as Sony Music thereafter)
4. BMG Music
5. Universal Music Group
6. Polygram

Major labels 1998–2004 (Big Five)

1. Warner Music Group
2. EMI
3. Sony Music
4. BMG Music
5. Universal Music Group (Polygram absorbed into UMG)

Major labels 2004–2008 (Big Four)

1. Warner Music Group
2. EMI
3. Sony BMG (Sony and BMG joint-venture)
4. Universal Music Group

Major labels 2008–2011 (Big Four)

1. Sony Music Entertainment
2. EMI Group
3. Warner Music Group
4. Universal Music Group

Major labels since late 2011, if approved (Big Three)

1. Sony Music Entertainment
2. Warner Music Group
3. Universal Music Group (EMI recorded music division to be absorbed into UMG, pending approval by antitrust regulators^[3][4])

Record labels are often under the control of a corporate umbrella organization called a "music group". A music group is typically owned by an international conglomerate "holding company", which often has non-music divisions as well. A music group controls and consists of music publishing companies, record (sound recording) manufacturers, record distributors, and record labels. As of 2005, the "big four" music groups control about 70% of the world music market, and about 80% of the United States music market. Record companies (manufacturers, distributors, and labels) may also comprise a "record group" which is, in turn, controlled by a music group. The constituent companies in a music group or record group are sometimes marketed as being "divisions" of the group.

Independent[link]

Record companies and music publishers that are not under the control of the big three are generally considered to be independent (indie), even if they are large corporations with complex structures. The term indie label is sometimes used to refer to only those independent labels that adhere to an independent criteria of corporate structure and size, and some consider an indie label to be almost any label that releases non-mainstream music, regardless of its corporate structure.

Sublabel[link]

Music collectors often use the term sublabel to refer to either an imprint or a subordinate label company (such as those within a group). For example, in the 1980s and 1990s, "4th & B'way" was a trademarked brand owned by Island Records Ltd. in the UK and by a subordinate branch, Island Records, Inc., in the United States. The center label on a 4th & Broadway record marketed in the US would typically bear a 4th & B'way logo and would state in the fine print, "4th & B'way™, an Island Records, Inc. company". Collectors discussing labels as brands would say that 4th & B'way is a sublabel or imprint of just "Island" or "Island Records". Similarly, collectors who choose to treat corporations and trademarks as equivalent might say 4th & B'way is an imprint and/or sublabel of both Island Records, Ltd. and that company's sublabel, Island Records, Inc. However, such definitions are complicated by the corporate mergers that occurred in 1989 (when Island was sold to PolyGram) and 1998 (when PolyGram merged with Universal). Island remained registered as corporations in both the US and UK, but control of its brands changed hands multiple times as new companies were formed, diminishing the corporation's distinction as the "parent" of any sublabels.

Vanity labels[link]

Vanity labels are labels that bear an imprint that gives the impression of an artist's ownership or control, but in fact represent a standard artist/label relationship. In such an arrangement, the artist will control nothing more than the usage of the name on the label, but may enjoy a greater say in the packaging of his or her work. An example of such a label is the Neutron label owned by ABC while at Phonogram in Great Britain. At one point artist Lizzie Tear (under contract with ABC themselves) appeared on the imprint, but it was devoted almost entirely to ABC's offerings and is still used for their re-releases (though Phonogram owns the masters of all the work issued on the label).

However, not all labels dedicated to particular artists are completely superficial in origin. Many artists, early in their careers, create their own labels which are later bought out by a bigger company. If this is the case it can sometimes give the artist greater freedom than if they were signed directly to the big label. There are many examples of this kind of label, such as Nothing Records, owned by Trent Reznor of Nine Inch Nails; and Morning Records, owned by The Cooper Temple Clause, who were releasing EPs for years before the company was bought by RCA.

Relationship with artists[link]

A label typically enters into an exclusive recording contract with an artist to market the artist's recordings in return for royalties on the selling price of the recordings. Contracts may extend over short or long durations, and may or may not refer to specific recordings. Established, successful artists tend to be able to renegotiate their contracts to get terms more favorable to them, but Prince's much-publicized 1994–1996 feud with Warner Bros. provides a strong counterexample, as does Roger McGuinn's claim, made in July 2000 before a US Senate committee, that The Byrds never received any of the royalties they had been promised for their biggest hits, "Mr. Tambourine Man" and "Turn, Turn, Turn".^[5]

A contract either provides for the artist to deliver completed recordings to the label, or for the label to undertake the recording with the artist. For artists without a recording history, the label is often involved in selecting producers, recording studios, additional musicians, and songs to be recorded, and may supervise the output of recording sessions. For established artists, a label is usually less involved in the recording process.

The relationship between record labels and artists can be a difficult one. Many artists have had albums altered or censored in some way by the labels before they are released—songs being edited, artwork or titles being changed, etc. Record labels generally do this because they believe that the album will sell better if the changes are made. Often the record label's decisions are prudent ones from a commercial perspective, but this typically frustrates the artist who feels that their artwork is being diminished or misrepresented by such actions.

In the early days of the recording industry, record labels were absolutely necessary for the success of any artist. The first goal of any new artist or band was to get signed to a contract as soon as possible. In the 1940s, 1950s and 1960s, many artists were so desperate to sign a contract with a record company that they usually ended up signing a bad contract, typically giving away the rights to their music in the process. To this day, standard recording contracts define record labels as the rightsholders of the music that the contracts cover. Entertainment lawyers can be used by some to look over any contract before it is signed.^{[citation needed]}

Through the advances of the Internet the role of labels is becoming increasingly diminished, as artists are able to freely distribute their own material through web radio, peer to peer file sharing such as BitTorrent, and other services, for little or no cost. Bigger artists such as Nine Inch Nails have announced an end to their major label contracts, citing that the uncooperative nature of the recording industry with these new trends are hurting musicians and the industry as a whole, and most of all hurting the fans.^[6] Radiohead also cited similar motives with the end of their contract with EMI when their album In Rainbows was released as a "pay what you want" sales model as an online download.

New label strategies[link]

With the advancement of the computer and technology like internet, leading to an increase in file sharing and direct-to-fan digital distribution, combined with music sales plummeting in recent years^{[citation needed]}, labels and organizations have had to change their strategies and the way they work with artists. New types of deals are being made with artists called "multiple rights" or "360" deals with artists. These types of pacts give labels rights and percentages to artist's touring, merchandising, and endorsements. In exchange for these rights, labels usually give higher advancement payments to artists, have more patience with artist development, and higher percentages in CD sales. These 360 style deals are most effective when the artist is established and has a loyal fan base. For that reason, labels now have to be more relaxed with the development of artists because longevity is the key to these types of pacts. Several artists such as Paramore, Maino, and even Madonna have signed such types of deals.

A look at an actual 360 deal offered by Atlantic Records to an artist shows a variation of the structure. Atlantic’s document offers a conventional cash advance to sign the artist, who would receive a royalty for sales after expenses were recouped. With the release of the artist's first album, however, the label has an option to pay an additional $200,000 in exchange for 30 percent of the net income from all touring, merchandise, endorsements and fan-club fees. Atlantic would also have the right to approve the act’s tour schedule, and the salaries of certain tour and merchandise sales employees hired by the artist. But the label also offers the artist a 30 percent cut of the label's album profits —if any—which represents an improvement from the typical industry royalty of 15 percent.^[7]

History[link]

Industry consolidation[link]

In the 1970s and 1980s, there was a phase of consolidation in the record industry that led to almost all major labels being owned by a very few multinational companies. CDs still flow through a handful of sources, with the majority of the sales going through the "big four" record labels.

Resurgence of independent labels[link]

In the 1990s, as a result of the widespread use of home studios, consumer recording technology, and the Internet, independent labels began to become more commonplace. Independent labels are often artist-owned (although not always), with a stated intent often being to control the quality of the artist's output. Independent labels usually do not enjoy the resources available to the "big four" and as such will often lag behind them in market shares. Often independent artists manage a return by recording for a much smaller production cost of a typical big label release. Sometimes they are able to recoup their initial advance even with much lower sales numbers.

