117 Sentences With "elevator music" | Random Sentence Generator

Sounds like actual elevator music and your delivery is pretty nice.

The company bought Muzak, known for its elevator music, from bankruptcy in 2011.

Rather than shouting slogans, they played tranquil elevator music out of a PA system.

The surreal sound of elevator music drifted across the internet: A jazz band was performing.

Other than a soundtrack of tinny techno beats crossed with elevator music, there's no sound.

It was a sharp contrast with the elevator music version of Honduran society the permanent exhibitions presented.

We've all been on calls on which you hear random background noise, from babies crying to elevator music.

In another TikTok video, set to soothing elevator music, Dr. Rose Marie Leslie demonstrates proper handwashing: Wet hands.

No, the song's tracking includes a steady bass beat that suggests smooth jazz at best, elevator music at worst.

The bathhouse journey begins in a white lobby with a big skylight; elevator music tinkles innocuously in the background.

First they invented the running man challenge, then they began elevator music-making in the new of recruitment. Now?

GIFs could become the new elevator music, thanks to an experimental installation at the Museum of the Moving Image.

The elevator reduces that to just 40 minutes—although, 40 minutes of elevator music could actually feel like an eternity.

Primed by staticky elevator music and the ever-mysterious agitating echo, most of us come into calls with strained patience.

The thing is, all I can imagine Trump listening to is, like, elevator music or audiobooks of his own voice.

It's like a Beatles song that you can no longer hear the brilliance of because it's been turned into elevator music.

This is a welcome reprieve from the generic "elevator music" or radio playbacks that assault our ears in department stores and retail chains.

And then there's Nite-Listz, where lists of things like cocktail names (real and fake, of course) appear, set to sleepy elevator music.

He delivered this invisible vision to Ben Gorham, who runs the fragrance house Byredo, and together they produced a scent called Elevator Music.

In the past, we have been at the mercy of 800 numbers and the endless elevator music as we wait for a human voice.

If AI is currently good enough to make jingly elevator music like the clip above, how long until it can create a number one hit?

I didn't peg 2017 for the year that elevator music would be making its comeback, but if this is how it happens, consider me on board.

My mother's music taste can be hit or miss: One day she's bumping some obscure Bootsy Collin's track, and the next day she's playing lame elevator music.

"We came up with the concept of elevator music because we both grew up in the '90s," Mr. Gorham said, speaking by phone while traveling in Dubai.

Betty LaFrance, who was not one of Gordon's students but always insisted on speaking to him, brought a radio from her cell and played elevator music as she crafted.

Playlist: "Elevator Music" / "Where It's At" / "Dark Star" / "We Dance Alone" / "Hell Yes" / "Hollywood Freaks" / "Hotwax" / Pretty much all of The Information Spotify | Apple Music You're in your feelings.

On June 27, the Unicode Consortium will release 72 new emojis to the public, all of which you can peep in the elevator music-bedded video from Emojipedia above.

We don't mean to harp on the harp, but let's face it: outside of a very niche audience, its saccharine sounds are at best a particularly dull choice of elevator music.

Jayson Musson has produced a maudlin elegy for victims of state violence; you gaze at a night sky and constellations appear, labeled with names of the dead, while elevator music plays in the background.

The video-art piece takes viewers on the same journey as the workers—even including the sound of the Malaysian elevator music—offering a sense of the long rides down into the cavernous underground network.

Conceptual scents are having a moment right now — from Glossier You to Byredo's new collaboration with cool-kid favorite fashion label Off-White, called Elevator Music — but Avestan's offerings seem a bit more cryptic than most.

We've all sat on the phone listening to elevator music for 10 minutes only to find out that the next appointment to see a specialist is in approximately three months smack in the middle of the work day.

Mr. Buttigieg, hoping to supplant his rivals as the most viable center-left choice, has often leaned on tone as much as substance — Democratic elevator music, some critics suggest — presenting himself as broadly palatable to less ideological voters.

As an undergraduate at what is now Drexel University in Philadelphia, he had perfected an efficient system for playing music in elevators and planned to market it commercially until his father intervened, insisting that the elevator music industry was controlled by organized crime.

Although he may not have been a direct participant in the scene, it's not hard to draw a line between Ariel Pink's recycling of cheesy older sounds and vaporwave, a new genre based entirely around reinterpreting corporate elevator music and forgotten adult-contemporary tracks.

According to Elevator Music: A Surreal History, by its heyday in the 23s and 280s, muzak was everywhere: trickling out of megaphones at a Nixon inauguration, calming cattle in slaughterhouses and astronauts on their way to the moon, keeping missile operators awake and alert in underground nuclear silos.

"Hard to Say Goodbye" begins sounding like what can only be described as elevator music, only to morph into a bright, sunny thing that sounds like Daft Punk if they went on vacation to somewhere with a beach and deck chairs and sipped on cocktails with umbrellas in them.

The first number heard — which is described by a radio disc jockey as "the latest tune that all the hip youngsters are grooving to" — is called "The Wind in Your Hair," and it's a polyphonic caress of a song that you could imagine having a future as elevator music.

The range of music on display begins with excerpts from Erik Satie's "Vexations" (a single page of musical notation meant to be played 840 times) from around 1893, through Steve Reich "Clapping Music for Two Performers" from 1972, up to Mr. Meyers's own "Elevator Music," a 2016 piece that will be performed live in the Witte de With elevator by a cellist.

