Alternative rock is a style of rock music that emerged from the independent music underground of the 1980s and became popular in the 1990s. In this instance, the word "alternative" refers to the genre's distinction from mainstream rock music; the term's original meaning was broader, referring to a generation of musicians unified by their collective debt to either the musical style or the independent, DIY ethos of punk rock, which in the late 1970s laid the groundwork for alternative music. At times, "alternative" has been used as a catch-all description for music from underground rock artists that receives mainstream recognition, or for any music, whether rock or not, seen to be descended from punk rock. Alternative rock broadly consists of music that differs in terms of its sound, social context and regional roots. By the end of the 1980s, magazines and zines, college radio airplay, word of mouth had increased the prominence and highlighted the diversity of alternative rock, helping to define a number of distinct styles such as noise pop, indie rock and shoegaze.
Most of these subgenres had achieved minor mainstream notice and a few bands representing them, such as Hüsker Dü and R. E. M. had signed to major labels. But most alternative bands' commercial success was limited in comparison to other genres of rock and pop music at the time, most acts remained signed to independent labels and received little attention from mainstream radio, television, or newspapers. With the breakthrough of Nirvana and the popularity of the grunge and Britpop movements in the 1990s, alternative rock entered the musical mainstream and many alternative bands became successful. In the past, popular music tastes were dictated by music executives within large entertainment corporations. Record companies signed contracts with those entertainers who were thought to become the most popular, therefore who could generate the most sales; these bands were able to record their songs in expensive studios, their works sold through record store chains that were owned by the entertainment corporations.
The record companies worked with radio and television companies to get the most exposure for their artists. The people making the decisions were business people dealing with music as a product, those bands who were not making the expected sales figures were excluded from this system. Before the term alternative rock came into common usage around 1990, the sort of music to which it refers was known by a variety of terms. In 1979, Terry Tolkin used the term Alternative Music to describe the groups. In 1979 Dallas radio station KZEW had a late night new wave show entitled "Rock and Roll Alternative". "College rock" was used in the United States to describe the music during the 1980s due to its links to the college radio circuit and the tastes of college students. In the United Kingdom, dozens of small do it yourself record labels emerged as a result of the punk subculture. According to the founder of one of these labels, Cherry Red, NME and Sounds magazines published charts based on small record stores called "Alternative Charts".
The first national chart based on distribution called the Indie Chart was published in January 1980. At the time, the term indie was used to describe independently distributed records. By 1985, indie' had come to mean a particular genre, or group of subgenres, rather than distribution status; the use of the term alternative to describe rock music originated around the mid-1980s. Individuals who worked as DJs and promoters during the 1980s claim the term originates from American FM radio of the 1970s, which served as a progressive alternative to top 40 radio formats by featuring longer songs and giving DJs more freedom in song selection. According to one former DJ and promoter, "Somehow this term'alternative' got rediscovered and heisted by college radio people during the 80s who applied it to new post-punk, indie, or underground-whatever music". At first the term referred to intentionally non–mainstream rock acts that were not influenced by "heavy metal ballads, rarefied new wave" and "high-energy dance anthems".
Usage of the term would broaden to include new wave, punk rock, post-punk, "college"/"indie" rock, all found on the American "commercial alternative" radio stations of the time such as Los Angeles' KROQ-FM. Journalist Jim Gerr wrote that Alternative encompassed variants such as "rap, trash and industrial". In December 1991, Spin magazine noted: "this year, for the first time, it became resoundingly clear that what has been considered alternative rock – a college-centered marketing group with lucrative, if limited, potential- has in fact moved into the mainstream"; the bill of the first Lollapalooza, an itinerant festival in North America conceived by Jane's Addiction frontman Perry Farrell, reunited "disparate elements of the alternative rock community" including Henry Rollins, Butthole Surfers, Ice-T, Nine Inch Nails and the Banshees and Jane's Addiction. That same year, Farrell coined the term Alternative Nation. In the late 1990s, the definition again became more specific. In 1997, Neil Strauss of The New York Times defined alternative rock as "hard-edged rock distinguished by brittle,'70s-inspired guitar riffing and singers agonizing over their problems until they take on epic proportions".