On occasion, established artists, once their record contract has finished, move to an independent label. This often gives the combined advantage of name recognition and more control over one's music along with a larger portion of royalty profits. Artists such as Dolly Parton, Aimee Mann, Prince, Public Enemy, BKBravo (Kua and Rafi), among others, have gone this route. Historically, companies started in this manner have been re-absorbed into the major labels (two examples are Frank Sinatra's Reprise Records, which has been owned by Warner Music for some time now, and Herb Alpert's A&M Records, now owned by Universal Music Group). Similarly, Madonna's Maverick Records (started by Madonna with her manager and another partner) was to come under control of Warner Music when Madonna divested herself of controlling shares in the company.

There are many independent labels; folk singer Ani DiFranco's Righteous Babe Records is often cited as an ideal example. The singer turned down lucrative contracts from several top-name labels in order to establish her own New York-based company. Constant touring resulted in noteworthy success for an act without significant major funding. Ani and others from the company have spoken on several occasions about their business model in hopes of encouraging others.

Some independent labels become successful enough that major record companies negotiate contracts to either distribute music for the label or in some cases, purchase the label completely.

On the punk rock scene, the DIY ethic encourages bands to self-publish and self-distribute. This approach has been around since the early 1980s, in an attempt to stay "true" to the punk ideals of doing it yourself and not "selling out" to corporate profits and control. Such labels have a reputation for being fiercely uncompromising and especially unwilling to cooperate with the big record labels at all. One of the most notable and influential labels of the Do-It-Yourself attitude was SST Records, created by the band Black Flag. No labels wanted to release their material, so they simply created their own label to release not only their own material but the material of many other influential underground bands all over the country. Ian MacKaye's Dischord is often cited as a model of success in the DIY community, having survived for over twenty years with less than twelve employees at any one time.

Internet and digital labels[link]

With the Internet now being a viable source for obtaining music, netlabels have emerged. Depending on the ideals of the net label, music files from the artists may be downloaded free of charge or for a fee that is paid via Paypal or other online payment system. Some of these labels also offer hard copy CDs in addition to direct download. Most net labels acknowledge the Creative Commons licensing system thus reserving certain rights for the artist. Digital Labels are the latest version of a 'net' label. Whereas 'net' labels were started as a free site, digital labels are more competition for the major record labels.^{[citation needed]}

Open source labels[link]

The new century brings the phenomenon of open-source or open-content record label. These are inspired by the free software and open source movements and the success of GNU/Linux.

Publishers as labels[link]

In the mid-2000s, some music publishing companies began undertaking the work traditionally done by labels. The publisher Sony/ATV Music, for example, leveraged its connections within the Sony family to produce, record, distribute, and promote Elliott Yamin's debut album under a dormant Sony-owned imprint, rather than waiting for a deal with a proper label.^[8]

See also[link]

• List of record labels
• White label

References[link]

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Yann Tiersen
Background information
Birth name	Yann Pierre Tiersen
Born	(1970-06-23) 23 June 1970 (age 42)
Origin	Brest, Brittany, France
Genres	Minimalist, avant-garde
Occupations	Musician, songwriter
Instruments	Piano, violin, accordion, guitar, toy piano, voice, and various others
Years active	1995–present
Labels	Sine Terra Firma, Ici, d'ailleurs..., EMI, Virgin, Mute, ANTI-
Associated acts	Claire Pichet, Dominique A, Françoiz Breut, Natacha Régnier, Shannon Wright
Website	link

Yann Tiersen (born 23 June 1970) is a musician from France.^[1][2] His musical career is split between studio albums, collaborations and film soundtracks with a distinctive sound that is always involved. It can be recognized by its use of a large variety of instruments; primarily the guitar, synthesizer or violin together with instruments like the melodica, xylophone, toy piano, harpsichord, accordion and typewriter.

Tiersen is often mistaken as a composer of soundtracks, himself saying "I'm not a composer and I really don't have a classical background",^[3] but his real focus is on touring and studio albums which just happen to often be suitable for film. His most famous soundtrack for the film Amélie was primarily made up of tracks taken from his first two studio albums.^[4]

Biography and career[link]

The early years: 1970–1992[link]

Yann Tiersen was born in Brest in the Finistère département in Brittany in northwestern France, in 1970, into a family of Belgian and Norwegian origins.^[5] He started learning piano at the age of four, violin at the age of six, and received classical training at several musical academies, including those in Rennes, Nantes, and Boulogne.^[6] In the early 1980s when he was a teenager he was influenced by the punk subculture, and bands like The Stooges and Joy Division.^[7] In 1983, at the age of 13, he broke his violin, bought an electric guitar, and formed a rock band. Tiersen was now living in Rennes, and this turned out to be the perfect place for his musical career. In fact, Rennes is home to the three-day music festival Rencontres Trans Musicales, held annually in December, giving him the opportunity to see acts like Nirvana, Einstürzende Neubauten, Nick Cave and the Bad Seeds, The Cramps, Television, and Suicide. A few years later, when his band broke up, Tiersen bought a cheap mixing desk, an 8-track reel-to-reel audio tape recording, and started recording music solo with a synthesizer, a sampler, and a drum machine.^[8]

Debut and national acclaim: 1993–2000[link]

Before releasing film scores under his own name, Tiersen recorded background music for a number of plays and short films. In the summer of 1993, Tiersen stayed in his apartment, recording music alone with an electric guitar, a violin, and an accordion, guided by his vision of “a musical anarchy”. By the end of that summer, Tiersen had recorded over forty tracks, which would form most of his first two albums. Tiersen's debut album, La Valse des monstres, limited to 1,000 copies only, was released in June 1995 by independent record label Sine Terra Firma, and then it was reissued by Nancy-based record label Ici d'ailleurs in 1998 as the second album of its catalogue. The 17-track album was inspired by and written for the theatrical adaptations of Tod Browning's 1932 cult classic Freaks, and Yukio Mishima's 1955 version of Noh play The Damask Drum. One year later, in April 1996, he released Rue des cascades, a collection of short pieces recorded with toy piano, harpsichord, violin, accordion, and mandolin. The title track, sung by French soloist singer Claire Pichet, will be used about one year later for the Palme d'Or nominated French drama film The Dreamlife of Angels,^[9] and several tracks will find a much larger audience five years later when they were featured on the soundtrack to Jean-Pierre Jeunet's film Amélie.^[8] Tiersen played almost all the instruments both in the studio and in concert, and this gave him a theatrical appeal as a one-man show, which allowed him to perform, among others, at the 1996 edition of the Avignon Festival, the oldest extant festival in France and one of the world's greatest.^[10]

Tiersen rose to domestic fame upon the release of his third studio album, Le Phare (English: The Light House) in 1998. The album was recorded in a self-imposed seclusion on the isle of Ushant (Breton: Enez Eusa, French: Ouessant) at the south-western end of the English Channel which marks the north-westernmost point of metropolitan France, where Tiersen spent two months living in a rented house. At night, he watched the Phare du Creach (English: Kreac'h or Créac'h lighthouse), one of the most powerful lighthouse in the world, and was fascinated by the stunning scenery repeated every night. Le Phare, which featured Claire Pichet, French singer and songwriter Dominique A, and French drummer and percussionist Sacha Toorop, went on to sell over 160,000 copies, confirming Tiersen's status as one of the most pioneering and original artists of his generation and commencing a run of successful albums.^[8] Three songs from this album, "La Dispute", "La Noyee", and "Sur le fil" were used later for the soundtrack of Amélie, while "L'Homme aux bras ballants", written and composed by Dominique A, was also the soundtrack to Laurent Gorgiard's 1997 short animation film by the same name. Its single, "Monochrome", sung by Dominique A, was a radio hit and propelled the album. Le Phare was his first album to chart climbing to number 50 in the French Albums Chart.^[11]

