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Multi-disc albums are counted once for each disc within the album if it is over 100 minutes in length or is from the vinyl era. For example, the Smashing Pumpkins' Mellon Collie and the Infinite Sadness (running time of 121:39) and OutKast's Speakerboxxx/The Love Below (running time of 134:56), both double albums, were counted twice, meaning each album was certified diamond after 5 million copies were shipped. Pink Floyd's The Wall and the Beatles' White Album, both vinyl-era, are also counted as double even though their running times are under the minimum requirement. Rules may or may not apply depending on most recent staff within the Distributions position.

Thus, the fact that 2015 seemed to be a turning point for the diamond division, whereby the number of certified songs hitting the ten million mark needed to become diamond went from three to seven in the space of 12 and continued to grow from thereon exponentially; is not simply to do to the accelerating impact of easy, cheap streaming, but also the sharing platform of social media. This has meant that the pop charts are now more commercial than ever before.

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And finally, the data also shows that cross-over appeal is a huge driving factor. The two biggest hitters on the list are Post Malone with five diamond singles and Bruno Mars with six. Both of these stars are not typical of any given genre. Post Malone could just as easily crop up in the record collection of a country fan as someone who favours rap. Likewise, Bruno Mars is often collaborating in such a way that he spreads his voice beyond his typical pop stylings. Most importantly of all, they also know how to craft a catchy hook which is a sentiment that will forever dominate the RIAA charts.

The show features a book by Anthony McCarten (Bohemian Rhapsody), direction by Michael Mayer (Funny Girl), and famous songs and lesser-known tunes penned by Diamond. The show also includes a few tunes co-written with others, adding up to more than 30 songs that paint a full portrait of his career.

A potent love song packed with spiritual energy concludes the show, celebrating Diamond's ultimate and undeniable success amid his hardships. To experience these songs firsthand, hear the beautiful noise for yourself at the Broadhurst Theatre.

Neil Diamond is celebrating 50 years in the music business, and he has a lot of fans to celebrate with him. In the past half-century, he has sold more than 125 million records, released more than 40 albums, and put songs into the minds of millions. Now, Diamond is back with another album: Acoustic Christmas.

These expressions of love and devotion have been prepared by our Jamat for the compilation of the Jubilee Songs albums. These songs reflect the Jamat's diversity of cultures, and unity in our affection for our Imam.

There are now 30 songs that have been certified diamond by the RIAA (Recording Industry Association of America, the organization that hands out gold, platinum and diamond plaques), which is still a very small number, though one that has grown considerably in the past year.

Last June, the diamond single club expanded to include its twentieth member, and it quickly swelled from there. In just over 12 months, almost 10 songs have been recognized as having shifted at least 10 million units in the U.S., and some have moved past that milestone.

Diamond, who was inducted into the Rock & Roll Hall of Fame in 2011, has seen over 70 of his songs hit the Billboard charts and counts Grammys, Golden Globes and a Kennedy Center Honor among his many professional achievements.

A wide array of instrumentals were offered in the Edison Diamond Disc catalogs. Many featured artists proficient with various musical instruments, performing both popular and classical songs. Examples can be found in the selections chosen for this presentation: Signor Lou Chiha "Friscoe" played his xylophone in the medley of In My Heart, On My Mind All Day Long and I Wonder if You Still Care For Me. Vaudeville banjo soloist Fred Bacon performed Medley of Southern Airs. The mandolin was featured in Spanish Rhapsody by the Alessios Mandolin Quartet, and Bohumir Kryl performed a cornet solo of the classic Carnival of Venice--Variations. Herbert Soman performed his violin on Old Pal (Why Don't you Answer Me?). The violin was a particularly popular instrument in the Edison catalog; several examples of classical violin pieces can be found in the Opera and Concert section of this presentation.

Marimba and Hawaiian songs became popular during the early part of the 20th century in the United States, reflecting the increased exposure Americans had to foreign styles of music. The marimba style was very popular with buyers of Edison records according to catalogs of the time. In one, the marimba was described as resembling:

Quite suddenly, Hawaiian singers and dancers began to appear in vaudeville; Hawaiian songs were sung in the restauarants; ukuleles, almost unheard of a year before, were advertised and sold everywhere. Then the phonograph took up the propaganda and soon Waikiki Beach became nearly as famous as Coney Island. (Edison Records of Music That Lives)

Piano rags were also popular at the turn of the century. Later, many types of songs showed a ragtime influence, an example of which is Hungarian Rag by the New York Military Band. At this time, jazz music was starting to develop outside of its origins in New Orleans. Some early jazz efforts on the Edison label include two by the Frisco Jazz Band--Night Time in Little Italy and Umbrellas to Mend.

