New wave music
New wave is a genre of rock music popular in the late 1970s and the 1980s with ties to mid-1970s punk rock. New wave moved away from blues and rock and roll sounds to create rock music or pop music that incorporated disco and electronic music. New wave was similar to punk rock, before becoming a distinct genre, it subsequently engendered fusions, including synth-pop. New wave differs from other movements with ties to first-wave punk as it displays characteristics common to pop music, rather than the more "artsy" post-punk. Although it incorporates much of the original punk rock sound and ethos, new wave exhibits greater complexity in both music and lyrics. Common characteristics of new wave music include the use of synthesizers and electronic productions, a distinctive visual style featured in music videos and fashion. New wave has been called one of the definitive genres of the 1980s, after it was promoted by MTV; the popularity of several new wave artists is attributed to their exposure on the channel.
In the mid-1980s, differences between new wave and other music genres began to blur. New wave has enjoyed resurgences since the 1990s, after a rising "nostalgia" for several new wave-influenced artists. Subsequently, the genre influenced other genres. During the 2000s, a number of acts, such as the Strokes, Franz Ferdinand and The Killers explored new wave and post-punk influences; these acts were sometimes labeled "new wave of new wave". The catch-all nature of new wave music has been a source of much controversy; the 1985 discography Who's New Wave in Music listed artists in over 130 separate categories. The New Rolling Stone Encyclopedia of Rock calls the term "virtually meaningless", while AllMusic mentions "stylistic diversity". New wave first emerged as a rock genre in the early 1970s, used by critics including Nick Kent and Dave Marsh to classify such New York-based groups as the Velvet Underground and New York Dolls, it gained currency beginning in 1976 when it appeared in UK punk fanzines such as Sniffin' Glue and newsagent music weeklies such as Melody Maker and New Musical Express.
In November 1976 Caroline Coon used Malcolm McLaren's term "new wave" to designate music by bands not punk, but related to the same musical scene. The term was used in that sense by music journalist Charles Shaar Murray in his comments about the Boomtown Rats. For a period of time in 1976 and 1977, the terms new wave and punk were somewhat interchangeable. By the end of 1977, "new wave" had replaced "punk" as the definition for new underground music in the UK. In the United States, Sire Records chairman Seymour Stein, believing that the term "punk" would mean poor sales for Sire's acts who had played the club CBGB, launched a "Don't Call It Punk" campaign designed to replace the term with "new wave"; as radio consultants in the United States had advised their clients that punk rock was a fad, they settled on the term "new wave". Like the filmmakers of the French new wave movement, its new artists were anti-corporate and experimental. At first, most U. S. writers used the term "new wave" for British punk acts.
Starting in December 1976, The New York Rocker, suspicious of the term "punk", became the first American journal to enthusiastically use the term starting with British acts appropriating it to acts associated with the CBGB scene. Part of what attracted Stein and others to new wave was the music's stripped back style and upbeat tempos, which they viewed as a much needed return to the energetic rush of rock and roll and 1960s rock that had dwindled in the 1970s with the ascendance of overblown progressive rock and stadium spectacles. Music historian Vernon Joynson claimed that new wave emerged in the UK in late 1976, when many bands began disassociating themselves from punk. Music that followed the anarchic garage band ethos of the Sex Pistols was distinguished as "punk", while music that tended toward experimentation, lyrical complexity or more polished production, came to be categorized as "new wave". In the U. S. the first new wavers were the not-so-punk acts associated with the New York club CBGB.
CBGB owner Hilly Kristal, referring to the first show of the band Television at his club in March 1974, said, "I think of that as the beginning of new wave." Furthermore, many artists who would have been classified as punk were termed new wave. A 1977 Phonogram Records compilation album of the same name features US artists including the Dead Boys, Talking Heads and the Runaways. New wave is much more tied to punk, came and went more in the United Kingdom than in the United States. At the time punk began, it was a major phenomenon in the United Kingdom and a minor one in the United States, thus when new wave acts started getting noticed in America, punk meant little to the mainstream audience and it was common for rock clubs and discos to play British dance mixes and videos between live sets by American guitar acts. Post-punk music developments in the UK were considered unique cultural events. By the early 1980s, British journalists had abandoned the term "new wave" in favor of subgenre terms such as "synthpop".