In that period Tiersen provided a new arrangement and played strings, vibraphone, bell, mandolin, electric guitar, and bass guitar for the song "À ton étoile" by French rock band Noir Désir on their 1998 remix album One Trip/One Noise,^[12] recorded background music for the award-winning and multi-nominated film The Dreamlife of Angels (French: La Vie rêvée des anges),^[9][13] for André Téchiné's Alice et Martin, released in 1998, and Christine Carrière's Qui plume la lune?, released in 1999, and also recorded Bästard ~ Yann Tiersen, a 3-track extended play released in 1998 in collaboration with French electronic rock band Bästard, and his first live album, Black Session: Yann Tiersen. The live album was recorded on 2 December 1998 as the opening act of the Rencontres Trans Musicales in the Salle Serreau at the Théâtre National de Bretagne in Rennes, for the C'est Lenoir show broadcasted on the French public radio station France Inter. The album, which features Northern Irish singer, songwriter, and frontman of the chamber pop group The Divine Comedy Neil Hannon, singer and songwriter Bertrand Cantat of Noir Désir, singer and illustrator Françoiz Breut, anglophone French rock band The Married Monk (Christian Quermalet, Philippe Lebruman, Etienne Jaumet, Nicolas Courret), French folk rock group Têtes Raides (Christian Olivier, Grègoire Simon, Pascal Olivier, Anne-Gaëlle Bisquay, Serge Bégout, Jean-Luc Millot, and Edith Bégou), the string quartet Quatuor à cordes, guitarist and composer Olivier Mellano, and author Mathieu Boogaerts, as well as his usual collaborators and friends, Claire Pichet and Dominique A, was recorded by France International, mastered by Radio France, and released in CD format one year later on 2 November 1999.^[14]

In 1999, Tiersen with The Married Monk, Claire Pichet, and Olivier Mellano, released his first collaboration album, Tout est calme. The 26 minutes, 10 tracks mini album peaked at number 45 on the French Albums Chart.^[11][15] The album produced one single, "Les Grandes marées", and Tiersen also featured on The Divine Comedy's single "Gin Soaked Boy" released on that same year, on three tracks for Françoiz Breut's second studio album Vingt à Trente Mille Jours (English: Twenty to Thirty Thousand Days), and on Têtes Raides' Gratte-poil, both released in 2000.

[edit] Amélie and global recognition: 2001–2009

Tiersen remained relatively unknown outside France until the release of his score for the acclaimed film Amélie (Original French title: Le Fabuleux Destin d'Amélie Poulain, English: The Fabulous Destiny of Amélie Poulain) in 2001. French film director Jean-Pierre Jeunet had something else in mind for the film score, but one day one of his production assistants put on a CD of Tiersen, and the director found it absolutely superb. Jeunet bought all of Tiersen's albums, and then contacted him to see if the Breton composer was interested in writing the film score for Amélie. In two weeks, Tiersen composed nineteen pieces for the film and also allowed the production to take anything they wanted from his other records.^[16] Amélie received great critical acclaim and was a box-office success. The film went on to win the Best Film award at the European Film Awards, four César Awards, including Best Film and Best Director, two BAFTA Awards, including Best Original Screenplay, and was nominated for five Academy Awards. The soundtrack was a mixture of both new and previously released material, and Tiersen was also the recipient of the César Award for Best Music Written for a Film, and of the World Soundtrack Academy award. The soundtrack album charted in many countries, including the number one position on the French Albums Chart.^[17][2]

While he was writing the film score for Amélie Tiersen was also preparing his fifth studio album L'Absente.^[2] The album was characterized by several contributions including 35-member Ensemble Orchestral Synaxis conducted by Guillaume Bourgogne, viola player Bertrand Lambert, violinists Yann Bisquay and Sophie Naboulay, Natacha Régnier, and saxophonist Grégoire Simon, and long-time collaborators Dominique A, Christine Ott, Lisa Germano, Neil Hannon, Têtes Raides, Christian Quermalet, Marc Sens, and Sacha Toorop. The album, which was released on 5 June 2001 through EMI France, was preceded by two promotional singles for "A quai" and "Bagatelle" respectively. Tiersen provided strings and vibraphone to two tracks, "Roma Amor" and "Holidays", featured on The Married Monk's compilation album of the same name.

At this time he was married to Belgian actress Natacha Régnier, co-star of The Dreamlife of Angels. Régnier become a singer and Tiersen wrote three songs for her including his arrangement of Georges Brassens' "Le Parapluie", a song featured on the tribute album Les Oiseaux de passage, released in 2001. That same year they went on tour in France and abroad. They have a daughter, Lise, born in 2002, but they have since been divorced.^[18] In this period, Tiersen also took his music out around the world, playing shows with a full orchestra and an amplified string quartet.^[8] On 15, 16, and 17 February 2002, Tiersen with many of the collaborators who participated in the recording sessions for L'Absente plus Claire Pichet, violinists Nicholas Stevens and Renaud Lhoest, bassist Jean-François Assy, viola player Olivier Tilkin, and uilleann pipes, bagpipes, and low whistle player Ronan Le Bars, performed live at the Cité de la Musique (English: City of Music) in Paris. Part of these three concerts went on to form Tiersen's second live album C'était ici (English: It Was Here), which was released through EMI France on 30 September 2002.^[19]

Tiersen's skills as a composer of film scores were much in demand, and the soundtrack for Amélie was soon followed by the film score for Good Bye, Lenin!, a 2003 German tragicomedy film directed by Wolfgang Becker.^[8] The film was both a commercial and a critical success and won several awards including the César Award for Best Film from the European Union, Best Film at the European Film Awards, the German Film Awards for Outstanding Film, Best European Film at the Goya Awards, Best Foreign Language Film for the London Film Critics' Circle, and it was also listed in the Empire magazine 2010's list of "The 100 Best Films of World Cinema"^[20] Tiersen was the recipient of the German Film Awards for Outstanding Music. On 15 November 2003, Tiersen with Stuart A. Staples, the lead singer of indie band Tindersticks, actress and singer Jane Birkin, singer and vocalist for Cocteau Twins Elizabeth Fraser, singer and songwriter Christophe Miossec, and Dominique A released 3 titres inédits au profit de la FIDH (English: 3 New Tracks for the Benefit of FIDH), a 3-track CD that was part of the On Aime, On Aide benefit collection for raising funds for the International Federation for Human Rights (FIDH).^[21]

Tiersen's list of collaborators continues to grow album after album and in October 2004 released Yann Tiersen & Shannon Wright, a collaboration album with American singer-songwriter Shannon Wright, was released in October 2004, and in the same year he is featured on The Divine Comedy's album Absent Friends. In 2005, Tiersen released his fifth studio album Les Retrouvailles. The album features several collaborators including the Orchestre National de Paris, singers Elizabeth Fraser, Jane Birkin, Stuart A. Staples, Dominique A, and Miossec, strings players Jean-François Assy, Frederic Dessus, Guillaume Fontanarosa, Bertrand Causse, Anne Causse Biragnet, Armelle Legoff, Frédéric Haffner, flute player Elliott, drummer Ludovic Morillon, and ondes Martenot player Christine Ott. Les Retrouvailles also includes a DVD short film entitled La Traversée, directed by Aurélie du Boys, which documents the making of the album in Ushant, and incorporates an animated video for the non-album track, "Le Train", and also live versions of a handful of songs. The album produced a single, "Kala", sung by Elizabeth Fraser, and Tiersen also played piano on Staples' solo debut album, Lucky Dog Recordings 03-04. The subsequent world tour of 2006 replaced the multi-instrumental ensemble with electric guitars and an ondes Martenot, and produced his third live album, On Tour, which was released together with a DVD, directed by Aurélie du Boys, about the tour, in November 2006. In 2006, he also released two singles, "La Mancha" and "La Rade", and he was featured on The Endless Rise of the Sun, third studio album by electronic group Smooth, Raides à la ville extended play by Katel, and 13m² by David Delabrosse.