Defining music as alt
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
Technology is the collection of techniques, skills and processes used in the production of goods or services or in the accomplishment of objectives, such as scientific investigation. Technology can be the knowledge of techniques and the like, or it can be embedded in machines to allow for operation without detailed knowledge of their workings. Systems applying technology by taking an input, changing it according to the system's use, producing an outcome are referred to as technology systems or technological systems; the simplest form of technology is the use of basic tools. The prehistoric discovery of how to control fire and the Neolithic Revolution increased the available sources of food, the invention of the wheel helped humans to travel in and control their environment. Developments in historic times, including the printing press, the telephone, the Internet, have lessened physical barriers to communication and allowed humans to interact on a global scale. Technology has many effects, it has allowed the rise of a leisure class.
Many technological processes produce unwanted by-products known as pollution and deplete natural resources to the detriment of Earth's environment. Innovations have always influenced the values of a society and raised new questions in the ethics of technology. Examples include the rise of the notion of efficiency in terms of human productivity, the challenges of bioethics. Philosophical debates have arisen over the use of technology, with disagreements over whether technology improves the human condition or worsens it. Neo-Luddism, anarcho-primitivism, similar reactionary movements criticize the pervasiveness of technology, arguing that it harms the environment and alienates people; the use of the term "technology" has changed over the last 200 years. Before the 20th century, the term was uncommon in English, it was used either to refer to the description or study of the useful arts or to allude to technical education, as in the Massachusetts Institute of Technology; the term "technology" rose to prominence in the 20th century in connection with the Second Industrial Revolution.
The term's meanings changed in the early 20th century when American social scientists, beginning with Thorstein Veblen, translated ideas from the German concept of Technik into "technology." In German and other European languages, a distinction exists between technik and technologie, absent in English, which translates both terms as "technology." By the 1930s, "technology" referred not only to the study of the industrial arts but to the industrial arts themselves. In 1937, the American sociologist Read Bain wrote that "technology includes all tools, utensils, instruments, clothing and transporting devices and the skills by which we produce and use them." Bain's definition remains common among scholars today social scientists. Scientists and engineers prefer to define technology as applied science, rather than as the things that people make and use. More scholars have borrowed from European philosophers of "technique" to extend the meaning of technology to various forms of instrumental reason, as in Foucault's work on technologies of the self.
Dictionaries and scholars have offered a variety of definitions. The Merriam-Webster Learner's Dictionary offers a definition of the term: "the use of science in industry, etc. to invent useful things or to solve problems" and "a machine, piece of equipment, etc., created by technology." Ursula Franklin, in her 1989 "Real World of Technology" lecture, gave another definition of the concept. The term is used to imply a specific field of technology, or to refer to high technology or just consumer electronics, rather than technology as a whole. Bernard Stiegler, in Technics and Time, 1, defines technology in two ways: as "the pursuit of life by means other than life," and as "organized inorganic matter."Technology can be most broadly defined as the entities, both material and immaterial, created by the application of mental and physical effort in order to achieve some value. In this usage, technology refers to tools and machines that may be used to solve real-world problems, it is a far-reaching term that may include simple tools, such as a crowbar or wooden spoon, or more complex machines, such as a space station or particle accelerator.
