Damian Higgins, better known by his stage name Dieselboy, is an American drum and bass DJ, producer,from Brooklyn. Since December 2013 he has been performing his sets on four CDJ's. Dieselboy is the founder of the Human Imprint music label in 2002, co-founder of its sublabel SubHuman: Human Imprint which launched in September 2010. In February 2012, Higgins co-founded Planet Human as the umbrella label for Human Imprint and SubHuman. Dieselboy was the first American to be voted into the UK-based Drum & Bass Arena Top 10 DJs 2004 online poll, his 2002 album projectHuman reached the top 10 of the Billboard Dance/Electronic chart. Higgins has written about food for FirstWeFeast.com in 2012. He was selected as a presenter for the 7th Annual StarChefs.com International Chefs Congress held September 30 to October 2, 2012, at the Park Avenue Armory in New York City. Dieselboy was born Damian Higgins in Tarpon Springs, Florida in 1972. At the age of six he moved to Colorado City, where he and his two sisters were raised by their mother.
He moved with his family to Oil City, Pennsylvania, on the third day of school in the 9th grade, is a graduate of Oil City Senior High School. He is the eldest son of singer/songwriter Bertie Higgins whose ballad Key Largo reached #8 on Billboard's Hot 100 chart in 1982. In April 2009, Higgins married his long-time girlfriend Ramie Roth. Higgins's early music experience included playing drums in a school marching band and DJing for high school dances. "I started DJing back in 1989 and 1990 at dances at Oil City Senior High School and a small nightclub in Franklin, called Shenanigans. I DJ'ed three of my high school's dances, but I was just playing tunes, not mixing."Higgins attended the University of Pittsburgh from 1990 to 1995 where he gained additional DJ'ing experience, completed a degree in information science. He played on a Carnegie Mellon University radio station; the name Dieselboy originated from Higgins's IRC handle, "Diesel". Upon discovering a local graffiti artist shared the alias, he "made it Dieselboy."Higgins moved to Philadelphia in 1997 to become the drum'n' bass buyer and sometime T-shirt designer for 611 Records owned by Nigel Richards.
In 1994, Higgins created a mixtape entitled "The Future Sound of Hardcore," and sold about 100 through online LISTSERVs. "Through, people heard about me and I started getting bookings on the East Coast. It was a slow process that snowballed into my getting flown various places." In 1996, at the request of Dan Donnelly of British drum'n' bass label Suburban Base, Dieselboy mixed "Drum & Bass Selection USA." In 1997, Suburban Base had him follow up with 97 Octane, this time allowing him to submit track suggestions, resulting in a more varied selection. In 1998, Nigel Richards gave Dieselboy full artistic control for his next mix-CD, 611 DJ Mix-series Vol. One, for which Dieselboy did the graphics. In that year, Dieselboy made a mix-tape called Director’s Cut which he had packaged in film cans, his first experiment in presenting a dance mix in a quasi-cinematic framework. In 1998, Dieselboy initiated Philadelphia's first 21+ drum'n' bass weekly Thursday club night entitled "Platinum" at club Fluid, which ended on October 14, 2004.
Platinum residents included Dieselboy, Method One, Icon, Karl K, MC's Dub2, Armanni Reign and Illy Emcee. It was rekindled in late 2009 featuring Sine and MC's Messinian & Sharpness. In 1999, Dieselboy released "A Soldier's Story" on the Moonshine label, it opened with his first original “intro” and marked his CD debut as a producer with Atlantic State, a track co-produced with Technical Itch. Released on the Moonshine label was System Upgrade while Dieselboy joined forces with Palm Pictures/Island Recordings and his releases The Descent, Render; the 6ixth Session was a double CD release on Palm Pictures, featuring a cyborg-themed mix described by the Washington Post as “hard-edged hyperdriven dance music". In 2001, Dieselboy founded Human Imprint, the drum'n' bass imprint of electronic dance music label System Recordings. For projectHUMAN, Dieselboy presented a mix framed as a movie trailer that reached #6 on the Billboard Dance/Electronic album chart. In 2003, Dieselboy was invited by DJ Magazine to create a mix showcasing American d&b entitled DJ World Series: D & B From The United States, on which he featured American producers Hive, Mason, Kaos, Karl K, Jae Kennedy and Sinthetix.