2008 saw his return after a five years absence as a composer of film scores when he provided the background music for Tabarly, a Pierre Marcel's documentary film about the French sailor, two-time champion of the Single-Handed Trans-Atlantic Race, and father of French yachting Éric Tabarly. The documentary was released on June 2008 exactly ten years after his death. Éric Tabarly was lost at Irish Sea when struck by a gaff of his Pen Duick during heavy swell and knocked overboard from his yacht near Wales while on his way to the Fife Regatta in Scotland. His body was recovered five weeks later off the coast of Ireland by a French fishing trawler. The documentary, narrated by Tabarly himself, traces his sporting career until his last meal in Ushant.^[8] Before the end of the decade, Tiersen also contributed to Christine Ott's debut solo album Solitude Nomade, and to Miossec's seventh studio album Finistériens.

[edit] Dust Lane and Skyline: 2010–present

October 2010 saw the release of Tiersen’s sixth studio album titled Dust Lane. The album was two years in the making and was largely recorded in Ushant, France. Further parts were recorded in the Philippines. The album is preoccupied with mortality; during the recording sessions Tiersen lost his mother and a close friend. The recordings started out as simple song based tracks with Tiersen playing acoustic guitar, mandolin and bouzouki. New layers were added to the recordings creating a more complex sound. Then an array of vintage synthesisers and electric guitars were added to create further textures.^[22][23] The album was released by Mute Records in Europe and ANTI- Records in the US.^[24][25] The record was promoted in a tour beginning in October 2010, starting in New York. Dust Lane was preceded by the release of the vinyl EP PALESTINE and by the single for "Ashes". In 2010, Tiersen also contributed to the tribute album to cross-genre, experimental music group Coil The Dark Age of Love by This Immortal Coil, a one-off tribute formation, and to Li(f)e, the fourth solo studio album by hip-hop artist Sage Francis.

October 2011 saw the European release of his seventh studio album, Skyline. The nine-track album, a follow on from his Dark Lane, was once again recorded at Tiersen's home on the island of Ushant in the south-western end of the English Channel, with further parts recorded in Paris, San Francisco, Berlin, and Nashville. It was subsequently mixed by producer Ken Thomas in Leeds, and mastered by Ray Staff in London.^[8] The album produced the singles for "Monuments" and "I'm Gonna Live Anyhow". On 18 February 2012, Tiersen with Lionel Laquerriere, and Thomas Poli, presented his side project, Elektronische Staubband, at La Route du Rock music festival in Saint-Malo. It was about an hour of krautrock, electronic, and experimental music involving a dozen of synthesizers and analog keyboards with the first three pieces of the set list taken from Dust Lane and the remaining five from Skyline.^[26] Tiersen was also chosen by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival on March 2012 in Minehead, England.^[27] Skyline was released in North America via ANTI- Records on 17 April 2012, and it was followed by the Skyline Tour with dates in the United States, Canada, Iceland, Spain, Portugal, France, Slovak Republic, Austria, Finland, and the United Kingdom.

Discography[link]

Studio albums[link]

Soundtracks[link]

Live albums[link]

Singles and EPs[link]

• Rue des cascades (7" vinyl EP) (1996)
• Black Session (EP promo) (1998)
• "La Vie rêvée des anges" (CD single) (1998)
• "Les Grandes marées" (1999)
• "Comptine d'un autre été : L'après-midi" (2001)
• "À quai" (CD single promo) (2001)
• "Bagatelle" (CD maxi promo) (2001)
• 3 titres inédits au profit de la FIDH (part of the On Aime, On Aide collection, composed to raise funds for the FIDH, sold exclusively at Fnac) (2003)
• "Kala" (2005)
• "La Mancha" (2006)
• "La Rade" (2006)
• PALESTINE (vinyl EP) (2010)
• "Ashes" (2010)
• "Monuments" (2011)
• "I'm Gonna Live Anyhow" (2011)

Collaborations[link]

Contributions[link]

• One Trip/One Noise (by Noir Désir) (1998)
  • "À ton étoile" (arrangements, strings, vibraphone, bell, mandolin, electric guitar and bass)
• "Gin Soaked Boy" (by The Divine Comedy) (1999)
• Vingt à Trente Mille Jours (by Françoiz Breut) (2000)
  • "Porsmouth" (vibraphone), "Vingt à trente mille jours" (vibraphone), "L'heure bleue" (violin), "Le verre pilé" (vibraphone); arrangements
• Gratte-poil (by Têtes Raides) (2000)
  • "Cabaret des nues" (violin)
• The Married Monk (by The Married Monk) (2001)
  • "Roma Amor" (strings, vibraphone), "Holidays" (strings) and "Cyro's Request" (vibraphone)
• Les oiseaux de passage (tribute to Georges Brassens) (2001)
  • cover of "Le parapluie" with Natacha Régnier
• Absent Friends (by The Divine Comedy) (2004)
  • "Sticks & Stones" (accordion); "Anthem for Bored Youth" (accordion), a track appearing only on the French limited edition
• Lucky Dog Recordings 03-04 (by Stuart A. Staples) (2005)
  • "She Don't Have to Be Good to Me" (piano)
• The Endless Rise of the Sun (by Smooth) (2006)
  • "The Endless Rise of the Sun" (keyboards)
• Raides à la ville (by Katel) (2006)
  • "La Vielle" (violin)
• 13m² (by David Delabrosse) (2006)
  • production and arrangements
• Solitude Nomade (by Christine Ott) (2009)
  • "Pensées sauvages" (violin)
• Finistériens (by Miossec) (2009)
  • music and arrangements
• Li(f)e (by Sage Francis) (2010)
  • production and arrangements on "The Best of Times"

DVDs[link]

See also[link]

• Tiersen

Notes[link]

References[link]

External links[link]

Wikimedia Commons has media related to: Yann Tiersen

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2009)

Christopher Percy Gordon "Chris" Blackwell (born 22 June 1937) is a British businessman and former record producer, and the founder of Island Records, which has been called "one of Britain's great independent labels".^[2] According to the Rock and Roll Hall of Fame, to which Blackwell was inducted in 2001, he is the single person most responsible for turning the world on to reggae music.^[3]

Forming Island Records in Jamaica on 22 May 1959 aged 22, Blackwell was amongst the first to record the Jamaican popular music that eventually became known as ska. Returning to Britain in 1962, he sold records from the back of his car to the Jamaican community.^[2]

Backed by Stanley Borden from RKO Entertainment, Blackwell's business and reach grew substantially, and he went on to forge the careers of Bob Marley, Grace Jones and U2 amongst many other diverse high-profile acts. He has produced many seminal albums, including Marley's Catch A Fire and Uprising.^[4]

Childhood[link]

Blackwell was born in London. Blackwell's father, Joseph, who was Irish, was related to the founder of Crosse & Blackwell, purveyors of jarred foods and relishes, and had some residual wealth.^[2] He became a Major in the Jamaican Regiment.^[4]

Blackwell's mother, the former Blanche Lindo, was born in Costa Rica, and was a Sephardic Jew from a Jamaican family.^[3] She belonged to a powerful family who made their fortune in sugar and Appleton rum toward the end of slavery. They are named as one of the 21 families who controlled Jamaica in the 20th century.^[4] Blanche was considered the love of Ian Fleming's later life, becoming the James Bond author's muse and the inspiration for the character Pussy Galore in Goldfinger.^[5] She owned several thousand acres of land near Oracabessa, Jamaica, and sold properties to both Fleming and Noël Coward.^[6] Due to her heritage, Blanche was viewed as a white Jamaican.^[5]

Blackwell spent his childhood in Jamaica, and was sent to Britain to continue his education at Harrow.^[7] Deciding not to attend university, he returned to Jamaica to become ADC to the Governor of Jamaica Sir Hugh Foot. After Foot was transferred to Cyprus, Blackwell left King's House to pursue a career in real estate and other businesses, including managing jukeboxes up and down the country, which brought him into contact with the Jamaican music community.^[2]

In 1958, Blackwell was sailing off Helshire Beach when his boat ran aground on a coral reef. The twenty one-year-old swam to the coast and attempted to find help along the shore in searing temperatures. Collapsing on the beach, Blackwell was rescued by Rasta fishermen who tended his wounds and restored him back to health with traditional Ital food. The experience gave Blackwell a spiritual introduction to Rastafarianism, and was a key to his connection to the culture and its music.^[4]