By 1983, the term of choice for the US music industry had become "new music", while to the majority of US fans it was still a "new wave" reacting to album-based rock. New wave died out in the mid-1980s, knocked out by guitar-driven rock reacting against new wave. In the 21st-century United States, "new wave" was used to describe ar
Akron is the fifth-largest city in the U. S. is the county seat of Summit County. It is located on the western edge of the Glaciated Allegheny Plateau, about 30 miles south of Cleveland; as of the 2017 Census estimate, the city proper had a total population of 197,846, making it the 119th-largest city in the United States. The Greater Akron area, covering Summit and Portage counties, had an estimated population of 703,505; the city was founded in 1825 by Simon Perkins and Paul Williams, along the Little Cuyahoga River at the summit of the developing Ohio and Erie Canal. The name is derived from the Greek word signifying high point, it was renamed South Akron after Eliakim Crosby founded nearby North Akron in 1833, until both merged into an incorporated village in 1836. In the 1910s, Akron doubled in population. A long history of rubber and tire manufacturing, carried on today by Goodyear Tire, gave Akron the nickname "Rubber Capital of the World", it was once known as a center of airship development.
Today, its economy includes manufacturing, education and biomedical research. Notable historic events in Akron include the passage of the Akron School Law of 1847, which created the K–12 system. A racially diverse city, it has seen noted racial relations speeches by Sojourner Truth in 1851 — the Ain't I A Woman? Speech. Du Bois in 1920. In 1914, Marcus Garvey founded the Universal Negro Improvement Association in Akron. Episodes of major civil unrest in Akron have included the riot of 1900, rubber strike of 1936, the Wooster Avenue riots of 1968. In 1811, Paul Williams settled near the corner of what is now Broadway, he suggested to General Simon Perkins, surveyor of the Connecticut Land Company's Connecticut Western Reserve, that they found a town at the summit of the developing Ohio and Erie Canal. The name is adapted from meaning summit or high point, it was laid out in December 1825, where the south part of the downtown Akron neighborhood sits today. Irish laborers working on the Ohio Canal built about 100 cabins nearby.
After Eliakim Crosby founded "North Akron" in the northern portion of what is now downtown Akron in 1833, "South" was added to Akron's name until about three years when the two were merged and became an incorporated village in 1836. In 1840, Summit County formed from portions of Portage and Stark Counties. Akron replaced Cuyahoga Falls as its county seat a year and opened a canal connecting to Beaver, helping give birth to the stoneware, sewer pipe, fishing tackle, farming equipment industries. In 1844, abolitionist John Brown moved into the John Brown House across the street from business partner Colonel Simon Perkins, who lived in the Perkins Stone Mansion; the Akron School Law of 1847 founded the city's public schools and created the K–12 grade school system, used in every U. S. state. The city's first school is now a museum on Broadway Street near the corner of Exchange; when the Ohio Women's Rights Convention came to Akron in 1851, Sojourner Truth extemporaneously delivered her speech named "Ain't I A Woman?", at the Universalist Old Stone Church.
In 1870, a local businessman associated with the church, John R. Buchtel, founded Buchtel College, which became the University of Akron in 1913. Ferdinand Schumacher bought a mill in 1856, the following decade mass-produced oat bars for the Union Army during the American Civil War. Akron incorporated as a city in 1865. Philanthropist Lewis Miller, Walter Blythe, architect Jacob Snyder designed the used Akron Plan, debuting it on Akron's First Methodist Episcopal Church in 1872. Numerous Congregational and Presbyterian churches built between the 1870s and World War I use it. In 1883, a local journalist began the modern toy industry by founding the Akron Toy Company. A year the first popular toy was mass-produced clay marbles made by Samuel C. Dyke at his shop where Lock 3 Park is now. Other popular inventions include rubber balloons, dolls, baby buggy bumpers, little brown jugs. In 1895, the first long-distance electric railway, the Akron and Cleveland Railroad, began service. On August 25, 1889, the Boston Daily Globe referred to Akron with the nickname "Summit City".
