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"810" is a song written by Bill Anderson and Walter Haynes. It was first recorded by American country singer-songwriter Bill Anderson. It was released as a single in 1963 via Decca Records and became a major hit.

Released: 1939

Record label: Commodore

Most poignant lyric: Black bodies swinging in the southern breeze | Strange fruit hanging from the poplar trees

Interesting fact: The song was originally written as a poem by American writer and teacher Abel Meeropol after he saw a photograph of a lynching in a civil rights magazine

Two Tens Song Download

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Released: October 1980

Record label: Island/Tuff Gong

Most poignant lyric: Emancipate yourselves from mental slavery | None but ourselves can free our minds

Interesting fact: This was the last song Marley performed, singing at a show in Pittsburgh on 23 September 1980

Released: 1962

Record label: Vanguard

Most poignant lyric: Oh, deep in my heart | I do believe | We shall live in peace someday

Interesting fact: Peter Seeger performed the song for Martin Luther King in 1957 at the 25th anniversary of the Highlander Center in Tennessee. Rosa Parks was also in attendance

"Song for Ten" is an original song composed by Murray Gold for The Christmas Invasion, and is named after the Tenth Doctor who made his full-episode debut therein. Performed by Tim Phillips, the song is heard on the soundtrack as the Doctor chooses his defining style of dress for the first time (after spending most of the episode in pyjamas and a housecoat), and later joins Rose Tyler and her family for Christmas dinner.

To date, four versions of this song have been heard. Phillips' version, which has not been commercially released, was a relatively short recording and the only one so far heard on the series proper. When the time came to compile the first of the Doctor Who soundtracks, Gold chose to have Neil Hannon re-record the song, and expanded it to include new lyrics referencing Rose's disappearance in Doomsday. Around the time of the CD's release, Doctor Who: A Celebration, a special charity concert, included a performance of the song (with some lyric changes and an extended ending) by Gary Williams. In July 2008, Phillips performed the extended version (which featured the same basic arrangement as the Williams performance, except with slightly faster tempo and a restoration of some of the changed lyrics) for the first Doctor Who Proms concert. Although broadcast on BBC Radio and BBC Red Button, this performance was omitted from the edited version of the concert that aired on BBC One; the BBC One edit was the version used on DVD as a bonus feature with The Next Doctor in 2009.

The song has appeared in the show's incidental music as a major theme for the Tenth Doctor in orchestral form. Alternative versions of the song appear throughout School Reunion, over the final scenes of The Idiot's Lantern, throughout Love & Monsters, throughout Fear Her's final minutes, in Army of Ghosts over the pre-credits monologue and just after the opening credits, in Journey's End, as Rose hugs the Doctor, and as Sarah Jane, Jack, Martha and Mickey leave, and also briefly in The End of Time.

Below you will find chart summaries of the top 10 hits on iTunes five most popular music and album charts. To listen to the iTunes top ten songs and albums or download the digital music you must have Apple's iTunes player installed on your system. Chart of the itunes top 10 songs and albums is updated daily and is for the opt downloads in the USA. International iTunes music charts are also available.

The first two songs of the collection received their premiere in Rome at the Villa Aurelia at the American Academy on 22 April 1936, with Barber accompanying himself at the piano. The third song was heard nearly a year later, on 7 March 1937, at the Curtis Institute of Music in Philadelphia with mezzo-soprano Rose Bampton accompanied by the composer.

Many artists and members of the music community lost loved ones in the fight against HIV, and as a result a catalogue of the losses experienced at the height of the HIV epidemic have been immortalised into music. Some of the songs below which you may recognise, mourn the loss of so many young lives taken away, while others call on the need to hold onto hope.

Pop Madonna wrote this song about the death of her friend and former roommate Martin Burgoyne. As the lyrics mention in the song, he passed away at 23 from HIV-related complications. He was an artist and bartender at Studio 54 and he managed her first tour.

Another song written for a friend who passed away from HIV-related complications early in the epidemic, Cyndi Lauper drew from the name of the song from the nursery rhyme Little Boy Blue. Interviewed about the song she responded:

Jackson wrote this song as a tribute to a friend who had recently passed away from AIDS and to all those who had lost loved ones to AIDS worldwide. She also received inspiration for the song from fan-mail, listening to stories of others whose lives had been touched by HIV.