Career[link]

Aged 22, Blackwell formed a record label in 1958 with a start-up investment of $10,000 provided by his parents, taking its name from Alec Waugh's novel Island in the Sun.^[3] Radio personality Graeme Goodall was his initial business partner.^[4] Blackwell received a small allowance from his mother, which enabled him to have his own apartment at a young age and survive on the little he was earning.^[2] Island's debut release was a piano album by Bermudian pianist Lance Hayward. Blackwell began recording Jamaican popular music in 1959, achieving a number one hit there with Laurel Aitken's "Boogie in my Bones/Little Sheila".^[3]

In 1961, Blackwell acted as a location scout and production assistant for the 1962 Bond film Dr No. After the movie wrapped, producer Harry Saltzman offered him a full-time position. Conflicted between music and film, Blackwell visited a psychic, who told him that he would be successful if he stayed in the music industry.^[4]

By 1962, the fledgling record producer had released 26 singles and two albums on Island.^[3] Blackwell returned to England that year and continued to grow his business. He began having success with the niche market of Jamaican music, and progressed to bringing in licensed master tapes. One of these contained a performance by fifteen-year-old Millie Small, who Blackwell brought over to England. In 1964, he produced Small's cover of a 1956 Barbie Gaye song "My Boy Lollypop" which was one of the first songs recorded in the "ska" style. Millie Small's version was a smash hit, selling over six million records worldwide. It launched Island Records into mainstream popular music, and is acknowledged as the first international ska hit.

Blackwell later remembered his breakthrough release:

After discovering The Spencer Davis Group, featuring Steve Winwood, Blackwell focused on the rock acts that Island had signed. Island became one of the most successful independent labels of the 1960s, 1970s, and 1980s with artists like Traffic, King Crimson, Emerson, Lake & Palmer, Jethro Tull, Cat Stevens, Grace Jones, Free, John Martyn, Sly and Robbie, Sparks, Spooky Tooth, Nick Drake, Roxy Music, Robert Palmer, Melissa Etheridge, The Cranberries and U2. "The bigger labels are supermarkets", Blackwell remarked. "I like to think of Island as a very classy delicatessen."^[3] However, Chris has admitted to turning down some major names. One was Elton John: He considered the pianist too shy to become a performer.

Island and Blackwell himself became renowned for a relaxed, nurturing vibe. Blackwell showed skill in spotting and creating trends, as well as a gift for finding talent. He had an imaginative flair for marketing, and Island's releases were often packaged in lovingly designed gatefold sleeves.^[2] Blackwell has said: "I really believe that if people see something that looks good, subconsciously they'll think maybe there's something going on inside, on the record. There were times when somebody came out with a cover which was actually better than the record itself, so I'd have to send them back to remake the record."^[2]

Island Records was also the first home for Trojan Records, Chrysalis Records and Virgin Records and the American Label Sue Records, who produced Jimmy McGriff, The Soul Sisters and Ike and Tina Turner.^[3]

Eventually, Island moved into movies and released The Harder They Come in the UK, which featured Jimmy Cliff. Produced and directed by fellow Jamaican Perry Henzell, the film marked the first time that Jamaican themes appeared in mainstream cinema.^[3]

In 1977, Blackwell built Compass Point Studios in Nassau, Bahamas as a recording home for his and other artists.

One of Blackwell's notable achievements was bringing Bob Marley & The Wailers to the attention of international audiences.^[3] Without a signed contract, Blackwell advanced money to The Wailers for their first Island album, displaying the trust which stemmed from his 1958 beach rescue by Rastas. Blackwell's gesture led to the longterm success of both Marley and the label.

Of his experience with Marley, Blackwell has said:

Blackwell also formed Mango Records, which featured Jamaican and other artists from the Third World. Mango introduced Burning Spear, Black Uhuru, Third World (band), Salif Keita, Baaba Maal, Angélique Kidjo, King Sunny Adé and many others.

Blackwell sold his stake in Island in 1989, eventually resigning from the company in 1997. In 2009, Blackwell was at the centre of celebrations held in London for Island's fiftieth anniversary.^[2]

Each of Blackwell's companies was eventually sold to Polygram, and are as of 1998 part of the Universal Music Group conglomerate, but Blackwell left with a unique reputation for looking after artists as diverse as Bob Marley, U2, Cat Stevens, Grace Jones, Steve Winwood, Melissa Etheridge, Tom Waits, The Cranberries, Richard Thompson and PJ Harvey.

After selling these companies, Blackwell went on to found Palm Pictures, a media entertainment company with music, film and DVD releases. In the late Nineties, Blackwell merged Palm Pictures with Rykodisc to form RykoPalm, a new operation.^[3]

Blackwell currently runs Island Outpost, which he set up to operate and market a group of elite resorts in Jamaica and the Bahamas, including Strawberry Hill in the Blue Mountains (where Marley recovered after being shot in 1976),^[4] Jake's in Treasure Beach, The Caves in Negril, and the recording studio and private hotel Geejam near Port Antonio, where artists such as Gwen Stefani and No Doubt, Drake and Gorillaz have recorded. Island Outpost also owns The Tides and The Marlin in Miami Beach, Florida.^[4]

Blackwell has long owned Goldeneye in Oracabessa, the previous home of Ian Fleming, where the author wrote all the James Bond books. Until his death, Fleming was the longtime lover of Blackwell's mother, Blanche.^[5] Blackwell developed the property into a community of villas and beach cottages, each with its own private access to the sea, and Goldeneye is considered the most exclusive of the Island Outpost resorts.^[4]

Blackwell is involved in a number of philanthropic organizations. Among these are Island ACTS, the Oracabessa Foundation, the Mary Vinson Blackwell Foundation, and the Jamaican Conservation Trust.

In 2003, Blackwell launched the Goldeneye Film Festival, which continues to be held annually at the resort. In September that year, Blackwell received the coveted Jamaican Musgrave Medal, awarded to Jamaicans who excel in the arts, music and public service. In 2004, the Order of Jamaica was bestowed upon Blackwell for philanthropy and outstanding contribution to the entertainment industry.^[4]

With a family legacy rooted in Jamaica's banana, coconut, and rum export industries, Blackwell served as the inspiration behind the recently launched Blackwell Fine Jamaican Rum. The aged rum is a deep, rich, and fragrant black gold liquid that has been infused with tropical flavors.

In April 2009, the UK magazine Music Week named Blackwell the most influential figure in the last 50 years of the British music industry.^[8][9][10]

References[link]

Bibliography[link]

• Baugh, Edward (1998). Chancellor, I Present. Mona: Canoe Press.
• Bradley, Lloyd (2001). This is Reggae Music. London: Grove.
• Childs, Peter and Mike Storry, eds. (1999). Encyclopedia of Contemporary British Culture. London: Routledge.
• (2001). "Chris Blackwell." Rock and Roll Hall of Fame.

External links[link]

• Video Interview with Chris Blackwell
• Rock and Roll Hall of Fame: Inductee Biography of Blackwell
• Palm Pictures website
• Island Outpost website
• Compass Point Studios website
• Chris Blackwell interview: Island Records – The Telegraph
• Island: The record label which changed the world – The Independent

Lupe Fiasco
Lupe Fiasco at WGCI Radio, Chicago, Illinois.
Background information
Birth name	Wasalu Muhammad Jaco
Born	(1982-02-16) February 16, 1982 (age 30) Chicago, Illinois, U.S.
Origin	Chicago, Illinois
Genres	Hip hop
Occupations	Rapper, producer, songwriter
Instruments	Vocals, keyboard
Years active	2006–present
Labels	Atlantic
Associated acts	Child Rebel Soldier, Japanese Cartoon, Matthew Santos, B.o.B, Kanye West, All City Chess Club, Sway DaSafo, Pharrell
Website	www.lupefiasco.com

Wasalu Muhammad Jaco (born February 16, 1982), better known by his stage name Lupe Fiasco ( /ˈluːpeɪ/ LOO-pay), is an American rapper, record producer, and entrepreneur. He rose to fame in 2006 following the success of his debut album, Lupe Fiasco's Food & Liquor. He also performs as the frontman of rock band Japanese Cartoon under his real name. As an entrepreneur, Fiasco is the chief executive officer of 1st and 15th Entertainment.