Tools and machines need not be material. W. Brian Arthur defines technology in a broad way as "a means to fulfill a human purpose."The word "technology" can be used to refer to a collection of techniques. In this context, it is the current state of humanity's knowledge of how to combine resources to produce desired products, to solve problems, fulfill needs, or satisfy wants; when combined with another term, such as "medical technology" or "space technology," it refers to the state of the respective field's knowledge and tools. "State-of-the-art technology" refers to the high technology available to humanity in any field. Technology can be viewed as an activity that changes culture. Additionally, technology is the application of math, science, an
Telekon is the second solo studio album by English musician Gary Numan. It debuted at the top of the UK Albums Chart in September 1980, making it his third consecutive No. 1 album. Telekon was the third and final studio release of what Numan retrospectively termed the "machine" section of his career, following 1979's Replicas and The Pleasure Principle. In contrast to The Pleasure Principle, with its lack of guitars and its robotic sound, Telekon featured heavy use of guitars and strings along with richer synthesizer textures. Numan broadened his previous synth palette with additional machines such as the Sequential Circuits Prophet-5, ARP Pro Soloist and Roland Jupiter-4. "The Joy Circuit" used a combination of analogue synths with solo violin and viola, while its lyrics referenced William S. Burroughs, notably "We're on joy circuit/The image fix/Rewind, cry/Well, it's somewhere to go." Lyrically, while continuing Numan's exploration of a dystopian future in pieces like the title track and "I Dream of Wires", Telekon took stock of the artist's sudden celebrity and the overwhelming adulation of his fans in songs like "Remind Me to Smile" and "Please Push No More".
The album's musical style ranged from upbeat songs such as "I'm an Agent" and "The Joy Circuit" to mood pieces like "Sleep by Windows" and "Remember I Was Vapour". Like all of Numan's commercially popular early records, Telekon received a hostile reception from contemporary music critics. Trent Reznor claimed to have listened to it every day during the making of Pretty Hate Machine and Stephin Merritt from The Magnetic Fields became a Numan fan through the album. Merritt recorded "I Die: You Die" as his contribution to the Random tribute album in 1997, which included covers of "I'm an Agent", "Remember I Was Vapour" and "We Are Glass"; however the earliest cover of a song from this album, in the year of its release, was by Robert Palmer, who collaborated with Numan on a version of "I Dream of Wires" for the Clues LP. Telekon was preceded by two hit singles, "We Are Glass" and "I Die: You Die". Although neither of these was included on the album in its initial UK vinyl release, they featured on the cassette release.
Early UK pressings came with a limited edition live 45, "Remember I Was Vapour" b/w "On Broadway", all of these tracks, along with B-sides and the outtake "A Game Called Echo", were subsequently included on various CD reissues. Numan had premiered "Remember I Was Vapour" during the UK leg of'The Touring Principle' in late 1979, preceding its appearance on Telekon by a year, he premiered "We Are Glass", "I Die: You Die" and "Remind Me to Smile" during the April 1980 leg. The only single taken from the album after its release was the opening number, "This Wreckage", which peaked at No. 20. Numan admitted that, regardless of its merits as a song, it was a "bloody stupid single". Numan declined to issue "Remind Me to Smile" as a single. From late 1980 to early 1981, Numan toured the UK, Europe and North America in support of Telekon with guest Nash the Slash and a lavish stage set. An early performance from'The Teletour' was captured on the album Living Ornaments'80 and in a rendition of "Down in the Park" for the movie Urgh!
A Music War. The 2005 CD reissue of Living Ornaments'80 included the original 10-track album and a rediscovered soundboard recording of the entire concert; the Teletour was followed in April 1981 with three sold-out nights at Wembley Arena where Numan brought down the curtain on this phase of his career in extravagant style, as recorded in the accompanying video Micromusic. Although these were billed as Numan's farewell concerts, he would play a series of US club dates the following year and returned to large-scale touring in 1983. In December 2006, Numan undertook a Telekon "Classic Album" tour, comprising four concerts in the UK in which he played all the songs from the Telekon album, as well as its associated singles and B-sides. On the 2CD EKO: The Telekon 06 Audio Programme, Numan discussed the making of Telekon, revealing that it is his favourite of his "early albums." Numan followed the 2006 tour with further "Classic Album" tours, for Replicas in 2008 and The Pleasure Principle in 2009.
