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Desirée Annette Weeks (born 30 November 1968), stage name Des’ree /dəˈsriː/[citation needed], is a British R&B recording artist who rose to popularity during the 1990s. She is well known for her hits: “Feel So High” (for which three different music videos were recorded), “You Gotta Be”, “Life”, and “Kissing You” (from the soundtrack of the film Romeo + Juliet). At the 1999 Brit Awards she received the Brit Award for Best British female solo artist. Des’ree has not released any new material since 2003’s Dream Soldier.
Des’ree was born in South London, England, on November 30, 1968. Her mother is from British Guiana (now Guyana), and her father is from Barbados. She was introduced to reggae, calypso and jazz music by her parents, and Des’ree’s interest in pursuing a musical career followed a two-year trip to Barbados with her family at the age of 11.
With no connections in the music industry, she was signed in 1991 to Sony 550 when her boyfriend sent a demo to the label, and they quickly signed her. Des’ree’s debut single, “Feel So High”, was released in August 1991, a mere 12 weeks after her signing. The single did not initially reach the UK top 40, but hit #13 when it was re-released in January 1992. Her debut album Mind Adventures was released in February 1992. It received good reviews and hit the top 30 in the UK. She spent 1992 touring as the opening act to Simply Red.
In 1993, Des’ree collaborated with Terence Trent D’Arby on the song “Delicate”, which was released as a single and hit the UK top 20 and the US top 100. She ended the year singing with a host of other artists at the first concert of secular music at the Vatican City, on 23 December 1993 and shown on Italian TV. The concert, named Concerto di Natale, has been done with different artists every Christmas on the subsequent years.
In 1994, her single “You Gotta Be” hit the Billboard Hot 100 Top 5, peaking at number 5, and was a hit in the UK three times. “You Gotta Be” became the most played music video on VH1 and remained on the Billboard Recurrent Airplay Chart for 80 weeks.
Following the single’s success, Des’ree’s second album, I Ain’t Movin’, sold in excess of 2.5 million copies worldwide. Her success led to an American tour with Seal in 1995. The following year, she contributed the song “Kissing You” to the soundtrack of the film William Shakespeare’s Romeo + Juliet. She appears in the film singing the song.
In 1997, her song “Crazy Maze” was featured on the soundtrack of the movie Nothing to Lose with Martin Lawrence and Tim Robbins.
In 1998, her single “Life” became a hit in Europe, reaching number 1 in many countries, along with Japan. In 1999, she won a Brit Award for the British Female Solo Artist category. The album from which the single was taken, Supernatural, was also released in 1998 to mostly positive reviews. It was somewhat successful in the UK, but was a commercial flop in the United States. In 2007, Des’ree also notably won a BBC poll for being the “Worst Pop Lyricist Ever” for the single.
In 1999, she sang The Beatles’ song “Blackbird” at a concert in honour of Linda McCartney. At the concert, she met the group Ladysmith Black Mambazo and she collaborated with them on a cover of “Ain’t No Sunshine”, which was released in late 1999. After that, Des’ree disappeared from the public eye and put her music career on hold to study art at college. A compilation of rare songs and live tracks, Endangered Species, was released in 2000.
In 2001 she contributed vocals to the charity single “Wake Up The Morning”, which was released in honour of the death of Damilola Taylor. Billed as Together As One, other contributors to the song were Gabrielle, Andrew Roachford and Courtney Pine. In 2002, she contributed a sung sonnet from William Shakespeare’s The Merchant of Venice to the various artists album When Love Speaks.
Sony released Dream Soldier in 2003. Only one track from the album was released as a single, “It’s Okay”, which peaked in the UK at number 69. The single did not chart in the US. The video was shot in London’s Notting Hill. “Dream Soldier” was not a critical or commercial success. Des’ree was subsequently dropped by her label, Sony/550 Music, following the release of the album in late 2003. She hasn’t released any new music since, although in 2011, Des’ree made a brief comeback to music, singing a lullaby on the sleep therapy CD called Sleep Talk Lullaby, with Julie Langton-Smith.
In 1997, Des’ree’s hit, “Feel So High” was interpolated into the Janet Jackson song “Got ‘Til It’s Gone” from Jackson’s CD The Velvet Rope without due credit to Des’ree as a contributor. The maxi single, however, lists Des’ree and Michael Graves as two of the song’s writers.
“Silent Hero”, written by Des’ree and Prince Sampson, featured in Spike Lee’s film Clockers, “Feel So High”, written by Des’ree and Michael Graves, featured in Set It Off, and “You Gotta Be” featured in The Object of My Affection and The Next Karate Kid.
Des’ree has won several awards, including a Brit Award, an Ivor Novello Award, World Music Award, Urban Music Award and a BMI Award for over five million plays of “You Gotta Be” in America alone. Des’ree also won a BBC poll for “Worst Pop Lyricist” for the 1998 single “Life”, though it went to number 1 in Japan, Spain and several other European countries.
Pop music is a genre of popular music that originated in its modern form in the Western world during the 1950s and 1960s, deriving from rock and roll. The terms “popular music” and “pop music” are often used interchangeably, although the former describes all music that is popular (and can include any style).
Pop music is eclectic, and often borrows elements from other styles such as urban, dance, rock, Latin, and country; nonetheless, there are core elements that define pop music. Identifying factors include generally short to medium-length songs written in a basic format (often the verse-chorus structure) as well as the common employment of repeated choruses, melodic tunes, and hooks.