Kaveh Rastegar: I think that regardless of your feelings about the music that was in La La Land [in which Rastegar played the bassist of John Legend's character's band], I really enjoyed the questions that came up in the film, especially during the conversation between Ryan Gosling and Emma Stone's characters about her perception of what she always thought jazz was ["relaxing" elevator music].

Fast "sex in the elevator" music in the final minutes of the episode means someone's making out, or a lot of people are going to look at each other like they want to make out, and Grey's doesn't disappoint —Webber realizes his daughter and DeLuca are hooking up (MVP expression of the night), Penny and Callie kiss in a stairwell, and Meredith realizes she doesn't want to be alone (which she hasn't really been since season two, but that's not important).

Grace Digital has adapted its devices to be used in a business environment, most notably for music on hold and overhead in-store music, also known as elevator music.

The band’s fourth original album Lyftutónlist (lit. Elevator Music) was released on September 18 2020. Recording and mixing by Styrmir Hauksson, mastering by Glenn Schick and cover design by Sigríður Ása Júlíusdóttir.

Easy listening music is often confused with elevator music ("Muzak"), or lounge music, but while it was popular in some of the same venues it was meant to be listened to for enjoyment rather than as background sound.

Joseph Lanza: Elevator Music: A Surreal History of Muzak, Easy-Listening, and Other Moodsong. Publisher: Quartet Books (1995) , Joseph Lanza: The Coctail. St. Martin's Press (1995) Their version of Mason Williams' Classical Gas was co- charted in Canada with the Williams version. They reached #2.

Later, Merton featured on the Viva Top 100 and VIVA elevator music. Beginning in May 2017, "No Roots" is used as the soundtrack for an official commercial of Vodafone Germany. On 12 April 2018, Merton performed the song live during the German Echo Music Prize.

The Fibonaccis' music was nearly impossible to categorize, fusing such disparate elements as post- punk, progressive rock, jazz, world music, cabaret, ambient, spoken word and funk, a combination one newspaper critic described as "elevator music from hell".Spurrier, Jeff. Fibonaccis are Rota Rooters Los Angeles Times. June 27, 1982.

Guy Lombardo (1902–1977)During the great depression in Canada, the majority of people listened to what today would be called swing (Jazz)Lanza, Joseph. (1994). Elevator Music: a Surreal History of Muzak, Easy- Listening, and Other Moodsong. New York: St. Martin's. . just as country was starting its roots.

Trüby Trio are a German band specialising in nu jazz and broken beat.TRUBY TRIO, Elevator Music - Boomkat Founded in 1997 by Rainer Trüby, Roland Appel and Christian Prommer, their Latin-influenced sound,BBC - collective - truby trio 'elevator music' integrating bossa nova and flamenco styles, saw the band become pioneers of the nu jazz sound.RA: Truby Trio - Retreated - Album Review Their early remixes of artists such as Nitin Sawhney led to the band's own releases on the Compost Records label,[ Trüby Trio] at Allmusic with their own work being subject to remixes by artists including Tiefschwarz, Louie Vega and Señor Coconut.[ Retreated] review at Allmusic The band were asked to compile the DJ-Kicks: Trüby Trio album in 2001,Epitonic.

For some odd reason the CD version listed "Elevator Music" and "The Nothing" as combined songs, while on the vinyl they are actually on different sides of the record). The CD omits "Elevator Music", which is a dark ambient interlude intended to split the album in half (finish the A side in the case of the vinyl). "Prelude to an Epic" was combined with "Flowers for Ingrid" on the CD, though this time the songs are both intact. The album featured a multitude of film references, including the intro from "She's a Movie Produced Masterpiece" being taken from Back to the Future (1985) and an intro and outro from "Champagne and Sleeping Pills" from The Shining (1980).

The phrase "everybody in denial" was a play on "everybody in khaki" which was a Gap TV ad campaign at the time. The video begins with bland, generic, elevator music being played. There are shots of sweatshop workers (UNITE! union members playing themselves) at their tables, against a white backdrop.

Elevator music (also Muzak, piped music, or lift music) is a more general term indicating music that is played in rooms where many people come together (that is, with no intention whatsoever to listen to music), and during telephone calls when placed on hold. There is a specific sound associated with elevator music that usually involves themes from "soft" popular music or "light" classical music being performed by slow strings. This type of music was produced, for instance, by the Mantovani Orchestra, and conductors like Franck Pourcel and James Last, peaking in popularity around the 1970s. The term can also be used for kinds of easy listening, piano solo, jazz or middle of the road music, or what are known as "beautiful music" radio stations.

The two stations would simulcast for ten days. The station changed to the current WWFW call sign on June 2, 2014. On June 20, 2014, at 10:39 pm, after stunting for an hour and a half with music similar to that of call holding or elevator music, WWFW launched an Adult Contemporary format, branded as "The New Soft Rock 103-9".

The "Standard" drum set of the Roland SC-7 (or other similar Roland product) can be recognized in various (low-budget) television or music productions. The SC-7, along with other Roland Sound Canvas products are one of the popular choices of MIDI instruments used to generate instrumental elevator music, as well as MIDI-based background music for various television test pattern sequences.

WMIK-FM is a radio station in Middlesboro, Kentucky along with its flagship station, WMIK-AM. At 92.7 MHz it broadcasts 24 hours a day. Originally owned by the Cumberland Gap Broadcasting Company, Incorporated, the station went on the air in 1971 only after years of trying to procure a license. In the early years the station played easy listening, and elevator music.

Overseas it peaked at number 29 in the United Kingdom, and charted highly throughout the world. Numerous recordings have been used in films, sometimes as an elevator music cliché. It is believed to be the second most recorded pop song in history, after "Yesterday" by The Beatles. The song was inducted into the Latin Grammy Hall of Fame in 2001.