In 2006, Numan promised fans a DVD release of the 1981 Micromusic video. On his official website in October 2008, Numan announced that the long-lost master tapes of the Micromusic concert had been found, "in excellent condition and, to make things better, more footage has been found from two other camera positions that were not used on the original version; this new footage will be edited into a new updated version... We expect this to be, with all the extra footage and interviews, a double disc DVD." On 19 March 2010, Numan announced. Micromusic was released on that date as a one-disc DVD. NME used the track title "I Dream of Wires" as the name for a fictitious synthpop act about which they published a series of spoof articles in early 1995, culminating in reports of the alleged band's death in a coach crash in Ea
Compact disc is a digital optical disc data storage format, co-developed by Philips and Sony and released in 1982. The format was developed to store and play only sound recordings but was adapted for storage of data. Several other formats were further derived from these, including write-once audio and data storage, rewritable media, Video Compact Disc, Super Video Compact Disc, Photo CD, PictureCD, CD-i, Enhanced Music CD; the first commercially available audio CD player, the Sony CDP-101, was released October 1982 in Japan. Standard CDs have a diameter of 120 millimetres and can hold up to about 80 minutes of uncompressed audio or about 700 MiB of data; the Mini CD has various diameters ranging from 60 to 80 millimetres. At the time of the technology's introduction in 1982, a CD could store much more data than a personal computer hard drive, which would hold 10 MB. By 2010, hard drives offered as much storage space as a thousand CDs, while their prices had plummeted to commodity level. In 2004, worldwide sales of audio CDs, CD-ROMs and CD-Rs reached about 30 billion discs.
By 2007, 200 billion CDs had been sold worldwide. From the early 2000s CDs were being replaced by other forms of digital storage and distribution, with the result that by 2010 the number of audio CDs being sold in the U. S. had dropped about 50% from their peak. In 2014, revenues from digital music services matched those from physical format sales for the first time. American inventor James T. Russell has been credited with inventing the first system to record digital information on an optical transparent foil, lit from behind by a high-power halogen lamp. Russell's patent application was filed in 1966, he was granted a patent in 1970. Following litigation and Philips licensed Russell's patents in the 1980s; the compact disc is an evolution of LaserDisc technology, where a focused laser beam is used that enables the high information density required for high-quality digital audio signals. Prototypes were developed by Sony independently in the late 1970s. Although dismissed by Philips Research management as a trivial pursuit, the CD became the primary focus for Philips as the LaserDisc format struggled.
In 1979, Sony and Philips set up a joint task force of engineers to design a new digital audio disc. After a year of experimentation and discussion, the Red Book CD-DA standard was published in 1980. After their commercial release in 1982, compact discs and their players were popular. Despite costing up to $1,000, over 400,000 CD players were sold in the United States between 1983 and 1984. By 1988, CD sales in the United States surpassed those of vinyl LPs, by 1992 CD sales surpassed those of prerecorded music cassette tapes; the success of the compact disc has been credited to the cooperation between Philips and Sony, which together agreed upon and developed compatible hardware. The unified design of the compact disc allowed consumers to purchase any disc or player from any company, allowed the CD to dominate the at-home music market unchallenged. In 1974, Lou Ottens, director of the audio division of Philips, started a small group with the aim to develop an analog optical audio disc with a diameter of 20 cm and a sound quality superior to that of the vinyl record.
However, due to the unsatisfactory performance of the analog format, two Philips research engineers recommended a digital format in March 1974. In 1977, Philips established a laboratory with the mission of creating a digital audio disc; the diameter of Philips's prototype compact disc was set at 11.5 cm, the diagonal of an audio cassette. Heitaro Nakajima, who developed an early digital audio recorder within Japan's national public broadcasting organization NHK in 1970, became general manager of Sony's audio department in 1971, his team developed a digital PCM adaptor audio tape recorder using a Betamax video recorder in 1973. After this, in 1974 the leap to storing digital audio on an optical disc was made. Sony first publicly demonstrated an optical digital audio disc in September 1976. A year in September 1977, Sony showed the press a 30 cm disc that could play 60 minutes of digital audio using MFM modulation. In September 1978, the company demonstrated an optical digital audio disc with a 150-minute playing time, 44,056 Hz sampling rate, 16-bit linear resolution, cross-interleaved error correction code—specifications similar to those settled upon for the standard compact disc format in 1980.
