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A-side and B-side originally referred to the two sides of gramophone records on which singles were released beginning in the 1950s. The terms have come to refer to the types of song conventionally placed on each side of the record, with the A-side being the featured song (the one that the record producer hopes will receive radio airplay and become a "hit"), while the B-side, or flipside, is a secondary song that often does not appear on the artist's LP.

History[link]

The earliest 10-inch, 78 rpm, shellac records were single sided. Double sided recordings, with one song on each side, were introduced in Europe by Columbia Records and by the late 1910s they had become the norm in both Europe and the USA. There were no record charts until the 1930s, and radio stations (by and large) did not play recorded music until the 1950s (when top 40 radio overtook full-service network radio). In this time, A-sides and B-sides existed, but neither side was considered more important; the "side" did not convey anything about the content of the record.

In 1948, Columbia Records introduced the ten- and twelve-inch long-playing (LP) vinyl record for commercial sales, and its rival RCA-Victor responded the next year with the seven-inch 45 rpm vinyl record, which would come to replace the 78 as the home of the single. The term "single" came into popular use with the advent of vinyl records in the early 1950s. At first, most record labels would randomly assign which song would be an A-side and which would be a B-side. (All phonograph (gramophone) records have specific identifiers for each side in addition to the catalog number for the record itself; the "A" side would typically be assigned a sequentially lower number.) Under this random system, many artists had so-called "double-sided hits", where both songs on a record made one of the national sales charts (in Billboard, Cashbox, or other magazines), or would be featured on jukeboxes in public places.

As time wore on, however, the convention for assigning songs to sides of the record changed. Very early into the decade^[which?], the song on the A-side was the song that the record company wanted radio stations to play, as 45 records (or '45s') dominated the market in terms of cash sales. It was not until 1968, for instance, that the total production of albums on a unit basis finally surpassed that of singles in the United Kingdom.^[1] By the early 1970s, double-sided hits had become rare. Album sales had increased, and B-sides had become the side of the record where non-album, non-radio-friendly, instrumental versions or simply inferior recordings were placed.

With the advent of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. At first, cassette singles would often have one song on each side of the cassette, matching the arrangement of vinyl records, but eventually, cassette maxi-singles, containing more than two songs, became more popular. With the decline of cassette singles in the 1990s, the A-side/B-side dichotomy became virtually extinct, as the remaining dominant medium, the compact disc, lacked an equivalent physical distinction. However, the term "B-side" is still used to refer to the "bonus" tracks or "coupling" tracks on a CD single.

With the advent of legal methods of downloading music via the Internet, sales of CD singles and other physical media have declined, and the term "B-side" is now less commonly used. Songs that were not part of an artist's collection of albums are made available through the same downloadable catalogs as tracks from their albums, and are usually referred to as "unreleased", "bonus", "non-album", "rare", "outtakes" or "exclusive" tracks, the latter in the case of a song being available solely from a certain provider of music.

Significance[link]

B-side songs may be released on the same record as a single to provide extra "value for money". There are several types of material commonly released in this way, including a different version (e.g., instrumental, a cappella, live, acoustic, remixed version or in another language/text), or, in a concept record, a song that does not fit into the story line.

Additionally, it was common in the 1960s and 1970s for longer songs by soul, funk or R&B acts to be broken into two parts for single release. Examples of this include the Isley Brothers "Shout" (Parts 1 and 2), and a number of records by James Brown, including "Papa's Got a Brand New Bag" (Parts 1 & 2) and "Say It Loud - I'm Black and I'm Proud (Parts 1 & 2). "Part 1" would be the chart hit, while "Part 2" would be a continuation of the same recording. A notable example of a non-R&B hit with parts 1 & 2 was the single release of Don McLean's "American Pie". With the advent of the 12" single in the late 1970s, the Part 1/Part 2 method of recording was largely abandoned.

Since both sides of a single received equal royalties, some composers deliberately arranged for their songs to be used as the B-sides of singles by popular artists. This became known as the "flipside racket".