To help local police, the city deployed the first police car in the U. S. that ran on electricity. The Riot of 1900 saw assaults on city officials, two deaths, the destruction by fire of Columbia Hall and the Downtown Fire Station; the American trucking industry was birthed through Akron's Rubber Capital of the World era when the four major tire companies Goodrich Corporation, Goodyear Tire and Rubber Company, Firestone Tire and Rubber Company, General Tire were headquartered in the city. The numerous jobs the rubber factories provided for deaf people led to Akron being nicknamed the "Crossroads of the Deaf". On Easter Sunday 1913, 9.55 inches of rain fell, causing floods that killed five people and destroyed the Ohio and Erie Canal system. From 1916 to 1920, 10,000 schoolgirls took part in the successful Akron Experiment, testing iodized salt to prevent goiter in what was known as the "Goiter Belt"; the Akron & National Marble Tournament was created in 1923 by Roy W
The Walt Disney Company
The Walt Disney Company known as Walt Disney or Disney, is an American diversified multinational mass media and entertainment conglomerate headquartered at the Walt Disney Studios in Burbank, California. It is the world's largest media conglomerate in terms of revenue, ahead of NBCUniversal and WarnerMedia. Disney was founded on October 16, 1923 by brothers Walt and Roy O. Disney as the Disney Brothers Cartoon Studio; the company established itself as a leader in the American animation industry before diversifying into live-action film production and theme parks. Since the 1980s, Disney has created and acquired corporate divisions in order to market more mature content than is associated with its flagship family-oriented brands; the company is known for its film studio division, Walt Disney Studios, which includes Walt Disney Pictures, Walt Disney Animation Studios, Marvel Studios, Lucasfilm, 20th Century Fox, Fox Searchlight Pictures, Blue Sky Studios. Disney's other main divisions are Disney Parks and Products, Disney Media Networks, Walt Disney Direct-to-Consumer and International.
Disney owns and operates the ABC broadcast network. The company has been a component of the Dow Jones Industrial Average since 1991. Cartoon character Mickey Mouse, created in 1928 by Walt Disney and Ub Iwerks, is one of the world's most recognizable characters, serves as the company's official mascot. In early 1923, Kansas City, animator Walt Disney created a short film entitled Alice's Wonderland, which featured child actress Virginia Davis interacting with animated characters. After the bankruptcy in 1923 of his previous firm, Laugh-O-Gram Studio, Disney moved to Hollywood to join his brother, Roy O. Disney. Film distributor Margaret J. Winkler of M. J. Winkler Productions contacted Disney with plans to distribute a whole series of Alice Comedies purchased for $1,500 per reel with Disney as a production partner. Walt and Roy Disney formed Disney Brothers Cartoon Studio that same year. More animated films followed after Alice. In January 1926, with the completion of the Disney studio on Hyperion Street, the Disney Brothers Studio's name was changed to the Walt Disney Studio.
After the demise of the Alice comedies, Disney developed an all-cartoon series starring his first original character, Oswald the Lucky Rabbit, distributed by Winkler Pictures through Universal Pictures. The distributor owned Oswald, so Disney only made a few hundred dollars. Disney completed 26 Oswald shorts before losing the contract in February 1928, due to a legal loophole, when Winkler's husband Charles Mintz took over their distribution company. After failing to take over the Disney Studio, Mintz hired away four of Disney's primary animators to start his own animation studio, Snappy Comedies. In 1928, to recover from the loss of Oswald the Lucky Rabbit, Disney came up with the idea of a mouse character named Mortimer while on a train headed to California, drawing up a few simple drawings; the mouse was renamed Mickey Mouse and starred in several Disney produced films. Ub Iwerks refined Disney's initial design of Mickey Mouse. Disney's first sound film Steamboat Willie, a cartoon starring Mickey, was released on November 18, 1928 through Pat Powers' distribution company.