Raised in Chicago, Fiasco developed an interest in hip hop after initially disliking the genre for its use of vulgarity. After adopting the name Lupe Fiasco and recording songs in his father's basement, 19-year-old Fiasco joined a group called Da Pak. The group disbanded shortly after its inception, and Fiasco soon met rapper Jay-Z who helped him sign a record deal with Atlantic Records. In 2006, Fiasco released his debut album Lupe Fiasco's Food & Liquor on the label, which received three Grammy nominations. He released his second album, Lupe Fiasco's The Cool, in December 2007. The lead single "Superstar" peaked at number 10 on the Billboard Hot 100. He released Lasers on March 8, 2011 after a two-year delay. The album's lead single "The Show Goes On" peaked at number 9 on the chart, thus becoming his most successful single since "Superstar".

In addition to music, Fiasco has pursued other business ventures, including fashion. He runs two clothing lines, Righteous Kung-Fu and Trilly & Truly; he has designed sneakers for Reebok. He has been involved with charitable activities, including the Summit on the Summit expedition, and in 2010 he recorded a benefit single for victims of the 2010 Haiti earthquake. Fiasco is also noted for his anti-establishment views, which he has expressed in both interviews and his music.

Life and career[link]

1982–98: Early life[link]

Fiasco was born Wasalu Muhammad Jaco on February 16, 1982 in Chicago, Illinois.^[2][3] Born of West African descent,^[4] he was one of nine children of Shirley, a gourmet chef, and Gregory, an engineer.^[1][3] His father, a member of the Black Panther Party, was a prolific African drummer, karate teacher, operating plant engineer, and owner of karate schools and army surplus stores.^[5][6][7] Fiasco was raised Muslim on the West Side of Chicago on Madison Terrace housing project.^[6][8] At the age of three, Fiasco began taking martial arts classes.^[1] His parents divorced when he was five, and he went on to live with his mother, but his father still remained an important part of his life. He described his father's influence over the family by saying, "After school, my father would come and get us and take us out into the world—one day, we're listening to N.W.A, the next day we're listening to Ravi Shankar, the next day, he's teaching us how to shoot an AK-47, the next day, we're at karate class, the next day, we're in Chinatown...".^[6]

In sixth grade, he went to live with his father full-time in Harvey, Illinois.^[9] His father lived next door to a crack house and taught Fiasco to use guns to defend himself from drug dealers.^[1] Despite his unstable upbringing, Fiasco states that he was well-educated as a child, asserting that his parents exposed him to a diverse array of subjects and that reading was highly encouraged in his household.^[1] As a teenager, Fiasco participated in Academic Decathlon competitions.^[3] His mother described him by saying, "He was a great spirited child. Smart, a bit complex; he kind of was a loner; he didn't hang with a lot of people...He always had the glasses. Always had a book bag over his shoulder and some type of a writing tablet."^[3] Fiasco initially disliked hip hop music for its use of vulgarity, and preferred to listen to jazz; he idolized clarinet player Benny Goodman.^[1][8] His struggle to learn to play an instrument led him to create poetry instead, which led to his interest in the lyrical aspects of music.^[10]

He began rapping his poems in the eighth grade, and upon hearing Nas' 1996 album, It Was Written, began to pursue hip hop.^[7] While attending Thornton Township High School, Fiasco met gang member Bishop G. The two became friends due to their shared interest in music.^[3] Fiasco's father allowed him and Bishop to make mixtapes in his basement, and the two gained notoriety at the school for their music. However, they were kicked off stage during their first performance because their eclectic musical style was not embraced by the hip hop community.^[3] Early in his career, he went by stage names Little Lu and Lu tha Underdog.^[11] Growing up, Fiasco was given the nickname "Lu", the last part of his first name, by his mother. "Lupe" is an extension of this nickname, which he borrowed from a friend from high school. "Fiasco" is a reference to The Firm song "Firm Fiasco"; the rapper "liked the way it looked on paper."^[12] He also said of his name, "You know how rappers always have names like MC Terrorist—like they're 'terrorizing' other rappers? I knew fiasco meant a great disaster or something like that, but I didn't realize that the person named Fiasco would be the disaster, and that you should be calling other MCs fiascos—not yourself...it kind of humbled me in a sense. It taught me like, 'Yo, stop rushing, or you're going to have some fiascos.'"^[11]

1999–2005: Career beginnings[link]

Lupe Fiasco performing at the Intonation Music Festival, 2006.

When Fiasco was 17, he began creating music as a solo artist in his father's basement, even though his parents were not keen on having their son be a rapper. He scoured flea markets and secondhand stores, where he was able to find an old mixing board and a record player, stacks of vinyl records, and mic stands.^[11] At age 19, Fiasco joined a group called Da Pak, which was influenced by other California gangsta rappers such as Spice 1 and Ice Cube. Da Pak signed to Epic Records and released one single before splitting up.^[2] Fiasco later described the experience, saying "We had a song out about cocaine, guns, and women, and I would go to a record store and look at it and think, 'What are you doing?' I felt like a hypocrite. I was acting like this rapper who would never be judged, and I had to destroy that guy. Because what Lupe Fiasco says on this microphone is going to come back to Wasalu Jaco. When the music cuts off, you have to go home and live with what you say."^[13]

After turning away from gangsta rap, he developed a greater appreciation of the lyricism of Jay-Z and Nas. His mother also gave him a record of the influential group The Watts Prophets, one of the first bands to use spoken words with music.^[14] Although he was without a group for the first time, Fiasco continued to record music. One of these first self-recorded tracks was "Could Have Been", which described the career options he could have pursued had he not begun rapping.^[15] He viewed the song as a turning point in his career that marked a drastic change in the subject matter of his music.^[15] "Could Have Been" was released as a demo tape and discovered by MTV despite the fact that no video was created for the song.^[15]

Fiasco later signed a solo deal with Arista Records, but was dropped when president and CEO L.A. Reid was fired.^[2] During his short tenure at Arista, he met Jay-Z, who was the president of Def Jam Recordings at the time. Jay-Z referred to him as a "breath of fresh air", saying that he reminded him of a younger version of himself.^[14] Jay-Z later helped him get a record deal at Atlantic Records.^[14] While Fiasco was working on his debut solo album, he released his mixtape series Fahrenheit 1/15 over the internet, which gained notoriety by word-of-mouth. At this time, Fiasco's remix of Kanye West's "Jesus Walks" entitled "Muhammad Walks", became very popular in the Muslim community.^[16]

He remixed another one of West's songs, "Diamonds from Sierra Leone", and renamed it as "Conflict Diamonds". With this remix, Fiasco wished to raise awareness of the conflict diamond business.^[17] This caught West's attention, and he asked Fiasco to perform on his song "Touch the Sky" off his album Late Registration. The song, which sampled Curtis Mayfield's "Move On Up", became a hit in the Billboard Hot 100, peaking at number forty-two.^[18] After this success his first single "Kick, Push" was released earlier than expected. The song was a love story about two people sharing a passion for skateboarding, a topic generally not discussed in hip hop.^[19] Fiasco explained, "[Skateboarding culture is] just as deep as hip-hop. I'm not the greatest skateboarder, but I'm a damn good rapper, so I made a damn good skateboarding song."^[19] The single, and its accompanying music video, helped Fiasco get attention in the hip-hop community and was later nominated for two 2007 Grammy Awards.^[10][20] During this time, he had guest appearances on singles on Tha' Rayne's "Kiss Me" and "Didn't You Know" and also K Foxx's 2004 "This Life".