As of October 19, 2020, the channel has over 13,000 videos with over 500 million views. In late 2019, a new art gallery called Gallery Aferro featured an exhibit titled “Elevator Music 6: SiIvaGunner,” curated by Juno Zago. An auditory exhibit, it was a collection of SiIvaGunner remixes of classic and new video game music played inside an early-1900s refurbished Otis Elevator.

The music video for the song was directed by Jesse Peretz and won the Grammy Award for Best Short Form Music Video in 2001. The music video for the song takes place on a commercial airliner, parodying the movie Airplane!, and by extension, the films Airport 1975 and its sequel Airport '77. The background elevator music is The Moog Cookbook's version of "Everlong".

WGY-FM first signed on in 1966 with an easy listening format under the moniker Whirl and the call letters WHRL. The easy listening format lasted in some form or another for much of the next two decades, evolving to a soft adult contemporary approach in 1987. Listeners of the station prior to '87 recall WHRL being an "elevator music" station.

Critical reception for the album has been mixed. At Metacritic, which assigns a rating determined by a "weighted average" of reviews from mainstream critics, the album received a score of 48 out of 100, based on 15 reviews, indicating "mixed or average reviews". Most critics noted the lack of harder songs on the album and its "slow, elevator-music-style tempo".

Graeme John Koehne (born 3 August 1956), is an Australian composer and music educator. He is best known for his orchestral and ballet scores, which are characterised by direct communicative style and embrace of triadic tonality. His orchestral trilogy Unchained Melody, Powerhouse, and Elevator Music makes allusions to Hollywood film score traditions, cartoon music, popular Latin music and other dance forms.

"Nancy Boy" was released in the UK on 20 January 1997 through Hut/Elevator Music, from their debut album Placebo. The single became an unexpected success, going straight to number four in the UK Singles Chart upon its release. The band were booked to perform the track on Top of the Pops, performing on it on 31 January 1997. On 18 May 1997, the band performed "Nancy Boy" and "Teenage Angst" on Jools Holland.

The band members often wore red, terraced Energy dome hats as part of its stage outfit. The dome was first worn during the band's Freedom of Choice campaign of 1980. It reappeared in the 1981, 1982, and 1988 tours, as well as in most of their performances since 1997. Devo also recorded two albums of their own songs as elevator music for their fan club, Club Devo, released on cassette in 1981 and 1984.

One attendee, donated $5 to have the elevator between ship levels play bad elevator music; another donated $60 to "summon" a Vaasi war mech. All told, the event raised $2,500 to benefit the Shriners Hospitals for Children. Blue Devil Games ran a successful Kickstarter campaign to relaunch the setting using the Fate Core rules from Evil Hat Productions. The campaign ended on October 15, 2013 with 884 backers pledging a total of $28,138.

In her review for Dayton Daily News, Lisa Knodel believed the album is a "delight" for fans of the band and went so far to call it "groundbreaking". She thought Groupe's arrangements "create drama, painting a musical landscape for the mind and moving from moments of inner peace and chaos" which helped the group avoid creating "elevator music". Knodel picked "Magnification", "We Agree", and "Give Love Each Day" as stand out tracks.

The FM Squared satellite audio format was developed in 1986 by Wegener Communications and Subcarrier Systems (later SpaceCom Systems, Inc.). FM Squared is a method of transmitting analog satellite audio where video would normally be transmitted on a satellite transponder. FM Squared was once used to distribute Muzak and similar "business" music (sometimes referred to as elevator music) to retailers. FM Squared audio receivers tune a frequency range of 100 kHz to 9 MHz.

Originally owned by Makati Broadcasting Network, it began broadcasting in 1980 as DZFX 101.1. It played classical music and elevator music (at that time, they competed against non- commercial 98.7 DZFE) until October 11, 1985, and a few minutes before 12 noon, it played its last song, a Mozart piece, just before the top of the hour. A five-second silence ensued, and the production launch presentation was played saying goodbye to DZFX and saying hello to Kiss FM.

For her to do "elevator music", as she called it, was a great surprise to the young audience. Joe Smith, the president of Elektra, was terrified that the albums would turn off the rock audience. The three albums together sold over seven million copies and brought Riddle back to a young audience during the last three years of his life. Arrangements for Linda Ronstadt's What's New (1983) and Lush Life (1984) won Riddle his second and third Grammy Awards.

That fact possibly makes her, as a singer, a parody of Cyndi Lauper, because of Lauper's hit "Girls Just Want to Have Fun", and because both of them were famous singers in the 1980s (Linda fictionally). Her single is used as elevator music throughout the series. Her surname is not consistent throughout the series; in at least one episode, Candace refers to her as "Linda Flynn". She is based on Dan Povenmire's sister, also named Linda.

Beautiful music (sometimes abbreviated as BM, B/EZ or BM/EZ for "beautiful music/easy listening") is a mostly instrumental music format that was prominent in American radio from the late 1950s through the 1980s. Easy listening, light music, mood music, elevator music, and Muzak are other terms that overlap with this format and the style of music that it featured. Beautiful music can also be regarded as a subset of the middle of the road radio format.

During this time Muzak became a franchise operation, with local offices each purchasing individual rights to the music, delivery technology, and brand name for their geographic areas. The company changed hands several times, becoming a division of the Field Corporation in the mid-1980s. Through the 1980s and 1990s, Muzak moved away from the “elevator music” approach, and instead began to offer multiple specialized channels of popular music. Muzak pioneered "audio architecture", a process of designing custom music playlists for specific customers.