10.1 The sectarian or other meanings of song, like almost all cultural performances, depends to a great extent upon the context. The performance of the tune to Rule Britannia is likely to be understood quite differently by the audience at a Veterans' Association meeting than by a large crowd of Celtic football supporters on match day. Songs were often mentioned by our participants as having a particular power to construct sectarian meaning in a number of ways. Some songs were reported to have sectarian meaning through a literal reading of the lyrics but, just as often, a number of participants across the case studies reported that the context for performance itself was crucial to whether or not songs were perceived of as sectarian.

10.2 One participant in a Dundee focus group described how during a social trip to Northern Ireland, one of their group was verbally abused and threatened when they sang an Irish song. In Dundee this man had regularly sung Irish songs his mother had taught him as a young boy, whereas in Northern Ireland, these same songs were heard as a political statement of Republicanism and aggressively discouraged. This also supported our participant's view of sectarianism as a problem elsewhere:

... the Catholics and the Protestants in Ireland and the West Coast, they've got meanings to the songs. They're just songs here. We just sing [emphasis added]

(Woman, Focus Group 1, Dundee)

10.3 In another example from the interviews, a participant identified the Tina Turner song 'Simply the Best' as a sectarian song, because of its widespread popularity with Rangers supporters and their occasional performances of it with actively offensive lyrics (or a meaningful pause that implies the words). Another participant reported that they perceived 'Rule Britannia' as a sectarian song because of its association with 'Protestants, Rangers, Unionists'.

10.4 This highlights the importance of the performance context to the construction of sectarian meaning. Songs that were acceptable to sing in Dundee at the social club were identified as sectarian and divisive in the Northern Irish context. Sectarianism in this context was activated not by the subject matter or style of the song but simply by the context in which it was sung. But often, songs can be used directly to express sectarian language, where both the context and the content of the songs are heard as sectarian.

10.5 In another story from the Dundee focus group, the song Kevin Barry was identified as sectarian. It was banned at one social club, which upset some members of the club, but in this case the lyrics of the song, our participant said, carried the sectarian meaning because of its overt Irish republicanism:

10.6 In an example from Glasgow, the singer did not realise that her performance could even have been heard as sectarian because she was not aware of the sectarian meanings carried by the tune. In this case, a young woman was invited to a party in Glasgow from her home in Edinburgh, and as a result of her reputation as a fine singer was invited to contribute a song to the company. The song's lyrics carried no sectarian meanings but she was unaware that the tune that she was singing was also used for the song 'The Sash'. She was immediately stopped from singing within the first two lines of the performance and ushered quickly from the room. In her own words:

10.7 The tune of 'The Sash' has publicly acquired the sectarian and divisive meanings of the lyrics, so that the tune carries the whole sectarian meaning of the song (even just the opening bars).[15] Thus, the tune can have powerful sectarian meaning without ever explicitly referring to religious identity and without any text at all.[16] In the example quoted above, a tune without words was heard as highly offensive to certain listeners, despite being used for an entirely unrelated and non-sectarian song. In these sorts of cases, this is not just an interpretation imposed by individuals, but a meaning shared and understood across different social groups.

10.8 There was, across the case study sites, widespread acknowledgement that songs have a powerful ability to divide people. Certain songs such as 'The Sash', 'The Fields of Athenry', 'Simply the Best', 'The Famine Song', 'The Billy Boys', 'No Pope of Rome' and others, were all identified as sectarian. In one instance, a participant who worked in a pub reported that they had removed a CD of 'Irish songs' from the pub's jukebox in an attempt to minimise the potential for sectarian problems.

10.9 What is important in the analysis of sectarian songs, or other cultural performances such as stories, jokes, films and so on, is to identify which element(s) of the performance carry sectarian meaning and why. Clearly lyrics can carry significant sectarian meaning, but as our examples from this study show, there are particularly Scottish understandings of non-textual, musical elements that can construct sectarianism. In addition, certain songs can display sectarian meaning when performed in particular contexts or directed towards particular audiences. 006ab0faaa