On a few occasions, the B-side became the more popular song. This was usually because a DJ preferred the B-side to its A-side and played it instead. Examples include "I Will Survive" by Gloria Gaynor (originally the B-side of "Substitute"), "I'll Be Around" by The Spinners (originally the B-side of "How Could I Let You Get Away"), "Maggie May" by Rod Stewart (originally the B-side of "Reason To Believe"), and "Single Ladies (Put a Ring on It)" by Beyoncé (originally the B-side of "If I Were a Boy"). More rarely, both sides of the single would become hits, such as Queen's "We Are the Champions" and "We Will Rock You".

The song "How Soon Is Now?" by The Smiths started out as the extra track on the 12" of "William, It Was Really Nothing" but later gained a separate release as an A-side in its own right, as did Oasis's "Acquiesce", which originally appeared as a B-side to "Some Might Say" in 1995, but gained subsequent release in 2006 as part of an EP to promote their forthcoming compilation album, Stop the Clocks. Feeder in 2001 and 2005 had the B-sides "Just a Day" from "Seven Days In The Sun", and "Shatter" from "Tumble and Fall" released as A-sides after fan petitions and official website and fansite message board hype, and both charted at #12 and #11 in the UK. In 1986, the first single from XTC's record Skylarking, "Grass", was eclipsed in the United States by its B-side, Dear God --- so much so that the record was almost immediately re-released with one song (Mermaid Smiled) removed and "Dear God" put in its place, becoming one of the band's better-known "hits".

On some reissued singles the A- and B-sides are by completely different artists, or two songs from different albums that would not normally have been released together. These were sometimes made for the jukebox, as one record with two popular songs on it would make more money, or to promote an artist to the fans of another. For example, in 1981, Kraftwerk released their new single "Computer Love", with the B side of "The Model" from their previous album. After "The Model" found popularity, the single was re-released with the sides reversed, and "The Model" hit the UK No. 1 spot, three years after its album release.

Double A-side[link]

A "double A-side" is a single which has two featured songs. This practice was introduced by The Beatles in 1965 for their single "Day Tripper", which appeared on the same single with "We Can Work It Out". The Beatles released a number of other double A-sided singles, namely "Yellow Submarine" backed with "Eleanor Rigby", "Strawberry Fields Forever" backed with "Penny Lane", and "Come Together" backed with "Something".

Some singles have also been designated double A-sides in retrospect, such as Elvis Presley's 1956 "Don't Be Cruel", which appeared on the same single with "Hound Dog"; this was done because both sides became chart hits independently of one another.

In the UK, the biggest-selling non-charity single of all time was a double A-side, Wings 1977 release "Mull of Kintyre"/"Girls' School", which sold over two million copies. It was also the UK Christmas No. 1 that year, the only occasion on which a double A-side has topped that chart.^[2]

Queen released their first double-A-side single "Killer Queen", backed with "Flick of the Wrist", in 1974. However, due to lack of promotion, only "Killer Queen" became a hit, whereas "Flick of the Wrist" was all but ignored. Three years later, they released "We Are the Champions" with "We Will Rock You" as a B-side. Both sides of the single received much radio airplay, which made them sometimes referred to as double A-side. In 1978 they released "Fat Bottomed Girls"/"Bicycle Race" as a double A-side; that time both sides of the single become hits.

Occasionally double-A-sided singles are released with each side targeting a different market. During the late 1970s, for example, Dolly Parton released a number of double-A-sided singles, in which one side was released to pop radio, and the other side to country, including "Two Doors Down"/"It's All Wrong but It's All Right" and "Baby I'm Burning"/"I Really Got the Feeling".

Oasis released "Little by Little"/"She Is Love" as a double A-side in 2002. Many artists continue to release double A-side singles outside of the US where it is seen as more popular. Examples of this include Bloc Party's "So Here We Are"/"Positive Tension" and Gorillaz's "El Mañana"/"Kids with Guns".