[edit] 2006–08: Lupe Fiasco's Food & Liquor and The Cool

Jay-Z assisted him in the production of what would become his debut album Lupe Fiasco's Food & Liquor.^[21] The title of the album is a reference to 'Food and Liquor' stores common in Chicago. He explains, "The store is where everything is at...Food to me represents growth and progression. You eat food and you get strength. You need it to live. Liquor is not a necessity; it is a want. It destroys you. It breaks you down. I can see why it's prohibited in Islam...I've always felt like liquor represents the bad, the food represents the good, and everyone is made up of a little of both."^[22] Lupe Fiasco's Food & Liquor was officially released on September 19, 2006. The album featured production from Jay-Z, Kanye West, Mike Shinoda, The Neptunes, Prolyfic, among others. The record spawned the singles "Kick, Push," "I Gotcha" and "Daydreamin'" featuring Jill Scott. The critically lauded album was later nominated for three Grammy Awards including Best Rap Album.^[3] Fiasco won "Best Urban/Alternative Performance" for "Daydreamin'".^[23] In the same year, he was voted by GQ magazine as the "Breakout Man of the Year."^[15] He also received four BET Hip Hop Award nominations, and it made it to number eight on Billboard 200 and number two on Billboard Top R&B/Hip-Hop Albums chart.^[24]

In 2007, Fiasco announced his second album, Lupe Fiasco's The Cool, a concept album that expands on the story of the track of the same name on his first album. While recording this album, Fiasco's father died of type II diabetes and his business partner, Charles "Chilly" Patton, was convicted of attempting to supply heroin to a drug ring and was eventually sentenced to 44 years in a correctional facility.^[5][26] These events greatly affected Fiasco and the subsequent themes discussed on the record.^[25] The disc was released in December 2007 in United States while the first single and video from the album, "Superstar" featuring Matthew Santos was released the first week of November 2007. Lupe Fiasco's The Cool, a concept album that expanded upon recurring themes in Food & Liquor, is about "a hustler who dies and comes back to life, only to get robbed by two little kids with the same gun that killed him."^[27] For the record, Fiasco decided not to work with well-known producers as he considered it to be "too expensive", noting the commercial failure of his Pharrell collaboration, "I Gotcha".^[27]

Fiasco performing in Commerce City, Colorado on July 19, 2008.

Lupe Fiasco's The Cool was very well received by critics and was referred to as "one of the year’s best hip-hop albums" by The New York Times.^[28] "Superstar", a semi-autobiographical account of his rise to fame, was released as the first single from the album, and peaked at number 10 on the Billboard Hot 100.^[15][29] Baseball's Hanley Ramirez, Troy Tulowitzki, Ryan Zimmerman, Gerald Laird and Ryan Braun have used "Superstar" as their at-bat song.^[30] The album's second single (released in the UK in April 2008) was "Paris, Tokyo" – a song based around Fiasco's experiences of touring the world between his first and second albums.^[15] Moreover, in 2007 it was revealed that Fiasco, Kanye West and Pharrell Williams had formed a group called Child Rebel Soldier.^[31][32] CRS initially released one single, entitled "US Placers" and featuring a Thom Yorke sample. In an interview with The Village Voice, Fiasco revealed that he was writing a novel about a window washer, aptly titled Reflections of a Window Washer.^[33] In 2008, Fiasco and his band 1500 or Nothin joined Kanye West's Glow in the Dark Tour which also featured Rihanna and N.E.R.D. The tour stopped in several cities, including his hometown of Chicago. In 2008, MTV named Fiasco the 7th Hottest MC in the Game^[34] and announced that he was remixing The Cool with French electro house act Justice.^[35]

[edit] 2009–present: Lasers and Food & Liquor 2

Lupe Fiasco performing at the Ottawa Bluesfest on July 17, 2011.

At a performance in New Zealand in February 2010, Fiasco performed new material from the then-titled We Are Lasers for the first time.^[36] He claimed that the album was complete and waiting for a release date from his label, Atlantic Records.^[36] However, Atlantic feared that the record lacked commercial singles, and presented Fiasco with songs the label wanted him to record.^[37] Fiasco declined, as he was told he would not have any ownership of the songs.^[37] He explained, "I don't think the label cares about an album...People just want their number-one record."^[37] For six months, the cause of the album's delay remained unclear to the public. In response, Fiasco's fans created an online petition demanding that Atlantic Records release Lasers. The petition garnered considerable attention on hip hop blog sites as well as over 16,000 signatures.^[37] Fiasco stated that the petition "brought [him] to tears", and in response to the petition, Fiasco released a song titled "B.M.F-Building Minds Faster" to thank his fans.^[37]

While waiting for Lasers to be released, Fiasco completed another album, titled Food and Liquor II: The Great American Rap Album.^[38] He is unsure if the Food and Liquor II will ever be released, though he released the song "Go To Sleep" from the record "out of desperation" to put out new music.^[38] He also pursued numerous side projects in the midst of the delay. In April 2010, Fiasco formed the hip hop collective All City Chess Club along with Pharrell, Asher Roth, B.o.B., The Cool Kids, Charles Hamilton, Blu, Diggy Simmons, Wale, J. Cole, & Dosage.^[39] The group has so far made one song, a remix of Fiasco's "I'm Beamin".^[40] Additionally, On July 16, 2010, Fiasco released his rock side-project Japanese Cartoon's debut EP In The Jaws Of The Lords Of Death. Japanese Cartoon was influenced by a variety of musical genres, with Fiasco saying, "I’ve always been a fan of all music...Hip hop is just something I actually know how to do but I always had aspirations to participate in other forms of music. Once I got to create some hip hop, it was like, 'Okay, what am I going to do now?' So my artistic side was like, 'Yo, let's do some rock music.'"^[38]

More than two and a half years after the album's completion, Lasers was released on March 8, 2011. The first single off of the record was "The Show Goes On", which samples "Float On" by Modest Mouse. "The Show Goes On" debuted at number 57 on the Billboard Hot 100.^[41] The lead single peaked at number 9 since then. The producers involved on the album include Alex Da Kidd, King David "The Future" and Jerry "Wonda" Duplessis, while featured artists include Skylar Grey, Trey Songz, and John Legend.^[15] Upon the album's release, Lasers debuted at number one on the US Billboard 200 chart, with first-week sales of 204,000 copies.^[42][43] Despite the album's commercial success, Lasers received mixed reviews from most music critics.^[44] Writing for Allmusic, editor Andy Kellman gave the record three out of five stars and criticized its "lumbering, overwrought choruses", writing that "If there is one MC whose rhymes should not be dulled for the sake of chasing pop trends, it’s Lupe Fiasco".^[45] Lasers, however, was nominated Best Rap Album, with "The Show Goes On" nominated for Best Rap Performance, and Best Rap Song at the 54th Grammy Awards. Lupe Fiasco later involved himself at the Occupy Wall Street movement where he donated tents and released a poem in support of the protesters. He also released his "Friend of the People" mixtape on Thanksgiving Day. Fiasco has since announced the completion of his Food & Liquor 2 album, as well as work being put into a joint album with fellow Child Rebel Soldier & All City Chess Club member Pharrell.^[46]

Lyrical style[link]

Fiasco, along with rappers Common, Rhymefest, and Talib Kweli, has been credited as a pioneer of the conscious hip hop movement, which focuses on social issues.^[47] Subjects touched upon on Lupe Fiasco's Food & Liquor include absent parents, terrorism, Islam and religion, war, and prostitution.^[47] Fiasco attributes his interest in social issues to his highly cultured upbringing, as he describes his mother as "very intellectual" and his father as a "Renaissance man".^[47] He rejects the misogyny common in hip hop, which he discusses in the song "Hurt Me Soul".^[48] Despite this, Fiasco is strongly opposed to censorship in music: "If we're going to [censor things] that are offensive, then we are going to have to blind and deafen everyone. Come on, man. Let's focus on education and literacy and poverty."^[49]

Fiasco employs various lyrical techniques in his songwriting. The rapper views hip-hop as a medium conducive to storytelling, a primary element of his lyrics due to his background in theater.^[47] He wrote plays as a child, which had a strong effect on his songwriting approaches.^[47] Fiasco utilizes both metaphors and literal statements in his work, which he describes as "getting from point A to point B in as few words as possible".^[47] His use of metaphors is exemplified by the song "Gotta Eat" from Lupe Fiasco's The Cool, which is told from the perspective of a cheeseburger and addresses the poor nutrition in black communities in the United States.^[26]