Popular vocals on Edison Diamond Discs had a variety of influences. The Edison label recorded songs popularized on the vaudeville stage and many times used vaudeville performers for the recording. Collins and Harlan, for example, recorded The Aba Daba Honeymoon, which was originally introduced by Ruth Roye at the Palace Theatre in New York. Collins and Harlan first recorded the song on Victor records, and then again on Edison. Both Arthur Collins and Byron G. Harlan were vaudeville performers, as well as recording artists. Collins specialized in novelty and coon songs, while Harlan was a popular tenor and comedian.

Jones and Hare, another singing team specializing in comic and novelty songs, performed In the Little Red School House for Edison. The team was very popular in radio during the 1920s as the Happiness Boys, and later as the Interwoven Pair.

Comic songs were popular in vaudeville acts, including ones that parodied ethnic groups. Mister Gallagher and Mister Shean was such a song that parodied the Irish. It was introduced and made famous by the vaudeville team Gallagher and Shean in the Ziegfield Follies of 1922. Edward Meeker and Steve Porter did their version of it for Edison.

Another type of comic song popular in the vaudeville theater and apparent on Edison recordings was the coon song. Extremely offensive to contemporary ears, usage of the word "coon" to refer to a black man in songs goes back as early as the 1880s and was found in the minstrel shows. Typically these songs would use demeaning racial stereotypes or dialects for humorous purposes. An example of one is the tremendously popular rendition by Arthur Collins of The Preacher and the Bear. Collins recorded it for six labels. To modern audiences, this recording is jarringly offensive, but it would be misrepresentative of history not to acknowledge the existence of these recordings and the fact that they were accepted as mainstream popular entertainment and were produced by nearly every popular record label.

"Heart" songs were a staple of the Edison catalog, especially since Thomas A. Edison himself professed these to be his favorite type of music. "Heart" songs tended to be sentimental ballads, often love songs. Some of these songs would express a nostalgia for an old way of life, particularly in the South. Will Oakland sang about That Tumble-Down Shack in Athlone, and Billy Murray sang Are You From Dixie? ('Cause I'm From Dixie, Too). Lewis James, a popular tenor in the 20s, sang The Bells of St. Mary's, a English ballad celebrating a wedding at St. Mary's Church. Indiana was sung by The Homestead Trio, which consisted of Gladys Rice, Betsy Lane Shepherd and Amy Ellerman.

Some Edison artists later achieved wide celebrity. Vernon Dalhart became a successful country music pioneer in the mid-1920s, but the selections featured here, Carolina Rolling Stone and Lorraine (My Beautiful Alsace-Lorraine), are two of his early non-country, popular songs. Composer and vocalist Noble Sissle, who often performed with pianist Eubie Blake on several labels before eventually forming his own band, sang Crazy Blues for the Edison label. The song was the first popular blues song recorded for the African-American market, with the most successful rendition by Mamie Smith on the Okeh label.

Topical songs were also popular, and no event was more noteworthy than World War I during the Diamond Disc period. Several songs demonstrated the war's influence:Keep the Home Fires Burning, Just a Baby's Prayer at Twilight, Madelon (I'll Be True to the Whole Regiment,) 'Till the Boys Come Home, Lorraine (My Beautiful Alsace-Lorraine), and There's a Long, Long Trail. The last song was a particular favorite of President Wilson's, and was written by two seniors at Yale.

Unfortunately, the Edison Diamond Disc collection at the Library of Congress does not contain a large selection of the foreign language and ethnic recordings. Indeed, they are difficult to find anywhere. Therefore, the selections offered here are somewhat limited, but include a liturgical Hebrew recording, two Polish songs, two German songs, a Russian recording, and another in Czecho-Slovak.

In the period prior to the development of the Edison Diamond Disc, the Victor Talking Machine Company with its Victrola had managed to acquire a reputation for engaging superior operatic and concert artists, such as Enrico Caruso. In an attempt to compete with Victor's overwhelming advantage in this market, it was decided at Edison that the Diamond Disc should contain concert music to showcase its advantages in comparison to other discs. To the dismay of the other Edison executives, Thomas A. Edison decided to take control personal of the hiring of these artists. In a letter to Thomas Graf, managing director of the Edison phonograph division in Berlin, he stated, "I propose to depend upon the quality of the records and not on the reputation of the singers...I do not intend to pay great sums for exclusive, but prefer to pay good price for say 12 records from their particular repertioire which we will select." (John Harvith and Susan Edwards Harvith, Edison, Musicians, and the Phonograph: A Century in Retrospect, p. 4) Walter H. Miller, manager of Edison's recording department, wrote in 1911 in a letter to the managing director of phonographs and records in London, "Mr. Edison just now does not seem to think we require any talent with reputation, and until he changes his mind in this matter it seems almost useless to bid for talent." (Harvith, p. 5) Edison listened to records from his own company and those of his competitors to decide what sound he wanted for the Diamond Discs, and what songs to use. Some of his views on music stunned musicians, since he often denigrated popular songs in favor of his favorite "heart" songs. When it came to operatic records, Edison was very opposed to any singer having excessive vibrato or tremolo in his or her voice, even a renowned artist. e24fc04721