Artists having the most U.S. double-sided singles where each side charted in the US Hot 100, according to Billboard:^[3]

NOTE: Perry Como (12) and Nat King Cole (19) both had additional double-sided singles on Billboard's pre-1955 charts.^[4]

Artists having the most U.S. double-sided singles where each side reached the Billboard Top 40, according to Billboard:^[3]

Double B-side[link]

On vinyl, double A-side singles had one song on either side of the record, while double B-sides contain two songs on the same side (on the B-side; altogether giving 3 songs). When such singles were introduced in the 1970s, the popular term for them was "maxi single", though this term is now used more ambiguously for a variety of formats. These would not quite qualify as EP singles - as that is generally 4 songs on a single. The term is also sometimes used in a self-denigrating fashion for a release with no A-side at all, suggesting neither side is of high quality.

Examples include "Styrafoam" / "Texas Chainsaw Massacre Boogie" by The Tyla Gang Gang (1976), and "Jack Rabbit" / "Whenever You're Ready (We'll Go Steady Again)" by Elton John (1973).

Paul McCartney's 1980 single "Coming Up" had a studio version of the song on the A-side, while the B-side contained two songs, a live version of "Coming Up" and a studio instrumental called "Lunchbox/Odd Sox".

Humorous implementations[link]

The concept of the B-side has become so well known that many performers have released parody versions, including:

• The 1988 "Stutter Rap (No Sleep 'Til Bedtime)" by parody band Morris Minor and the Majors featured a B-side titled "Another Boring 'B'-side".
• Parody band Bad News recorded a video b-side to the VHS version of their single "Bohemian Rhapsody" titled "Every Mistake Imaginable" in which the band discusses that they have to record an extra three minutes of footage for the single to be chart eligible.
• Tracey Ullman's hit "They Don't Know" was backed by a song entitled "The B Side" and featured Ullman in a variety of comic monologues, many of which bemoaned the uselessness of B-Sides.
• Paul and Linda McCartney's B-side to Linda McCartney's "Seaside Woman" (released under the alias "Suzy and the Red Stripes") was a song called, "B-Side to Seaside."
• The single "O.K.?" based on the TV series "Rock Follies of '77" contained a song called "B-Side?" which featured Charlotte Cornwell tunelessly singing about the fact that she is not considered good enough to sing an A-Side.
• The B-side of the single "They're Coming to Take Me Away Ha-Haaa!" by Napoleon XIV was called "!aaaH-aH ,yawA eM ekaT oT gnimoC er'yehT" and the singer billed as "NOELOPAN VIX". It was the A-side played in reverse; in fact, most of the label affixed to that B-side was a mirror image of the front label (as opposed to being spelled backwards), including the letters in the "WB" shield logo.
• Blotto's 1981 single "When the Second Feature Starts" features "The B-Side," a song about how bad B-sides are compared to A-sides.
• Love and Rockets' novelty side project The Bubblemen released only one single in 1988, "The Bubblemen Are Coming" coupled with "The B-Side," which is a field recording of bees.
• The Wall of Voodoo 1982 12" EP Two Songs by Wall of Voodoo has the 10-minute joke track "There's Nothing On This Side" on the B-side.
• Metric released in 2008 single "Help, I'm Alive" with a b-side "Help, I'm a B-side".
• Three Dog Night's 1972 single "Shambala" featured "Our 'B' Side", about the group wishing it could be trusted to write their own songs for single release. It is most notable as the only TDN single written and produced by the whole group, and features family members on background vocals.
• Dickie Goodman's 1974 release, "Energy Crisis '74", featured "The Mistake" as the B-side. "The Mistake" is simply a false start of the A-side, with Goodman saying, "Hello, we're...", followed by two minutes of silence.
• The Pearl Harbor and the Explosions song, "You Got It," was backed by "Busy Little B Side," also found on the Warner Brothers 2-LP sampler, "Troublemakers."
• The B-Side of BA Robertson's 1979 single "Goosebumps" is entitled "The B-Side" and contains lyrics from the song's point of view. The lyrics describe the song as being "The back of a hit" and "Real popular after the war" which can be said to relate to the domaninance of the 45 RPM single after this time and the change of significance of the A-Side and the B-Side after this time. This track also opens side two of BA Robertson's album "Initial Success"

Additionally, Shonen Knife released an album called The Birds & the B-Sides in 1996. Later, Relient K released The Bird and the Bee Sides in 2008. Neither are related to one another, but both albums' names are a play on an idiom, "the birds and the bees", and the term B-Side. In fact, both recordings also include many B-Sides, as their respective name would suggest.