It was the first Mickey Mouse sound cartoon released, but the third to be created, behind Plane Crazy and The Gallopin' Gaucho. Steamboat Willie was an immediate smash hit, its initial success was attributed not just to Mickey's appeal as a character, but to the fact that it was the first cartoon to feature synchronized sound. Disney used Pat Powers' Cinephone system, created by Powers using Lee de Forest's Phonofilm system. Steamboat Willie premiered at B. S. Moss's Colony Theater in New York City, now The Broadway Theatre. Disney's Plane Crazy and The Gallopin' Gaucho were retrofitted with synchronized sound tracks and re-released in 1929. Disney continued to produce cartoons with Mickey Mouse and other characters, began the Silly Symphony series with Columbia Pictures signing on as Symphonies distributor in August 1929. In September 1929, theater manager Harry Woodin requested permission to start a Mickey Mouse Club which Walt approved. In November, test comics strips were sent to King Features, who requested additional samples to show to the publisher, William Randolph Hearst.
On December 16, the Walt Disney Studios partnership was reorganized as a corporation with the name of Walt Disney Productions, Limited with a merchandising division, Walt Disney Enterprises, two subsidiaries, Disney Film Recording Company and Liled Realty and Investment Company for real estate holdings. Walt and his wife held Roy owned 40 % of WD Productions. On December 30, King Features signed its first newspaper, New York Mirror, to publish the Mickey Mouse comic strip with Walt's permission. In 1932, Disney signed an exclusive contract with Technicolor to produce cartoons in color, beginning with Flowers and Trees. Disney released cartoons through Powers' Celebrity Pictures, Columbia Pictures, United Artists; the popularity of the Mickey Mouse series allowed Disney to plan for his first feature-length animation. The feature film Walt
Punk rock is a rock music genre that developed in the mid-1970s in the United States, United Kingdom and Australia. Rooted in 1960s garage rock and other forms of what is now known as "proto-punk" music, punk rock bands rejected perceived excesses of mainstream 1970s rock, they produced short, fast-paced songs with hard-edged melodies and singing styles, stripped-down instrumentation, political, anti-establishment lyrics. Punk embraces a DIY ethic; the term "punk rock" was first used by certain American rock critics in the early 1970s to describe 1960s garage bands and subsequent acts perceived as stylistic inheritors. Between 1974 and 1976 the movement now called. By late 1976, bands such as Television and the Ramones in New York City, the Sex Pistols, the Clash, the Damned in London, the Saints in Brisbane were recognized as forming its vanguard; as 1977 approached, punk became a major and controversial cultural phenomenon in the UK. It spawned a punk subculture expressing youthful rebellion through distinctive styles of clothing and adornment and a variety of anti-authoritarian ideologies.
In 1977 the influence of the music and subculture became more pervasive. It took root in a wide range of local scenes that rejected affiliation with the mainstream. In the late 1970s, punk experienced a second wave as new acts that were not active during its formative years adopted the style. By the early 1980s, faster and more aggressive subgenres such as hardcore punk, street punk and anarcho-punk became the predominant modes of punk rock. Musicians identifying with or inspired by punk pursued other musical directions, giving rise to spinoffs such as post-punk, new wave, indie pop, alternative rock, noise rock. By the 1990s, punk re-emerged in the mainstream with the success of punk rock and pop punk bands such as Green Day, The Offspring, Blink-182; the first wave of punk rock was "aggressively modern" and differed from what came before. According to Ramones drummer Tommy Ramone, "In its initial form, a lot of stuff was innovative and exciting. What happens is that people who could not hold a candle to the likes of Hendrix started noodling away.
Soon you had endless solos. By 1973, I knew that what was needed was some pure, stripped down, no bullshit rock'n' roll." John Holmstrom, founding editor of Punk magazine, recalls feeling "punk rock had to come along because the rock scene had become so tame that like Billy Joel and Simon and Garfunkel were being called rock and roll, when to me and other fans and roll meant this wild and rebellious music." In critic Robert Christgau's description, "It was a subculture that scornfully rejected the political idealism and Californian flower-power silliness of hippie myth." Technical accessibility and a Do. UK pub rock from 1972-1975 contributed to the emergence of punk rock by developing a network of small venues, such as pubs, where non-mainstream bands could play. Pub rock introduced the idea of independent record labels, such as Stiff Records, which put out basic, low-cost records. Pub rock bands put out small pressings of their records. In the early days of punk rock, this DIY ethic stood in marked contrast to what those in the scene regarded as the ostentatious musical effects and technological demands of many mainstream rock bands.