For his next CD, The Dungeonmaster's Guide, Dieselboy asked Peter Cullen, the cartoon voice of the Transformers’ Optimus Prime, to be the voice of the Dungeonmaster who narrates the mix. Again Dieselboy commissioned remixes, this time asking d&b producers from around the world to remix tracks by non-d&b dance music luminaries including Tiësto, Sasha, BT and Josh Wink. Dieselboy released a triple vinyl LP pack featuring remixes by various artists such has Gridlok, Karl K, Jae Kennedy, KC. Again, Dieselboy chose Akira Takahashi to design the album art. In April 2006, Dieselboy released his first Human Imprint compilation, a 2-CD set called "The HUMAN Resource". Disc One Selected Works, is a 12-song un-mixed selection including club anthems and VIP remixes from Bad Company UK, DJ Fresh, The Upbeats, Dieselboy + Kaos and Counterstrike. Disc Two Evol Intent Assemble the Monster features a continuous DJ-mix from Evol Intent. In May 2008, Dieselboy released his ninth major mix-CD Substance D, which reached the Billboard Dance/Electronic album chart.
In conjunction with this release, Dieselboy initiated the "Monsters of Jungle" tour with rotating Human Imprint label artists including Evol
Drum and bass
Drum and bass, is a genre and branch of electronic music which emerged from rave and jungle scenes in Britain during the early 1990s. The style is characterised by fast breakbeats with heavy bass and sub-bass lines, sampled sources, synthesizers; the popularity of drum and bass at its commercial peak ran parallel to several other homegrown dance styles in the UK including big beat and hard house. Drum and bass incorporates a number of styles. A major influence on jungle and drum and bass was the original Jamaican reggae sound. Another feature of the style is the complex syncopation of the drum tracks' breakbeat. Drum and bass subgenres include breakcore, ragga jungle, darkstep, neurofunk, ambient drum and bass, liquid funk, jump up, drumfunk, sambass and drill'n' bass. From its roots in the UK, the style has established itself around the world. Drum and bass has influenced many other genres like hip hop, big beat, house, trip hop, ambient music, jazz and pop. Drum and bass is dominated by a small group of record labels.
The major international music labels had shown little interest in the drum and bass scene, until BMG Rights Management acquired RAM in February 2016. Drum and bass remains most popular in the UK although it has developed scenes all around the world, in countries such as the United States, the Netherlands, New Zealand, Canada, the Czech Republic and Australia. In the late 1980s and early 1990s, a growing nightclub and overnight outdoor event culture gave birth to a new electronic music style in the rave scene, which combined sampled syncopated beats or breakbeats, other samples from a wide range of different musical genres and samples of music and effects from films and television programmes. A faster subgenre was known as "hardcore" but from as early as 1991, some musical tracks made up of these high-tempo break beats, with heavy basslines and samples of older Jamaican music, were referred to as "jungle techno", a genre influenced by Jack Smooth and Basement Records, just "jungle", which became recognised as a separate musical genre popular at raves and on pirate radio in Britain.
It is important to note when discussing the history of drum and bass that prior to jungle, the music was getting faster and more experimental. Professional DJ and producer C. K. states, "There was a progression. Anyone buying vinyl every week from 1989 to 1992 noticed this." By 1994, jungle had begun to gain mainstream popularity and fans of the music became a more recognisable part of youth subculture. The genre further developed and fusing elements from a wide range of existing musical genres, including the raggamuffin sound, dancehall, MC chants, dub basslines, complex edited breakbeat percussion. Despite the affiliation with the ecstasy-fuelled rave scene, jungle inherited some associations with violence and criminal activity, both from the gang culture that had affected the UK's hip-hop scene and as a consequence of jungle's aggressive or menacing sound and themes of violence. However, this developed in tandem with the positive reputation of the music as part of the wider rave scene and dancehall-based Jamaican music culture prevalent in London.
By 1995, whether as a reaction to, or independently of this cultural schism, some jungle producers began to move away from the ragga-influenced style and create what would become collectively labelled, for convenience, as drum and bass. As the genre became more polished and sophisticated technically, it began to expand its reach from pirate radio to commercial stations and gain widespread acceptance, it began to split into recognisable subgenres such as jump-up and Hardstep. As a lighter and jazz-influenced style of drum and bass gained mainstream appeal, additional subgenres emerged including techstep which drew greater influence from techno music and the soundscapes of science fiction and anime films; the popularity of drum and bass at its commercial peak ran parallel to several other homegrown dance styles in the UK including big beat and hard house. But towards the turn of the millennium its popularity was deemed to have dwindled as the UK garage style known as speed garage yielded several hit singles.