David Hatch and Stephen Millward define pop music as “a body of music which is distinguishable from popular, jazz, and folk musics”. According to Pete Seeger, pop music is “professional music which draws upon both folk music and fine arts music”.Although pop music is seen as just the singles charts, it is not the sum of all chart music. The music charts contain songs from a variety of sources, including classical, jazz, rock, and novelty songs. Pop music, as a genre, is seen as existing and developing separately.Thus “pop music” may be used to describe a distinct genre, aimed at a youth market, often characterized as a softer alternative to rock and roll.
The Oxford Dictionary of Music states that the term “pop” refers to music performed by such artists as the Rolling Stones (pictured here in a 2006 performance)
The term “pop song” was first recorded as being used in 1926, in the sense of a piece of music “having popular appeal”.However, the term was in mainstream use at least ten years earlier. Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country, blues and hillbilly music.
According to the website of The New Grove Dictionary of Music and Musicians, called Grove Music Online, the term “pop music” “originated in Britain in the mid-1950s as a description for rock and roll and the new youth music styles that it influenced The Oxford Dictionary of Music states that while pop’s “earlier meaning meant concerts appealing to a wide audience … since the late 1950s, however, pop has had the special meaning of non-classical mus[ic], usually in the form of songs, performed by such artists as the Beatles, the Rolling Stones, ABBA, etc”. Grove Music Online also states that “… in the early 1960s [the term] ‘pop music’ competed terminologically with Beat music [in England], while in the USA its coverage overlapped (as it still does) with that of ‘rock and roll'”.
Throughout its development, pop music has absorbed influences from most other genres of popular music. Early pop music drew on the sentimental ballad for its form, gained its use of vocal harmonies from gospel and soul music, instrumentation from jazz, country, and rock music, orchestration from classical music, tempo from dance music, backing from electronic music, rhythmic elements from hip-hop music, and has recently appropriated spoken passages from rap.
It has also made use of technological innovation. In the 1940s improved microphone design allowed a more intimate singing style[13] and ten or twenty years later inexpensive and more durable 45 r.p.m. records for singles “revolutionized the manner in which pop has been disseminated” and helped to move pop music to ‘a record/radio/film star system’.[13] Another technological change was the widespread availability of television in the 1950s; with televised performances, “pop stars had to have a visual presence”. In the 1960s, the introduction of inexpensive, portable transistor radios meant that teenagers could listen to music outside of the home. Multi-track recording (from the 1960s); and digital sampling (from the 1980s) have also been utilized as methods for the creation and elaboration of pop music. By the early 1980s, the promotion of pop music had been greatly affected by the rise of music television channels like MTV, which “favoured those artists such as Michael Jackson and Madonna who had a strong visual appeal”.
According to several sources, MTV helped give rise to pop stars such as Michael Jackson and Madonna; and Jackson and Madonna
Pop music has been dominated by the American and (from the mid-1960s) British music industries, whose influence has made pop music something of an international monoculture, but most regions and countries have their own form of pop music, sometimes producing local versions of wider trends, and lending them local characteristics. Some of these trends (for example Europop) have had a significant impact of the development of the genre.
According to Grove Music Online, “Western-derived pop styles, whether coexisting with or marginalizing distinctively local genres, have spread throughout the world and have come to constitute stylistic common denominators in global commercial music cultures”.Some non-Western countries, such as Japan, have developed a thriving pop music industry, most of which is devoted to Western-style pop, has for several years produced a greater quantity of music of everywhere except the USA.[20] The spread of Western-style pop music has been interpreted variously as representing processes of Americanization, homogenization, modernization, creative appropriation, cultural imperialism, and/or a more general process of globalization. Select subgeneres of pop such as the guitar-driven “Jank” subgenre have consciously reversed the trend toward homogenization by combining elements from world and classical music into more traditional pop structures.
According to British musicologist Simon Frith, characteristics of pop music include an aim of appealing to a general audience, rather than to a particular sub-culture or ideology, and an emphasis on craftsmanship rather than formal “artistic” qualities.[4] Music scholar Timothy Warner said it typically has an emphasis on recording, production, and technology, rather than live performance; a tendency to reflect existing trends rather than progressive developments; and aims to encourage dancing or uses dance-oriented rhythms.
The main medium of pop music is the song, often between two and a half and three and a half minutes in length, generally marked by a consistent and noticeable rhythmic element, a mainstream style and a simple traditional structure.[22] Common variants include the verse-chorus form and the thirty-two-bar form, with a focus on melodies and catchy hooks, and a chorus that contrasts melodically, rhythmically and harmonically with the verse. The beat and the melodies tend to be simple, with limited harmonic accompaniment.The lyrics of modern pop songs typically focus on simple themes – often love and romantic relationships – although there are notable exceptions.
Harmony and chord progressions in pop music are often “that of classical European tonality, only more simple-minded.” and then to the tonic) and blues scale-influenced harmony. There was a lessening of the influence of traditional views of the circle of fifths between the mid-1950s and the late 1970s, including less predominance for the dominant function.
A study in 2012 that examined over 464,000 recordings of popular music recorded since 1955 found “three important trends in the evolution of musical discourse: the restriction of pitch sequences (with metrics showing less variety in pitch progressions), the homogenization of the timbral palette [tone colour] (with frequent timbres becoming more frequent), and growing average loudness levels (threatening a dynamic richness [changes in volume] that has been conserved until today).”[28] It was reported that the study “seems to support the popular anecdotal observation that pop music of yore was better, or at least more varied, than today’s top-40 stuff.”