Musical virtuosity was looked on with suspicion. According to Holmstrom, punk rock was "rock and roll by people who didn't have many skills as musicians but still felt the need to express themselves through music". In December 1976, the English fanzine Sideburns published a now-famous illustration of three chords, captioned "This is a chord, this is another, this is a third. Now form a band"; the title of a 1980 single by the New York punk band Stimulators, "Loud Fast Rules!", inscribed a catchphrase for punk's basic musical approach. Some of British punk rock's leading figures made a show of rejecting not only contemporary mainstream rock and the broader culture it was associated with, but their own most celebrated music predecessors: "No Elvis, Beatles or the Rolling Stones in 1977", declared the Clash song "1977"; the previous year, when the punk rock revolution began in Great Britain, was to be both a musical and a cultural "Year Zero". As nostalgia was discarded, many in the scene adopted a nihilistic attitude summed up by the Sex Pistols slogan "No Future".
While "self-imposed alienation" was common among "drunk punks" and "gutter punks", there was always a tension between their nihilistic outlook and the "radical leftist utopianism" of bands such as Crass, who found positive, liberating meaning in the movement. As a Clash associate describes singer Joe Strummer's outlook, "Punk rock is meant to be our freedom. We're meant to be able to do what we want to do."The issue of authenticity is important in the punk subculture—the pejorative term "poseur" is applied to those who associate with punk and adopt its stylistic attributes but are deemed not to share or understand the underlying values and philosophy. Scholar Daniel S. Traber argues that "attaining authenticity in the punk identity can be difficult".
Synth-pop is a subgenre of new wave music that first became prominent in the late 1970s and features the synthesizer as the dominant musical instrument. It was prefigured in the 1960s and early 1970s by the use of synthesizers in progressive rock, art rock and the "Krautrock" of bands like Kraftwerk, it arose as a distinct genre in Japan and the United Kingdom in the post-punk era as part of the new wave movement of the late 1970s to the mid-1980s. Electronic musical synthesizers that could be used in a recording studio became available in the mid-1960s, while the mid-1970s saw the rise of electronic art musicians. After the breakthrough of Gary Numan in the UK Singles Chart in 1979, large numbers of artists began to enjoy success with a synthesizer-based sound in the early 1980s. In Japan, Yellow Magic Orchestra introduced the TR-808 rhythm machine to popular music, the band would be a major influence on early British synth-pop acts; the development of inexpensive polyphonic synthesizers, the definition of MIDI and the use of dance beats, led to a more commercial and accessible sound for synth-pop.
This, its adoption by the style-conscious acts from the New Romantic movement, together with the rise of MTV, led to success for large numbers of British synth-pop acts in the US. "Synth-pop" is sometimes used interchangeably with "electropop", but "electropop" may denote a variant of synth-pop that places more emphasis on a harder, more electronic sound. In the mid to late 1980s, duos such as Erasure and Pet Shop Boys adopted a style, successful on the US dance charts, but by the end of the decade, the'new wave' synth-pop of bands such as A-ha and Alphaville was giving way to house music and techno. Interest in new wave synth-pop began to revive in the indietronica and electroclash movements in the late 1990s, in the 2000s synth-pop enjoyed a widespread revival and commercial success; the genre has received criticism for alleged lack of musicianship. Synth-pop music has established a place for the synthesizer as a major element of pop and rock music, directly influencing subsequent genres and has indirectly influenced many other genres, as well as individual recordings.
Synth-pop was defined by its primary use of synthesizers, drum machines and sequencers, sometimes using them to replace all other instruments. Borthwick and Moy have described the genre as diverse but "...characterised by a broad set of values that eschewed rock playing styles and structures", which were replaced by "synthetic textures" and "robotic rigidity" defined by the limitations of the new technology, including monophonic synthesizers. Many synth-pop musicians had limited musical skills, relying on the technology to produce or reproduce the music; the result was minimalist, with grooves that were "typically woven together from simple repeated riffs with no harmonic'progression' to speak of". Early synth-pop has been described as "eerie and vaguely menacing", using droning electronics with little change in inflection. Common lyrical themes of synth-pop songs were isolation, urban anomie, feelings of being cold and hollow. In its second phase in the 1980s, the introduction of dance beats and more conventional rock instrumentation made the music warmer and catchier and contained within the conventions of three-minute pop.