B/W[link]

The term "b/w", an abbreviation of "backed with" or occasionally "bundled with", is often used to refer to the B-side of a record. The term "c/w", for "combined with" or "coupled with", is used similarly.^[5]

B-side compilations[link]

References[link]

General

Specific

Jerry Hsu

Personal information
Nickname(s)	The Asian Elvis[1]
Nationality	United States
Born	(1981-12-17) December 17, 1981 (age 30) San Jose, California, United States
Residence	San Jose, California
Sport
Country	U.S
Sport	Professional skateboarding

Jerry Hsu (pronounced Hu Suey) (born December 17, 1981, in San Jose, California) is a professional skateboarder. His parents are both immigrants from Taiwan.^[2]

Biography[link]

At the age of nine, Hsu began recording himself skateboarding, for the purpose of discovering what his skateboarding really looked like. He rode for Maple with Louie Barletta, Chad Bartie, Chad Night, and others in the early 2000's (see Rodney Mullen with Marc Johnson). This footage has been featured on the internet show, "Epicly Later'd".^[3]

Hsu is featured in Enjoi's skateboarding video, for which he won an award for best video part by Transworld Skateboarding magazine, in addition to a readers' choice award.^[4][5] Hsu also has his own promodel shoe with Emerica, the Hsu.

He is featured as a playable character in the skateboarding video game EA Skate, as well as its sequels.

He expresses interest in photography, and contributes work to Vice magazine.^[6] In September 2010 he exhibited a body of photographic work at the Steinsland Berliner Gallery in Stockholm under the title Vatican Gold alongside artists Ed Templeton, Kevin Long and Jonnie Craig.^[7]

Sponsors[link]

Hsu's sponsors include Emerica shoes and apparel, Enjoi skateboards, CCS, Royal trucks, Mob grip tape, Ricta wheels, and Bones bearings.

External links[link]

• Jerry Hsu biography
• About Jerry Hsu
• Jerry Hsu's photography at Nofound to New Documents

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This article has multiple issues. Please help improve it or discuss these issues on the talk page. This biography of a living person needs additional citations for verification. Tagged since April 2011. The notability of this article's subject is in question. If notability cannot be established, it may be listed for deletion or removed. Tagged since August 2009. Very few or no other articles link to it. Please help introduce links to this page from other articles related to it. Tagged since August 2009.

Braydon Szafranski (born October 3, 1983; Las Vegas, Nevada) is an American professional skateboarder.

He began skating at the age of 14 in Las Vegas, Nevada, and was featured in Baker 3, This is Skateboarding, Baker has a Deathwish, and Stay Gold.^{[citation needed]}

He won the best rookie award at the 2007 TransWorld Skateboard Awards.^[1]

References[link]

Further reading[link]

• Boarders psyched for skate-friendly city

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Mason W. Bates (born January 23, 1977)^[1] is an American composer of symphonic music. Distinguished by his innovations in orchestration and large-scale form,^{[citation needed]} Bates is best known for his expansion of the orchestra to include electronics. One of the most-performed^{[citation needed]} composers of his generation, he has worked closely with the San Francisco Symphony and currently holds the position of composer-in-residence with the Chicago Symphony.

Life[link]

Bates was raised in Richmond, Virginia, where he attended St. Christopher's School. He graduated from the Columbia University-Juilliard School Exchange Program, with a BA in music composition and English literature, where he studied with John Corigliano, David Del Tredici, and Samuel Adler. He graduated from the University of California, Berkeley with a PhD in composition in 2008,^[2] where he studied with Edmund Campion.^[3] He was a DJ and techno artist, in Oakland, California.^[4]

Notable works include "Liquid Interface," a water symphony commissioned by the National Symphony; "The B-Sides," a symphonic suite commissioned by the San Francisco Symphony; and "Rusty Air in Carolina," a pastoral work commissioned by the Winston-Salem Symphony. He has worked closely with conductors such as Leonard Slatkin, Michael Tilson Thomas, and composer/conductor John Adams.