Speed garage shared high tempos and heavy basslines with drum and bass, but otherwise followed the established conventions of "house music", with this and its freshness giving it an advantage commercially. London DJ/producer C. K. says, "It is forgotten by my students that a type of music called "garage house" existed in the late 1980s alongside hip house, acid house and other forms of house music." He continues, "This new garage of the mid 90s was not a form of house or a progression of garage house. The beats and tempo that define house are different; this did cause further confusion in the presence of new house music of the mid-1990s being played alongside what was now being called garage." Despite this, the emergence of further subgenres and related styles such as liquid funk brought a wave of new artists incorporating new ideas and techniques, supporting continual evolution of the genre. To this day drum and bass makes frequent appearances in mainstream media and popular culture including in television, as well as being a major reference point for subsequent genres such as grime and dubstep and successful artists including Chase & Status and Australia's Pendulum
A remix is a piece of media, altered from its original state by adding, and/or changing pieces of the item. A song, piece of artwork, video, or photograph can all be remixes; the only characteristic of a remix is that it appropriates and changes other materials to create something new. Most remixes are a subset of audio mixing in music and song recordings. Songs may be remixed for a variety of reasons: to adapt or revise a song for radio or nightclub play to create a stereo or surround sound version of a song where none was available to improve the fidelity of an older song for which the original master has been lost or degraded to alter a song to suit a specific music genre or radio format to use some of the same materials, allowing the song to reach a different audience to alter a song for artistic purposes. To provide additional versions of a song for use as bonus tracks or for a B-side, for example, in times when a CD single might carry a total of 4 tracks to create a connection between a smaller artist and a more successful one, as was the case with Fatboy Slim's remix of "Brimful of Asha" by Cornershop to improve the first or demo mix of the song to ensure a professional product.
To provide an alternative version of a song to improve a song from its original stateRemixes should not be confused with edits, which involve shortening a final stereo master for marketing or broadcasting purposes. Another distinction should be made between a remix, which recombines audio pieces from a recording to create an altered version of a song, a cover: a re-recording of someone else's song like Mike D's remix of Moby's "Natural Blues". While audio mixing is one of the most popular and recognized forms of remixing, this is not the only media form, remixed in numerous examples. Literature, film and social systems can all be argued as a form of remix Since the beginnings of recorded sound in the late 19th century, technology has enabled people to rearrange the normal listening experience. With the advent of editable magnetic tape in the 1940s and 1950s and the subsequent development of multitrack recording, such alterations became more common. In those decades the experimental genre of musique concrète used tape manipulation to create sound compositions.
Less artistically lofty edits produced medleys or novelty recordings of various types. Modern remixing had its roots in the dance hall culture of late-1960s/early-1970s Jamaica; the fluid evolution of music that encompassed ska, rocksteady and dub was embraced by local music mixers who deconstructed and rebuilt tracks to suit the tastes of their audience. Producers and engineers like Ruddy Redwood, King Tubby and Lee "Scratch" Perry popularized stripped-down instrumental mixes of reggae tunes. At first they dropped the vocal tracks, but soon more sophisticated effects were created, dropping separate instrumental tracks in and out of the mix and repeating hooks, adding various effects like echo and delay; the German krautrock band Neu! used other effects on side two of their album Neu! 2 by manipulating their released single Super/Neuschnee multiple ways, utilizing playback at different turntable speeds or mangling by using of a cassette recorder. From the mid-1970s, DJs in early discothèques were performing similar tricks with disco songs to get dancers on the floor and keep them there.
One noteworthy figure was Tom Moulton. Though not a DJ, Moulton had begun his career by making a homemade mix tape for a Fire Island dance club in the late 1960s, his tapes became popular and he came to the attention of the music industry in New York City. At first Moulton was called upon to improve the aesthetics of dance-oriented recordings before release, he moved from being a "fix it" man on pop records to specializing in remixes for the dance floor. Along the way, he invented the 12-inch single vinyl format. Walter Gibbons provided the dance version of the first commercial 12-inch single. Contrary to popular belief, Gibbons did not mix the record. In fact his version was a re-edit of the original mix. Moulton and their contemporaries at Salsoul Records proved to be the most influential group of remixers for the disco era; the Salsoul catalog is seen as being the "canon" for the disco mixer's art form. Pettibone is among a small number of remixers whose work transitioned from the disco to the House era.