Several critics have positively reviewed the song "Gitchee Gitchee Goo" from the episode, stating that it "could probably have gotten radio play 20 years ago." Disney as well enjoyed it enough to ask the creators to write songs every episode. The song has since then made brief appearances in later episodes, either in "elevator music" form or as the song itself. The song was featured as an extended version on the album Disney Channel Playlist, which featured multiple songs from different Disney Channel artists.

It often accompanies singing in Guarani or Spanish or a mixture of the two and is played mostly by men. Traditionally women did not play at all until the late 20th century: Guarani traditions prohibited women from playing music for religious reasons. There is no traditional percussive accompaniment. Accomplished male harpists ventured out of Paraguay in the 20th century, mostly to Europe, Japan and, on occasion, the Middle East, greatly modifying musical styles to include western influences including classical harp, jazz and “elevator music”.

The television station, with a tower on Mount Greylock, was later sold and eventually evolved into WCDC-TV, a satellite station of WTEN in Albany, New York. The radio station is currently owned by WBRK, Inc. It airs a soft adult contemporary (a contemporary form of easy listening without "elevator music") music format, The station was assigned the WBRK call letters by the Federal Communications Commission. In addition to its usual music programming, WBRK formerly carried New York Yankees games, as well as local sports broadcasts.

"Theme from A Summer Place" is frequently used as period background or soundtrack music in films and television programs set between 1959 and the mid-1960s. The theme has also become a ubiquitous representation of "peaceful music" and has been employed frequently in films, television shows and other popular culture to suggest peacefulness or in situations where inoffensive music is common (e.g. as stereotypical "elevator music"). It is also used for intentionally stereotypical comic effect when a show cuts away from a scene deemed to be too violent to display and shows peaceful images instead.

Original station call letters were WFHR-FM, which signed on August 1, 1946, at 104.7 MHz, moving to the present position of 103.3 MHz, October 1948, simulcasting its AM sister station. In early January 1968, the call letters WWRW were assigned, with a Beautiful/Easy Listening music format in place within a few weeks. WWRW still simulcasted some programming, including major news blocks with WFHR-AM through the early 1970s. In early August 1975, the elevator music format was abandoned for Drake-Chenault's "Hit Parade", later "Contempo 300", an Adult Contemporary format.

World Trade Center's twin towers used skylobbies, located on the 44th and 78th floors of each tower Passenger elevators may be specialised for the service they perform, including: hospital emergency (code blue), front and rear entrances, a television in high-rise buildings, double-decker, and other uses. Cars may be ornate in their interior appearance, may have audio visual advertising, and may be provided with specialised recorded voice announcements. Elevators may also have loudspeakers in them to play calm, easy listening music. Such music is often referred to as elevator music.

Shortly after adopting the new music format the station call letters were changed to WYNY. The station was now primarily competing against WKTU (now WNYL). Ratings were fair at best and by the end of 1978, after toying briefly with an all-Beatles format, WYNY evolved to a MOR format featuring Frank Sinatra, The Carpenters, Elvis Presley, Barry Manilow, Tony Bennett, Neil Diamond, Elton John, Carly Simon, and Billy Joel among others. They were an easy listening station without all the elevator music heard on WRFM or WPAT-AM-FM.

Robin Beanland, the game's third composer, only wrote the elevator music that can be heard in certain levels. All the sound effects were created by Norgate and a lot of effort was put into combining and permuting sounds in different ways to give the game a satisfying feel. According to Hollis, whenever the player shoots a gun, up to nine different sound effects will randomly trigger. When the game was reviewed by Nintendo shortly before it was released, the company was slightly concerned about the amount of violence and gunplay.

Some levels begin in lifts and feature transitions from elevator music to full soundtracks, which Gerstmann cited as an illustration of the game's attention to detail. The gameplay was highlighted for its depth and requiring more stealth and intelligence than earlier first-person shooters. IGN's Doug Perry called GoldenEye 007 an immersive game which "blends smart strategy gameplay with fast-action gunmanship". Similarly, Greg Sewart of Gaming Age remarked that players have "a bit of freedom as to what they want to do in any given situation, and what order the directives are completed in".

The sound effects were created by Tom Puttick and Phil French of Cedar Studios (with Shaw being the Audio Director) using an Audient ASP880 pre-amplifier, which facilitated the conversion of the two-channel setup into a 10-channel setup. Two Point Studios gave Cedar Studios a brief for the music that enabled them to create "elevator music with a jukebox feel". Ambient tree sound effects were recorded in Guildford, Surrey, river sounds in Scotland, and waves on a beach in Spain. Other background sounds were recorded in a hospital.

Prior to the release of the first FNS album, she produced and animated Santigold's husband Trevor Andrew aka Trouble Andrew's "I Think I Know You" video which premiered in 2015 through Elevator Music Magazine. Additionally, Trouble Andrew played one of his only live shows in 2015 at Baltimore venue "The Crown" which featured a 9 band bill in one evening. Fun Never Starts and a special guest appearance by Spank Rock. After self-releasing "United States of Akrasia" on cassette and bandcamp in 2016, she went through temporary musical lineups for her live shows.

New contests include a Halo 2 tournament and a competition to design a "Gamertile" (an avatar icon). The design for the website employs flash animation of a Bonsai tree and bland elevator music to create a serene environment that is punctuated by visually intense psychedelic episodes involving the host rabbits. October 2005 saw the launch of "Hex168" ( 168 is 360 in hexadecimal), another viral marketing campaign commissioned by Microsoft and executed by the Marden-Kane advertising agency. On October 13, 2005, members of the TeamXbox forums were directed to the Hex168.