Synthesizers were used to imitate the conventional and clichéd sound of orchestras and horns. Thin, treble-dominant, synthesized melodies and simple drum programmes gave way to thick, compressed production, a more conventional drum sound. Lyrics were more optimistic, dealing with more traditional subject matter for pop music such as romance and aspiration. According to music writer Simon Reynolds, the hallmark of 1980s synth-pop was its "emotional, at times operatic singers" such as Marc Almond, Alison Moyet and Annie Lennox; because synthesizers removed the need for large groups of musicians, these singers were part of a duo where their partner played all the instrumentation. Although synth-pop in part arose from punk rock, it abandoned punk's emphasis on authenticity and pursued a deliberate artificiality, drawing on the critically derided forms such as disco and glam rock, it owed little to the foundations of early popular music in jazz, folk music or the blues, instead of looking to America, in its early stages, it consciously focused on European and Eastern European influences, which were reflected in band names like Spandau Ballet and songs like Ultravox's "Vienna".
Synth-pop saw a shift to a style more influenced by other genres, such as soul music. Electronic musical synthesizers that could be used in a recording studio became available in the mid-1960s, around the same time as rock music began to emerge as a distinct musical genre; the Mellotron, an electro-mechanical, polyphonic sample-playback keyboard was overtaken by the Moog synthesizer, created by Robert Moog in 1964, which produced electronically generated sounds. The portable Minimoog, which allowed much easier use in live performance was adopted by progressive rock musicians such as Richard Wright of Pink Floyd and Rick Wakeman of Yes. Instrumental prog rock was significant in continental Europe, allowing bands like Kraftwerk, Tangerine Dream and Faust to circumvent the language barrier, their synthesizer-heavy "Kraut rock", along with the work of Brian Eno (for a time the keyboard player with Roxy M
Bob Lewis (musician)
Robert Curtis Lewis is an American composer and basketballer. He is best known as a co-founder of the new wave band Devo, he graduated from Kent State University shortly after the Kent State shootings on May 4, 1970. Bob Lewis was born in Akron and played basketball for Bobby Knight at Cuyahoga Falls High School, he was a National Merit Scholar and attended Kent State University, where he was the first student to graduate with a major in anthropology. Lewis studied poetry with Black Mountain poet Ed Dorn, British poet Eric Mottram and Robert Bertholf, an English professor at Kent, named the curator of the poetry collection and Charles D. Abbot Scholar at the University at Buffalo. In 1970 Lewis and Gerald Casale began working on a theme of de-evolution in response to the Kent State shootings. In 1971 Lewis, along with Devo co-founder Gerald Casale and Peter Gregg, recorded three proto-Devo songs, "I Been Refused", "I Need a Chick" and "Auto Mowdown", on primitive recording equipment located over Guido's Pizza Shop in Kent, Ohio.
Lewis and Gerald Casale wrote seminal tracts on de-evolution for the now-defunct LA Staff. In 1973 they formed the band Devo with Mark Mothersbaugh. Recommendations from David Bowie and Iggy Pop enabled Devo to secure a recording contract with Warner Bros. in 1978. As musicianship in the band improved, Lewis moved to a managerial role, after the band achieved success, he asked for accreditation and compensation in 1978 for his contributions to the band; the band refused to negotiate, sued Lewis in Los Angeles County Superior Court, seeking a declaratory judgment stating that Lewis had no rights to the name or theory of de-evolution. Lewis filed an action in United States District Court for the Northern District of Ohio, alleging theft of intellectual property. During discovery, Lewis produced articles, promotional materials, documentary evidence and an interview with Lewis and band members recorded at the Akron Art Museum following the premiere of In the Beginning was the End in which Mothersbaugh, Alan Myers and other band members credited Lewis with developing the theory of de-evolution.