In 2010, Bates was commissioned to write for the YouTube Symphony Orchestra 2011, an ensemble composed of musicians from around the world. His piece Mothership was performed by the London Symphony Orchestra and went on Youtube on October 11, 2010. The piece is a mixture of acoustic and electronic elements and features sections for improvisation.

He is currently the composer in residence for the Chicago Symphony Orchestra.^[5]

Awards[link]

• 2010-12 Chicago Symphony's Mead composer in residence.^[6]
• 2007-2010 Young American Composer-in-Residence for the California Symphony^[7]
• 2008 Guggenheim Fellowship^[8]
• 2008 Van Cliburn American Composer Invitational First Prize
• 2004 Rome Prize
• 2005 American Academy in Berlin Prize^[9]
• Charles Ives scholarship
• American Academy of Arts and Letters fellowship
• Jacob Druckman Memorial Prize from Aspen Music Festival
• Tanglewood Music Center Fellowship

Symphonic Works[link]

• "The B-Sides," for orchestra & electronica
• "Desert Transport," for orchestra
• "Liquid Interface" ^[10][11][12]
• Silicon Blues," for orchestra
• "Rusty Air in Carolina", for orchestra & electronica
• "White Lies for Lomax" ^[13]
• "Music from Underground Spaces," for orchestra & electronica
• "Omnivorous Furniture," for sinfonietta & electronica
• "Ode," prelude to the Beethoven 9th for orchestra
• "Sonic Panoply," fanfare for orchestra

Chamber/Vocal Works[link]

• "From Amber Frozen," for string quartet
• "Red River," for violin, clarinet, cello, piano, & electronics
• "String Band," for piano trio
• "Digital Loom," for organ and electronics
• "White Lies for Lomax," for piano solo
• "The Life of Birds," for flute, clarinet, violin, and cello
• "Siren," for chorus

References[link]

External links[link]

• Artist's website
• “Rusty Air in Carolina” for orchestra & electronica (2006; 1.25 mb)

Jonathan "Jon" Lajoie (born August 21, 1980) is a Canadian comedian, actor, rapper, singer, musician and Internet celebrity from Montreal, Quebec.^[1]

Background[link]

Lajoie was born in Saint-Hubert, Quebec, Canada and raised in Montreal, Quebec. His father is French-Canadian and his mother is English-Canadian. He graduated from Dawson College's theatre program in 2001.^[2] Since 2003, he has acted as an English-Canadian musician named Thomas Edison in Radio-Canada's French-Canadian sitcom L'auberge du chien noir.^[3]

Career[link]

Jon Lajoie began his career as a comedian in 2007. Lajoie's performance included music, skits, and some stand-up comedy. Jon Lajoie has also released 2 studio albums.

[edit] The League

Lajoie currently has a role in the FX Network TV show called The League as Taco MacArthur, a perpetually stoned and unemployed musician.^[4] Lajoie performs his song "The Birthday Song" and "Vaginal Hubris" in two episodes of the first season. Throughout the series, Lajoie performs songs written specifically for the show.

[edit] Comedy Central Presents

Jon Lajoie filmed an episode of Comedy Central Presents on November 7, 2009.^[5] It premiered on March 5, 2010.^[6] The same special aired uncensored as part of Comedy Central's Secret Stash on June 6 at 1:30 AM (EST). The special featured the world premiere of the video for his song "Pop Song".

Discography[link]

Studio albums[link]

Singles[link]

• "Very Super Famous" (2011)
• "The Best Song" (2011)
• "F**k Everything" (2011)

Music videos[link]

References[link]

External links[link]

• Official website
• Jon Lajoie's channel on YouTube
• Jon Lajoie on Myspace
• Lajoie on Funny or Die
• Jon Lajoie at the Internet Movie Database
• The Lance – Jon Lajoie's transition from online to stage, Dec. 3, 2008
• Jon Lajoie Conquers web with Coarse Songs – AOL Music