His contemporaries included François Kevorkian. Contemporaneously to disco in the mid-1970s, the dub and disco remix cultures met through Jamaican immigrants to the Bronx, energizing both and helping to create hip-hop music. Key figures included Grandmaster Flash. Cutting and scratching became part of the culture, creating what Slate magazine called "real-time, live-action collage." One of the first mainstream successes of this style of remix was the 1983 track Rockit by Herbie Hancock, as remixed by Grand Mixer D. ST. Malcolm McLaren and the creative team behind ZTT Records would feature the "cut up" style of hip hop on such records as "Duck Rock". Early pop remixes were simple.
Orlando is a city in the U. S. state of Florida and the county seat of Orange County. Located in Central Florida, it is the center of the Orlando metropolitan area, which had a population of 2,509,831, according to U. S. Census Bureau figures released in July 2017; these figures make it the 23rd-largest metropolitan area in the United States, the sixth-largest metropolitan area in the Southern United States, the third-largest metropolitan area in Florida. As of 2015, Orlando had an estimated city-proper population of 280,257, making it the 73rd-largest city in the United States, the fourth-largest city in Florida, the state's largest inland city; the City of Orlando is nicknamed "The City Beautiful," and its symbol is the fountain at Lake Eola. Orlando is known as "The Theme Park Capital of the World" and in 2016 its tourist attractions and events drew more than 72 million visitors; the Orlando International Airport is the thirteenth-busiest airport in the United States and the 29th-busiest in the world.
As one of the world's most visited tourist destinations, Orlando's famous attractions form the backbone of its tourism industry. The two most significant of these attractions are Walt Disney World, opened by the Walt Disney Company in 1971, located 21 miles southwest of Downtown Orlando in Bay Lake. With the exception of Walt Disney World, most major attractions are located along International Drive with one of these attractions being the Orlando Eye; the city is one of the busiest American cities for conferences and conventions. Like other major cities in the Sun Belt, Orlando grew from the 1980s up into the first decade of the 21st century. Orlando is home to the University of Central Florida, the largest university campus in the United States in terms of enrollment as of 2015. In 2010, Orlando was listed as a "Gamma−" level global city in the World Cities Study Group's inventory. Orlando ranks as the fourth-most popular American city based on where people want to live according to a 2009 Pew Research Center study.
Fort Gatlin, as the Orlando area was once known, was established at what is now just south of the city limits by the 4th U. S. Artillery under the command of Ltc. Alexander C. W. Fanning on November 9, 1838, during the construction of a series of fortified encampments across Florida during the Second Seminole War; the fort and surrounding area were named for Dr. John S. Gatlin, an Army physician, killed in Dade's Massacre on December 28, 1835; the site of construction for Fort Gatlin, a defensible position with fresh water between three small lakes, was chosen because the location was on a main trail and is less than 250 yards from a nearby Council Oak tree where Native Americans had traditionally met. King Phillip and Coacoochee frequented this area and the tree was alleged to be the place where the previous 1835 ambush that had killed over 100 soldiers had been planned; when the U. S. military abandoned the fort in 1839, the surrounding community was built up by settlers. Prior to being known by its current name, Orlando was once known as Jernigan.
This name originates from the first permanent settlers and Aaron Jernigan, cattlemen who acquired land two miles northwest of Fort Gatlin along the west end of Lake Holden in July 1843 by the terms of the Armed Occupation Act. Aaron Jernigan became Orange County's first State Representative in 1845 but his pleas for additional military protection went unanswered. Fort Gatlin was reoccupied by the military for a few weeks during October and November 1849 and subsequently a volunteer militia was left to defend the settlement. A historical marker indicates that by 1850 the Jernigan homestead served as the nucleus of a village named Jernigan. According to an account written years by his daughter, at that time, about 80 settlers were forced to shelter for about a year in "a stockade that Aaron Jernigan built on the north side of Lake Conway". One of the county's first records, a grand jury's report, mentions a stockade where it states homesteaders were "driven from their homes and forced to huddle together in hasty defences."
Aaron Jernigan led a local volunteer militia during 1852. A Post Office opened at Jernigan in 1850. Jernigan appears on an 1855 map of Florida and by 1856 the area had become the county seat of Orange County. In 1857, the Post Office was removed from Jernigan, opened under the name of Orlando at a new location in present-day downtown Orlando. During the American Civil War, the Post Office closed, but reopened in 1866; the move is believed to be sparked, in part, by Aaron Jernigan's fall from grace after he was relieved of his militia command by military officials in 1856. His behavior was so notorious that Secretary of War Jefferson Davis wrote, "It is said they are more dreadful than the Indians." In 1859, Jernigan and his sons were accused of committing a murder at the town's post office. They were transported to Ocala, but escaped. There are at least five stories as to; the most common stories are that the name Orlando originated from the tale of a man who died in 1835 during a attack by Native Americans in the area during the Second Seminole War.