Their fifth album, Elevator Music, was released in 2015, with an initial digital release to followed by a multi-format physical release. Two singles were released from this, "That Generation That Nobody Remembered", backed with a virtual reality music video for the Oculus Rift; and "Beyond the Radio Horizon", the video for which used YouTube's new 360 degree functionality. The band released their sixth album, Juniverbrecher, digitally on July 23, 2017, the anniversary of the Brexit referendum, described by the band to be about banishing the "Jimmy Savile/Mr. Punch/Brexit" demon.

Beautiful music was a mostly- instrumental music format that was prominent in American radio from the 1960s through the 1980s. "Mood music", "easy listening", "elevator music" and (inaccurately) "Muzak" are other common terms for the format and the style of music that it featured. In the Fairfax, Virginia, Art Kellar was an owner of WEEL an AM radio station, licensed to Fairfax which was one of the Washington, DC area's major top 40 stations in the late 1960s and early 1970s. Kellar acquired control of an FM station nearby, and went on the air with WEZR, licensed to Manassas, Virginia.

Initially they were an easy listening station without anything that would be classified as "elevator music". At this point, the station played music from such artists as Barbra Streisand, Frank Sinatra, the Carpenters, Dionne Warwick, Kenny Rogers, Tony Bennett, Andy Williams, Barry Manilow, Simon & Garfunkel, James Taylor, and the Stylistics. The station also played softer songs from such artists as Elton John, Elvis Presley, the Beatles, the Everly Brothers, the Righteous Brothers and Billy Joel. The station wouldn't play any new music except for new songs by artists that were familiar to listeners of the station.

The albums feature contributions by Phoebe Katis, Antwaun Stanley, Michael Bland, Sonny T., Ben Rector, Jon Batiste, Louis Cato, Nate Smith and others. In 2020, Wong released his fourth solo album, Elevator Music for an Elevated Mood, which he called a continuation of his third album. Wong has performed with Dave Koz, Metropole Orkest, Stay Human, the house band of The Late Show with Stephen Colbert, and with Chris Thile's band on the radio program Live from Here. He has toured in the United States and Europe in support of his solo albums, and with Vulfpeck.

Serra was one of the four performers in the premiere of the Steve Reich piece Pendulum Music on May 27, 1969 at the Whitney Museum of American Art. The other performers were Michael Snow, James Tenney and Bruce Nauman. Hand Catching Lead (1968) was Serra's first film and features a single shot of a hand in an attempt to repeatedly catch chunks of material dropped from the top of the frame.UbuWeb Film: Hand Catching Lead (1968) He also co-produced the 1973 short video Television Delivers People, a critique of the corporate mass media with elevator music as the soundtrack.

It was 816-576-7104, but the 576-7xxx system worked in the 913 area code too, covering both Missouri and Kansas-based stations in the Kansas City metro area. Previously, the only way many FM radio station owners could make a profit was to lease ten percent of the signal out for a subsidiary communications authority (SCA) channel. Muzak was a huge customer, using FM stations to broadcast "elevator music" to banks, restaurants and stores. Mark Wodlinger recognized the value of this service, and brought AgReports to Kansas City, using the 103.3 subcarrier of KPRS by contract.

After winning a state government youth music initiative, Raspberry Cordial released Taste Test on CD in 1993. One of its tracks, "University Elevator Music", is available for download in MP3 format from Triple J (see here). Raspberry Cordial broke up after their second release, following negative comments made by Safran's then-girlfriend. In June 2003 on ABC1 TV show, Enough Rope, Safran told the host, Andrew Denton, that "I just wanted to be a rapper, and I tried pretty damn hard... the world wasn't ready for white rappers then" and that they "broke down the wall that Eminem's been able to walk through".

ARH sprang out of the techno culture of the early nineties. Initially, the project was embraced by techno media. In reviewing ARH's first international release, Dom Phillips of Mixmag wrote, > imagine techno, yet constructed with burps, old samples and rocking through > a gallery of strange voices, cut-ups, '70's elevator music run > backwards...the lot....crazy channel hopping mish-mash, yet it all works! Diane Lowry, then editor of Electronic Musician, named the same disc Best Electronic Album for May 1997 > Techno dance group ARH approaches the editing of samples and tape loops the > same as MTV cuts videos: fast and furious.

A secondary character in that show, Michel Clayderlast, became successful when Bar Giora created "Live Elevator Music". A performance-art show debuted at the 1990 Israel Festival, featuring Clayderlast playing 20-second bits of popular music live inside in elevator (20 seconds is the average time elevator users spend inside). In 1991 he staged Erua Mochi, a rock spectacle presenting a new musical style: "Live Acid". The band, led by Bar Giora, played looped music live in an attempt to reduce fears among live musicians, in a time when increasingly popular electronic and sampled music threatened to wipe all their job opportunities.

The station, using the moniker "WVNJoy", focused on serving northern New Jersey rather than New York City. It featured an instrumentally based easy listening format (also known as beautiful music or, more commonly, "elevator music") consisting of instrumental versions of familiar songs with several soft vocal hits added per hour. In 1980, when WRVR changed from jazz to country music, WVNJ began playing jazz music after 8 PM. Its slogan was "WVNJoy's beautiful music by day, jazz by night". In May 1983, plans were made for 100.3 FM to be purchased by Cleveland-based Malrite Communications.