The band settled for an undisclosed sum. In 2017, Lewis appeared at the annual DEVOtional fan gathering in Cleveland, performing early Devo songs with Gerald Casale and others; this event was the first time Lewis and Casale had performed together in over 40 years. Lewis wrote and performed Andrea as Hurricane Bob on the New Wave Akron compilation album, Bowling Balls from Hell, worked on videos with New Wave groups Tin Huey, Hammer Damage and Human Switchboard. In the 1980s, when working as a consultant in Damascus, Syria, he was Middle East Correspondent for Rolling Stock magazine, published by Ed and Jennifer Dunbar Dorn. Lewis' poetry has been published in Creedences, Shelley's and in the Poetry Review when Eric Mottram was editor. In 1977 he released a book of poetry titled Viscerally, illustrated by Fran Fecko and published by Tom Beckett. Lewis, Bob; some thoughts on Devo: the first Postmodern Band at the Wayback Machine, Devaluate.com. Archived from the original on 2006-02-07. Lewis in Antiquities, British Museum at the Wayback Machine Lewis, Bob..
The Staff. Republished at Cleveland.com. Archived from the republish "Readers vs. Breeders: Didactical Works re De-Evolution" at the Wayback Machine on 2007-10-14. Devo at MoMA Looking at Music Andrea Live performance 2017 Devotional - Auto Mowdown Live performance 2017 Devotional - Beehive Edited Live performance 2017 Devotional - both songs The Stiff Records Story
Mutato Muzika is an American music production company established and owned by Devo co-founder and lead singer Mark Mothersbaugh in 1989. The name is a portmanteau of the words mutant and potato, a nod to Devo's fanbase which are called Spuds. While Devo members Mark Mothersbaugh, Gerald Casale and Bob Mothersbaugh, with drummer Josh Freese meet and confer in its West Hollywood, California studio facilities, Mutato Muzika is a full-service music production company; until his death in 2014, Bob Casale served as a producer/engineer there. Mutato Muzika has produced music for many films, including Rushmore, The Royal Tenenbaums, The Life Aquatic with Steve Zissou, Confessions of a Teenage Drama Queen, 13, Lords of Dogtown, Nick & Norah's Infinite Playlist, Cloudy with a Chance of Meatballs, Catfish. Television music includes Rugrats, Shaggy & Scooby-Doo Get a Clue!, Pee-wee's Playhouse, Big Love, Shameless and Regular Show. Mutato Muzika-produced video game scores include The Sims. Mutato Muzika provides music for commercials, including spots for Apple's PC vs. Mac, Martini & Rossi's George Clooney/Giorgio, Logitech.
The company is housed in a round bright green building at 8760 West Sunset Boulevard. The building is rumored to have been designed by Brazilian architect Oscar Niemeyer, modeling the exterior after The Forum in Inglewood, former home of the NBA's Los Angeles Lakers and NHL's Los Angeles Kings. Known as "The Beauty Pavilion", it was built in 1967 for plastic surgeon Dr. Richard Alan Franklyn, who wanted the roof to have skylights in order to illuminate the operating room in the center of the structure; the building was painted green. Mark Mothersbaugh – composer, vocalist, founder Andrea Feyler – studio manager Albert Fox – associate composer John Enroth – associate composer Johnny Brewton – art assistant / archivist Wataru Hokoyama - orchestrator + conductor Ethan Obbema - media assistant Raymond Plaza – audio engineer / composer Hana Blaquera – office coordinator Mutato Muzika has received credit for recordings in the following films: Mutato Muzika has received credit for recordings in the following television programs: Interstate'82 - Josh Mancell The Sims 2 - Mark Mothersbaugh Crash Bandicoot - Josh Mancell Crash Bandicoot 2: Cortex Strikes Back - Josh Mancell Crash Bandicoot 3: Warped - Josh Mancell Crash Team Racing - Josh Mancell Jak and Daxter: The Precursor Legacy - Josh Mancell Jak II - Josh Mancell Jak 3 - Josh Mancell Boom Blox - Mark Mothersbaugh, Albert Fox, John Enroth and Silas Hite MySims MySims Kingdom MySims Racing MySims Agents The Lego Movie Videogame - Mark Mothersbaugh Official website Studio tour video from 2010 with Keyboard magazine, showing vintage instruments and the building's interior