Several of the stories relay an oral history of the marker for a person named Orlando, the double entendre, "Here lies Orlando." One variant includes a man named Orlando, passing by on his way to Tampa with a herd of oxen and was buried in a marked grave. At a meeting in 1857, debate had grown concerning the name of the town. Pioneer William B. Hull recalled
Florida is the southernmost contiguous state in the United States. The state is bordered to the west by the Gulf of Mexico, to the northwest by Alabama, to the north by Georgia, to the east by the Atlantic Ocean, to the south by the Straits of Florida. Florida is the 22nd-most extensive, the 3rd-most populous, the 8th-most densely populated of the U. S. states. Jacksonville is the most populous municipality in the state and the largest city by area in the contiguous United States; the Miami metropolitan area is Florida's most populous urban area. Tallahassee is the state's capital. Florida's $1.0 trillion economy is the fourth largest in the United States. If it were a country, Florida would be the 16th largest economy in the world, the 58th most populous as of 2018. In 2017, Florida's per capita personal income was ranking 26th in the nation; the unemployment rate in September 2018 was 3.5% and ranked as the 18th in the United States. Florida exports nearly $55 billion in goods made in the 8th highest among all states.
The Miami Metropolitan Area is by far the largest urban economy in Florida and the 12th largest in the United States with a GDP of $344.9 billion as of 2017. This is more than twice the number of the next metro area, the Tampa Bay Area, which has a GDP of $145.3 billion. Florida is home to 51 of the world's billionaires with most of them residing in South Florida; the first European contact was made in 1513 by Spanish explorer Juan Ponce de León, who called it la Florida upon landing there in the Easter season, known in Spanish as Pascua Florida. Florida was a challenge for the European colonial powers before it gained statehood in the United States in 1845, it was a principal location of the Seminole Wars against the Native Americans, racial segregation after the American Civil War. Today, Florida is distinctive for its large Cuban expatriate community and high population growth, as well as for its increasing environmental issues; the state's economy relies on tourism and transportation, which developed in the late 19th century.
Florida is renowned for amusement parks, orange crops, winter vegetables, the Kennedy Space Center, as a popular destination for retirees. Florida is the flattest state in the United States. Lake Okeechobee is the largest freshwater lake in the U. S. state of Florida. Florida's close proximity to the ocean influences many aspects of daily life. Florida is a reflection of multiple inheritance. Florida has attracted many writers such as Marjorie Kinnan Rawlings, Ernest Hemingway and Tennessee Williams, continues to attract celebrities and athletes, it is internationally known for golf, auto racing, water sports. Several beaches in Florida have emerald-colored coastal waters. About two-thirds of Florida occupies a peninsula between the Gulf of the Atlantic Ocean. Florida has the longest coastline in the contiguous United States 1,350 miles, not including the contribution of the many barrier islands. Florida has a total of 4,510 islands; this is the second-highest number of islands of any state of the United States.
It is the only state that borders both the Gulf of the Atlantic Ocean. Much of the state is characterized by sedimentary soil. Florida has the lowest high point of any U. S. state. The climate varies from subtropical in the north to tropical in the south; the American alligator, American crocodile, American flamingo, Roseate spoonbill, Florida panther, bottlenose dolphin, manatee can be found in Everglades National Park in the southern part of the state. Along with Hawaii, Florida is one of only two states that has a tropical climate, is the only continental state with either a tropical climate or a coral reef; the Florida Reef is the only living coral barrier reef in the continental United States, the third-largest coral barrier reef system in the world. By the 16th century, the earliest time for which there is a historical record, major Native American groups included the Apalachee of the Florida Panhandle, the Timucua of northern and central Florida, the Ais of the central Atlantic coast, the Tocobaga of the Tampa Bay area, the Calusa of southwest Florida and the Tequesta of the southeastern coast.