She has since contributed both as a musician and cover-art designer to several other of Jah Wobble's recordings, such as The Celtic Poets, The Inspiration of William Blake, Elevator Music 1A, Mu, and Alpha One Three. Their latest project with Wobble is entitled Chinese Dub had won the Songline best cross-cultural collaboration album. She has also released in Europe and the United States notable solo work, such as her guzheng concertos The River, which she performed with the Royal Liverpool Philharmonic Orchestra, and The Five Tone Dragon. She also recorded music for the Oscar-winning film The Last Emperor.

The Living Strings were a studio orchestra founded in 1959 by RCA Victor for a series of easy listening recordings issued on the RCA Camden budget label. There were also related groups called the Living Voices, Living Brass, Living Guitars, Living Marimbas, Living Jazz, Living Trio, Living Percussion, and Living Organ. RCA Victor record producer Ethel Gabriel created the "Living Strings" series of albums, which were easy-listening instrumental string versions of popular tunes, the type of music that came to be known pejoratively as elevator music. There was no actual orchestra known as the Living Strings.

Additionally, an acoustic version was released on Foo Fighters' 2009 Greatest Hits album. A more upbeat, uptempo elevator music-esque version of the song can be heard at the beginning of the music video for the Foo Fighters song "Learn to Fly" when Jack Black puts the drug in the coffee maker. This version of the song is much like the version of "Big Me" that can be heard in the beginning of their "Monkey Wrench" video. An instrumental cover version of the track was recorded by the experimental band OXES, as the b-side to their 2002 single "Half Half & Half".

The station originally signed on as WHDL-FM in 1949 and in its early years was affiliated, like most upstate New York FMs of the time, with WQXR-FM in New York City. James F. Hastings, later a U.S. Congressman, ran the station from 1952 to 1966. The call sign was changed from WHDL-FM to WEBF-FM in recognition of station owner E. Boyd Fitzpatrick. During the 1980s, the station aired what today's jockeys pejoratively referred to as an "elevator music" (likely something along the lines of middle-of-the-road, beautiful music or easy listening) format.

Vaporwave is a microgenre of electronic music that originated as an ironic variant of chillwave. It was loosely derived from the work of hypnagogic artists such as Ariel Pink and James Ferraro, and was characterized by the invocation of retro popular culture as well as the "analog nostalgia" of the chillwave scene. Amplifying the experimental tendencies of hypnagogic pop, vaporwave is cleanly produced and composed almost entirely from samples. Early incarnations of the genre relied on sources such as smooth jazz, retro elevator music, R&B;, and dance music from the 1980s and 1990s, along with the application of slowed-down chopped and screwed techniques, looping, and other effects.

The artist Peise and Christmas LP "Atlas Eets Christmas" is a collection of elevator music-style covers and originals, culled from the home recordings of Drozd with the imagery and myth being from the imagination of Wayne Coyne. Drozd and Coyne now have a second group together called Electric Würms- influenced by prog rock, krautrock and punk rock- their goal is to explore the outer reaches of traditional "rock" music as well performing Flaming Lips deeper cuts. Nashville-based Linear Downfall completes the ensemble. Drozd composed and performed on the song "Mattress Warehouse" by Foxygen, off their album ...And Star Power, released on October 14, 2014.

In 2003, Meany collaborated on an LP entitled, "Elevator Music," released by Victory Fellowship Church prior to Hurricane Katrina, and was later used as a fund-raising initiative to support victims. The album, comprising fifteen contemporary worship tracks, was recorded live at Victory Fellowship Church, with Meany providing lead vocals. Meany assisted in producing the fifth Twenty One Pilots album, Trench, released on October 5, 2018. Meany previously worked with them to "reimagine" and produce the TOPxMM EP released on December 19, 2016, that included four remixes off of their Blurryface album and "Heathens", as well as a live 20-minute video of the bands performing it together in the studio.

Pet Sounds has since appeared in many "greatest records of all time" lists and has provoked extensive discourse regarding its musicianship and production. Writing in 1997, The New York Observers D. Strauss said that the album's quality and subversion of rock traditions is "what created its special place in rock history; there was no category for its fans to place it in ... But placed within the Easy Listening genre-i.e., elevator music-it becomes a historically grounded, if incredibly ambitious, release." In Music USA: The Rough Guide (1999), Richie Unterberger and Samb Hicks deemed the album a "quantum leap" from the Beach Boys' earlier material, and "the most gorgeous arrangements ever to grace a rock record".

Initially, channel 44 maintained an all-news programming format. During the daytime, the station aired an alphanumeric feed of news reports supplied from various wire services set to continuous elevator music, with a commercial banner placed on the lower third of the screen displaying advertisements for businesses such as Continental Bank, Jewel Foods and other clients. Every seven minutes, a four- sided board would be rotated—which was taped live on-camera—to display news headlines, traffic reports, sports scores and birthdays of notable celebrities and other personalities. On November 16, 1970, the station moved into a newly constructed studio facility on West Grant Place in the Lincoln Park community's Mid-North District.

Plays the Music of Oasis received largely negative reviews. Stephen Thomas Erlewine gave it 2.5 stars out of 5, writing, "The Royal Philharmonic's series of orchestral interpretations of pop music is of dubious merit -- no matter how good the source material is (Beatles, Dylan, Prince), they are albums that were made strictly for their novelty value and Play the Music of Oasis is no exception." J. D. Considine was also highly unfavorable in his review of the album, which he described as "a dozen Oasis songs in dreary, elevator music-style orchestrations". In another negative review, Brett Milano compared Plays the Music of Oasis to similar albums released in the 1960s that consisted of orchestral versions of Beatles songs.