Philanthropy and business ventures[link]

In 2001, Fiasco co-founded 1st & 15th Entertainment with Charles "Chilly" Patton. 1st & 15th is a vanity record label under Atlantic named after the traditional twice-monthly paycheck dates.^[14] Although Fiasco was initially to serve as vice-president, he became CEO after Patton was convicted on drug charges.^[50][51] Fiasco and singer Matthew Santos were two of the most recognizable signed artists. In November 2009, Fiasco announced he would discontinue the 1st & 15th label: "It was just such a 'this isn't right for you right now. This isn't gonna work for you right now. You need to be focused on you. Do you really want that, do you really have the capacity to do it?'"^[52]

In 2005, he founded Righteous Kung-Fu, a company that designs fashions, sneakers, toys, video games, comic books, and graphics for album covers and skateboard decks. Fiasco also runs a fashion line out of Righteous Kung-Fu called Trilly & Truly.^[53] He has sponsored a skateboard team and has endorsements from DGK Skateboards.^[54] In January 2006, Fiasco signed with major footwear and apparel corporation Reebok, becoming part of the "O.G" marketing campaign where rap artists such as Lil Wayne and Mike Jones designed their own personal colorway of the Reebok "O.G" model.^[53]

In 2009, Fiasco performed in The People Speak, a documentary feature film that employs musical performances of the letters, diaries, and speeches of everyday Americans, based on historian Howard Zinn's A People's History of the United States.^[55] On January 7, 2010, Fiasco joined musician Kenna, actress Jessica Biel, and other celebrities and activists for an expedition to the top of Mount Kilimanjaro called Summit on the Summit to raise awareness of the billions of people worldwide who lack access to sanitary drinking water.^[56] On January 20, 2010, Fiasco released a track called "Resurrection" with Kenna in response to the 2010 Haiti earthquake. The song, part of a compilation released through the charity Music for Relief, aimed to encourage donations for immediate relief and long-term recovery following the disaster.^[57]

Political views[link]

Fiasco is noted for his anti-establishment views. In an interview with Stephen Colbert on the satirical news show The Colbert Report, Fiasco stated his credo on political philosophy: "You should criticize power even if you agree with it."^[58] In another interview in June 2011 on the CBS program What's Trending, Fiasco discussed the political content of his music, stating, "My fight against terrorism, to me, the biggest terrorist is Obama and the United States of America. I'm trying to fight the terrorism that's actually causing the other forms of terrorism. You know, the root cause of terrorism is the stuff the U.S. government allows to happen. The foreign policies that we have in place in different countries that inspire people to become terrorists."^[59] He additionally criticized Obama for his stance on the Israeli-Palestinian conflict.^[60] Despite his strong political opinions, Fiasco does not vote in U.S. elections nor does he involve himself in U.S. politics as he believes they are "meaningless."^[58]

Discography[link]

• Lupe Fiasco's Food & Liquor (2006)
• Lupe Fiasco's The Cool (2007)
• Lasers (2011)
• Lupe Fiasco's Food & Liquor II: The Great American Rap Album, Part 1 (2012)^[38][61]
• Lupe Fiasco's Food & Liquor II: The Great American Rap Album, Part 2 (TBA)^[61]
• TBA (with Pharrell Williams) (2012)

See also[link]

• List of awards and nominations received by Lupe Fiasco

References[link]

Bibliography[link]

• Biography Today - Lupe Fiasco (2009). Omnigraphics. Detroit, Michigan. ISBN-978-0-7808-1052-5.

External links[link]

Wikimedia Commons has media related to: Lupe Fiasco

• Official website
• Lupe Fiasco on Twitter
• Lupe Fiasco at the Internet Movie Database
• The People Speak at the Internet Movie Database

Dave Longstreth

Amber Coffman

Angel Deradoorian

Dirty Projectors performing in 2008

Dirty Projectors are an American rock band, consisting of David Longstreth (vocals, guitar, musical direction; born December 17, 1981), Amber Coffman (vocals, guitar), Angel Deradoorian (vocals, keyboard, samples, guitar, bass), Brian McOmber (drums), Nat Baldwin (bass), and Haley Dekle (vocals). They have released seven full-length albums through 2012.

History[link]

Early years (2002–06)[link]

Longstreth's first album, The Graceful Fallen Mango, was released in 2002 under his own name and introduced his distinctive use of song arrangements and his combination of lo-fi and hi-fi production. The album was a project that Longstreth began as a freshman while studying at Yale University.^[1] With the help of Adam Forkner of Yume Bitsu, Longstreth recorded and released The Glad Fact on the Western Vinyl label under the name "The Dirty Projectors." In 2005, the band released The Getty Address, a concept album about musician Don Henley that features extensive orchestral and choral accompaniment. The diverse, stripped-down New Attitude EP followed in 2006 and featured inklings of the band's later vocal interplay and guitar work.

[edit] Rise Above, Bitte Orca and Domino Records (2007-09)

In 2007, the band released Rise Above, an album of Black Flag songs as re-imagined from memory. The album introduced the band's distinctive contrast between Longstreth's vocals and the harmonies of Amber Coffman and Susanna Waiche, who was later replaced by Angel Deradoorian. In support of the album, the band performed songs for a Take-Away Show acoustic video session shot by Vincent Moon.

In April 2008, Dirty Projectors signed with Domino Records, and the label announced the release of their next full-length album, Bitte Orca, for June 9, 2009. That year, the band also collaborated with David Byrne on the song "Knotty Pine" for the compilation album Dark Was the Night produced by the Red Hot Organization. Byrne joined the Dirty Projectors onstage to perform this song, along with "Ambulance Man," another collaborative track not included on the compilation, at the "Dark Was the Night Live" concert at New York City's Radio City Music Hall on May 3, 2009.

“Stillness Is the Move” was the first single released from "Bitte Orca", a West African - R&B influenced hybrid, sung by Coffman and inspired by the Wim Wenders film “Wings of Desire”.^[2]

On May 8, 2009, members of Dirty Projectors collaborated with Björk to perform an original composition by Longstreth, written for five voices and acoustic guitar, as part of a charity concert to benefit Housing Works, a nonprofit organization dedicated to providing shelter for homeless men, women, and children suffering from AIDS. The concert was held at the Housing Works Bookstore & Café in downtown New York City.^[3]

Dirty Projectors were to release a new EP in September 2009 entitled Temecula Sunrise.^[4] While the EP was never released, two of its tracks, "Ascending Melody" and "Emblem of the World," were instead offered for free download on the Dirty Projectors website in early 2010.^[5]

[edit] Mount Wittenberg Orca, Swing Lo Magellan and new musical directions (2010–present)

In June 2010, Dirty Projectors announced the release of Mount Wittenberg Orca, a digital-only EP with Björk. The album, based on the artists' previous collaboration in 2009, was released on June 30.^[6] Mount Wittenberg Orca was released physically by Domino Records in 2011.

Dirty Projectors released an expanded edition of Bitte Orca on September 28, 2010. The double album included live performances, several B-sides, and a Bob Dylan cover.^[7]

On March 30, 2012, Dirty Projectors released the first single from their upcoming album, Swing Lo Magellan, due for release on July 10 in the United States and on July 9 internationally.^[8][9]

Musical style & aesthetic[link]

While often associated with the late 2000s New York indie rock scene, critics have likened Dirty Projectors to musicians from many genres. For example, critics have compared them to New Wave artists David Byrne and Squeeze, pop stars Beyoncé and Mariah Carey, and Progressive rock musicians Frank Zappa and Yes.^[10][11] In a 2009 interview, Longstreth embraced some such comparisons but expressed a strong dislike for classic rock, commenting, "Steely Dan is a band I’m not that into," "I’m not a huge Yes guy," and "Frank Zappa I fucking hate."^[12]