Florida was the first region of the continental United States to be visited and settled by Europeans. The earliest known European explorers came with the Spanish conquistador Juan Ponce de León. Ponce de León spotted and landed on the peninsula on April 2, 1513, he named the region Florida. The story that he was searching for the Fountain of Youth is mythical and only appeared long after his death. In May 1539, Conquistador Hernando de Soto skirted the coast of Florida, searching for a deep harbor to land, he described seeing a thick wall of red mangroves spread mile after mile, some reaching as high as 70 feet, with intertwined and elevated roots making landing difficult. The Spanish introduced Christianity, horses, the Castilian language, more to Florida. Spain established several settlements with varying degrees of success. In 1559, Don Tristán de Luna y Arellano established a settlement at present-day Pensacola, making it the first attempted settlement in Florida, but it was abandoned by 1561.
In 1565, the settlement of St. Augustine was established under the leadership of admiral and
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
A fanzine is a non-professional and non-official publication produced by enthusiasts of a particular cultural phenomenon for the pleasure of others who share their interest. The term was coined in an October 1940 science fiction fanzine by Russ Chauvenet and first popularized within science fiction fandom, from there it was adopted by other communities. Publishers, editors and other contributors of articles or illustrations to fanzines are not paid. Fanzines are traditionally circulated free of charge, or for a nominal cost to defray postage or production expenses. Copies are offered in exchange for similar publications, or for contributions of art, articles, or letters of comment, which are published; some fanzines are photocopied by amateurs using standard home office equipment. A few fanzines have developed into professional publications, many professional writers were first published in fanzines; the term fanzine is sometimes confused with "fan magazine", but the latter term most refers to commercially produced publications for fans.
The origins of amateur fanac "fan" publications are obscure, but can be traced at least back to 19th century literary groups in the United States which formed amateur press associations to publish collections of amateur fiction and commentary, such as H. P. Lovecraft's United Amateur; these publications were produced first on small tabletop printing presses by students. As professional printing technology progressed, so did the technology of fanzines. Early fanzines were hand-drafted or typed on a manual typewriter and printed using primitive reproduction techniques. Only a small number of copies could be made at a time, so circulation was limited; the use of mimeograph machines enabled greater press runs, the photocopier increased the speed and ease of publishing once more. Today, thanks to the advent of desktop publishing and self-publication, there is little difference between the appearance of a fanzine and a professional magazine; when Hugo Gernsback published the first science fiction magazine, Amazing Stories in 1926, he allowed for a large letter column which printed reader's addresses.
By 1927 readers young adults, would write to each other, bypassing the magazine. Science fiction fanzines had their beginnings in Constructive correspondence. Fans finding themselves writing the same letter to several correspondents sought to save themselves a lot of typing by duplicating their letters. Early efforts included simple carbon copies but that proved insufficient; the first science fiction fanzine, The Comet, was published in 1930 by the Science Correspondence Club in Chicago and edited by Raymond A. Palmer and Walter Dennis; the term "fanzine" was coined by Russ Chauvenet in the October 1940 edition of his fanzine Detours. "Fanzines" were distinguished from "prozines,":. Prior to that, the fan publications were known as "fanmags" or "letterzines". Science fiction fanzines used a variety of printing methods. Typewriters, school dittos, church mimeos and multi-color letterpress or other mid-to-high level printing; some fans wanted their news spread, others reveled in the beauty of fine printing.
The hectograph, introduced around 1876, was so named because it could produce up to a hundred copies. Hecto used an aniline dye, transferred to a tray of gelatin, paper would be placed on the gel, one sheet at a time, for transfer. Messy and smelly, the process could create vibrant colors for the few copies produced, the easiest aniline dye to make being purple; the next small but significant technological step after hecto is the spirit duplicator the hectography process using a drum instead of the gelatin. Introduced by Ditto Corporation in 1923, these machines were known for the next six decades as Ditto Machines and used by fans because they were cheap to use and could print in color; the mimeograph machine, which forced ink through a wax paper stencil cut by the keys of a typewriter, was the standard for many decades. A second-hand mimeo could print in color; the electronic stencil cutter could add illustrations to a mimeo stencil. A mimeo'd zine could look terrible or look beautiful, depending more on the skill of the mimeo operator than the quality of the equipment.
Only a few fans could afford more professional printers, or the time it took them to print, until photocopying became cheap and ubiquitous in the 1970s. With the advent of computer printers and desktop publishing in the 1980s, fanzines began to look far more professional; the rise of the internet made correspondence cheaper and much faster, the World Wide Web has made publishing a fanzine as simple as coding a web page. The printing technology affected the style of writing. For example, there were alphanumeric contractions which are precursors to "leet-speak". Fanspeak is rich with concatenations. Where teenagers labored to save typing on ditto masters, they now save keystrokes when text messaging. Ackerman invented nonstoparagraphing as a space-saving measure. Whe