Despite at times being derided by critics and purists as the "king of elevator music" or "acoustic porridge", his style and music were popular in numerous countries and cultures, including Japan, the former Soviet Union, the USA and UK, and his native Germany, where it became "the archetypal soundtrack of any German cellar bar party", and made him the "most commercially successful bandleader" of the second half of the 20th century. Last's composition Jagerlatein is also widely celebrated in Ireland as "The Sound of Summer" due to use as the theme tune to The Sunday Game, a live sporting show which follows GAA hurling and Gaelic football All Ireland Championships since 1979.

He can then be seen reading his textbook, which is upside down, while quiet elevator music reminiscent of "The Simpsons Theme" begins playing in the background. Sideshow Bob (top) prepares to kill the Simpson family (center) in a scene from the ride Approximately a minute later, Sideshow Bob suddenly cuts off the teen's signal and takes control of the screen, telling riders that he is now in control of Krustyland. After threatening guests by saying no area in the park is safe from him, he starts the ride by flipping a switch from "thrilling" to "killing", which activates the vehicle causing it to virtually rise out of the room. The ride simulator combines physical movement of the vehicle with on-screen motion.

Vaporwave was one of several microgenres spawned in the early 2010s that were the brief focus of media attention. Users on various music forums, as quoted by Vice, variously characterized the genre as "chillwave for Marxists", "post- elevator music", and "corporate smooth jazz Windows 95 pop". Its circulation was more akin to an Internet meme than typical music genres of the past, as authors Georgina Born and Christopher Haworth wrote in 2017, Pitchfork contributor Jonny Coleman defined vaporwave as residing in "the uncanny genre valley" that lies "between a real genre that sounds fake and a fake genre that could be real." Also from Pitchfork, Patrick St. Michel calls vaporwave a "niche corner of Internet music populated by Westerners goofing around with Japanese music, samples, and language".

This style of music is sometimes used to comedic effect in mass media such as film, where intense or dramatic scenes may be interrupted or interspersed with such anodyne music while characters use an elevator. Some video games have used music similarly: Metal Gear Solid 4 where a few elevator music-themed tracks are accessible on the in-game iPod, as well as Rise of the Triad: Dark War, and Earthworm Jim. Some people can be deeply annoyed by piped music, and even find it spoils their enjoyment in recreation or drives them out of shops: Eight out of 10 people have left an establishment early because it was too noisy.See Pipedown There are a number of societies, such as Pipedown, that are dedicated to reducing its extent and intrusiveness.

Developers designed various expressions to depict emotions on the Raskulls. Raskulls was announced for the Xbox 360 via Xbox Live Arcade on March 27, 2009 at the Game Developers Conference in San Francisco, California. Two promo images accompanied the press release and featured King and Dragon, two of the main characters. Following the initial reveal, character profiles were distributed among the gaming media to demonstrate the game's art style and humor. A teaser trailer was also released on May 13, 2009 which took a satirical view on traditional game trailers featuring "epic" music and bold statements, whereas the Raskulls teaser shows an abrupt change in tone as King is shown flexing his muscles in front of a mirror accompanied by elevator music. On June 12, 2009, Halfbrick released the first official trailer for Raskulls.

Musically the album marks a return to "the more expansive elements of [Pierce's] sound [...] even though it features the fewest noise-scapes and most terse songs in Spiritualized's history." The Observer Music Monthly has described the album's sound as "touching and harrowing [...and] belligerent." > New songs such as "Death Take Your Fiddle" and, especially, "Sitting on > Fire" – which sounds as if Pierce recorded the vocal from his deathbed – are > eerily prescient, while "Don't Hold Me Close," a tender duet with film-maker > Harmony Korine's wife, Rachel, recalls Gram Parsons and Emmylou Harris [...] > Throughout the album there are interludes of church chimes, otherworldly > beeps and odd noises. In places it could be mistaken for an album of > elevator music made for funeral homes and released on electronic label Warp.

Christmas Rhapsodies for Young Lovers reached number 18 at Christmas 1967 while Love Rhapsodies only making number 129 in March 1968.The Look of Love and Other Rhapsodies for Young Lovers reached number 194 in August 1968. Midnight String Quartet continued releasing albums with a double album Best of the Midnight String Quartet being released in 1971.Viva Album Discography[ allmusic ((( Midnight String Quartet > Charts & Awards > Billboard Albums )))] Interest resurfaced during the Lounge Revival of the mid nineties and has seen among others, the re- release on cd of Rhapsodies for Young Lovers on the Varèse SarabandeVarese Sarabande Product Details label with extra tracks and additional liner notes by ‘Elevator music’Joseph Lanza: Elevator Music, University of Michigan Press and‘The Cocktail’BOOKS OF THE TIMES;Bottoms Up: The Cocktail, Shaken and Stirred - New York Times author Joseph Lanza.

By the mid-1980s, WDOK's beautiful music format had brightened to a more contemporary flavor, with more vocals being played and the vocals being by "soft rock" artists such as James Taylor and Elton John. Ratings remained high, but the format attracted mostly older listeners in advertiser-unfriendly demographics and not the younger audiences courted by advertisers, and so WDOK made the final and complete switch to an adult contemporary format in 1987 with Sue Wilson as program director. The station promoted its new AC format with TV commercials announcing that it was "coming out of the elevator" (as in "elevator music"). WDOK initially positioned itself as a soft AC, midway between beautiful music (which continued for a few more years on WQAL) and the mainstream AC format played on WLTF and WMJI, but eventually the format evolved into the "soft rock" approach.

WJCT broadcasts in HD Radio; it broadcasts three full-time subchannels, Classical 24 on HD2— which carries classical music, Anthology on HD3 - which carries classic hits, and "Electro Lounge Radio" on HD4 - which carries lounge music. The HD3 format was, in particular, created in response to the sale of Jones College's WKTZ-FM to the Educational Media Foundation—resulting in it dropping its long-time easy listening format (which it had, in turn, inherited from the current WEJZ) in favor of K-Love. The format was described by music director David Luckin as being a broader and "edgier" take on the format designed to appeal to a wider audience, with "songs you listened to with your mother and songs that you grew up with" rather than simply "elevator music".Edgier easy listening returns to the air on Jacksonville's WJCT-FM's HD3 station. The Florida Times-Union, April 1, 2015.

They were the first Portuguese band to play at the South by Southwest (SXSW Festival) and one of the few to riot at the mythical clubs CBGB, Maxwells (property of Sonic Youth drummer Steve Shelley), Mercury Lounge, Crocodile Cafe, Toads Place or Manitoba's (property of Richard Manitoba from The Dictators and MC5). Their last record, "My Body-The Pistol", was released in 2004 by Elevator Music Records, and it was produced by the mythical name of Tim Kerr (Big Boys, Monkey Wrench, The Bellrays) and was described by the American Church of Girl Radio as "Some of the best music in living history", hitting a top rank at the CMJ American Charts in the last years. During 2001 Suspiria moves to Berlin (Germany) where she remains till 2006, always playing & touring with Les Baton Rouge. Peaches was a fan of the band so they became friends and started to play together, making nice jam sessions at the Tacheles Studios in Berlin.

With the growing popularity of rock and roll in the 1950s, much of what baby boomers considered to be their parents' music, traditional pop, was pushed aside. Popular music sung by such performers as Frank Sinatra, Dean Martin, Ella Fitzgerald, Peggy Lee and their contemporaries was relegated in the 1960s and 1970s to television, where they remained very popular, Las Vegas club acts and elevator music. Dean Martin and Frank Sinatra continued to have many hit singles and albums until the late 60s, however. Nashville country music borrowed heavily from traditional pop sounds in the late 1950s as Music Row sought to limit the growing influence of rock and roll on the genre; it remained popular until both the British Invasion, the deaths of two of Nashville's biggest country stars (Patsy Cline and Jim Reeves) in separate airplane crashes, and the growing influence of West Coast country music pushed it aside beginning in 1964.

Technically proficient and brilliantly written in spats", finishing with: "Still, This Is My Truth's spot as one of the bands [sic] weakest releases is often overstated, if only because the rot was just beginning and the future predicted a bigger storm to come." Sarah Zupko, writing for Pitchfork, said that the album was her "album of the year so far", stating that "The Manic Street Preachers are also one of the few groups capable of integrating orchestral instruments in a way that still produces great rock music (check out the cello in "My Little Empire"), always avoiding the schmaltzy elevator music that can result when some rock musos get a hold of an orchestra. Meanwhile, they manage to infuse some quite dour lyrics with some of the most haunting melodies in rock this side of Radiohead. Bradfield and Moore seldom choose the obvious chords, arrangements and melodies, resulting in music that is heads- and- tails above almost any band on the planet.

" Consequence of Sound Frank Mojica described The Russian Wilds as "a crash course in 70's album-oriented rock," adding that it "captures the magic of on-stage jamming, such as the psychedelic guitar solos on opener 'Self Made Man'." Critic Tom Hughes of The Guardian was not quite so impressed, stating that the band "ape the cons as well as the pros of 70s rock: longer-than-necessary songs, a weakness for cliche and, inevitably, unabashed retroism", opining that the album sounded "a bit weighed-down". In his review for musicOMH, Paul Bonadio offered the opinion that The Russian Wilds was "a complete contrast to the iTunes and MP3 market of today. As such, those looking for an eerily familiar – and often brilliant – throwback to the sounds of 1972, please enquire within" while also noting that "those seeking a band whose aim is to progress a new musical sound should tender their thoughts elsewhere." In an unfavorable review for the NME, Ailbhe Malone described the album as "a curious hybrid", finding that it contained "proper classic rock moments, but elsewhere sounding a bit elevator music" and observing that "though Ethan Miller’s vocals are impeccable, they get lost in strange metaphors and an excess of ideas.

By February 1992, the station shifted to what was becoming a popular format: hot adult contemporary (hot AC); at about the same time a slightly different version was being pioneered in Houston at KHMX. In an attempt to differentiate itself from its competitors, WPLJ adopted the slogan "No Rap, No Hard Stuff, No Sleepy Elevator Music, Just the Best Songs on the Radio". In addition, the "Mojo Radio" moniker was dropped and the station began using the moniker "95-5 PLJ" (with the "W" typically omitted except for legal station identification). The station playlist featured many songs familiar only to New Yorkers and obscure oldies that would not have been typical for the format in other markets. (In a bit of irony, WPLJ may have helped pioneer many of the concepts made popular by the diverse-playlist, music-intensive adult hits format of 2005.) Initially, WPLJ leaned towards 1970s hits as well as mixing in liberal doses of disco and did regular theme weekends featuring one-hit wonders and number-one songs, among others. Eventually, it also dedicated Monday-Saturday nights to playing nothing but 1970s music, hosted by former WKTU disc jockey Al Bandiero, a practice that continued for the next few years.