Technical details of Sony's digital audio disc were presented during the 62nd AES Convention, held on 13–16 March 1979, in Brussels. Sony's AES technical paper was published on 1 March 1979. A week on 8 March, Philips publicly demonstrated a prototype of an optical digital audio disc at a press conference called "Philips Introduce Compact Disc" in Eindhoven, Netherlands. Sony executive Norio Ohga CEO and chairman of Sony, Heitaro Nakajima were convinced of the format's commercial potential and pushed further development despite widespread skepticism; as a result, in 1979, Sony and Philips set up a joint task force of engineers to design a new digital audio disc. Led by engineers Kees Schouhamer Immink and Toshitada Doi, the research pushed forward laser and optical disc technology. After a year of experimentation and discussion, the task force produced the Red Book CD-DA standard. First published in 1980, the stand
Jazz fusion is a musical genre that developed in the late 1960s when musicians combined jazz harmony and improvisation with rock music and rhythm and blues. Electric guitars and keyboards that were popular in rock and roll started to be used by jazz musicians those who had grown up listening to rock and roll. Jazz fusion arrangements vary in complexity; some employ groove-based vamps fixed to a single key or a single chord with a simple, repeated melody. Others use elaborate chord progressions, unconventional time signatures, or melodies with counter-melodies; these arrangements, whether simple or complex include improvised sections that can vary in length, much like in other form of jazz. As with jazz, jazz fusion employs brass and woodwind instruments such as trumpet and saxophone, but other instruments substitute for these. A jazz fusion band is less to use piano, double bass, drums, more to use electric guitar, bass guitar, drums; the term "jazz rock" is sometimes used as a synonym for "jazz fusion" and for music performed by late 1960s and 1970s-era rock bands that added jazz elements to their music.
After a decade of popularity during the 1970s, fusion expanded its improvisatory and experimental approaches through the 1980s in parallel with the development of a radio-friendly style called smooth jazz. Experimentation continued in the 2000s. Fusion albums those that are made by the same group or artist, may include a variety of musical styles. Rather than being a codified musical style, fusion can be viewed as approach. In 1967 John Coltrane died, because rock was the most popular genre of music in America, DownBeat magazine declared in a headline that "Jazz as We Know It Is Dead". Guitarist Larry Coryell, sometimes called the godfather of fusion, referred to a generation of musicians who had grown up on rock and roll when he said, "We loved Miles but we loved the Rolling Stones." In 1966 he started the band the Free Spirits with Bob Moses on drums and recorded the band's first album. Out of Sight and Sound was released in 1967, the same year DownBeat began to report on rock music. After the Free Spirits, Coryell was part of a quartet led by vibraphonist Gary Burton, releasing the album Duster with its rock guitar influence.
Burton produced the album Tomorrow Never Knows for Count's Rock Band, which included Coryell, Mike Nock, Steve Marcus, all of them former students at Berklee College in Boston. The pioneers of fusion emphasized exploration, electricity, intensity and volume. Charles Lloyd played a combination of rock and jazz at the Monterey Jazz Festival in 1966 with a quartet that included Keith Jarrett and Jack DeJohnette. Lloyd adopted the trappings of the California psychedelic rock scene by playing at the rock venue the Fillmore, wearing colorful clothes, giving his albums titles like Dream Weaver and Forest Flower, which were bestselling jazz albums in 1967. Flautist Jeremy Steig experimented with jazz in his band Jeremy & the Satyrs with vibraphonist Mike Mainieri; the jazz label Verve released the first album by rock guitarist Frank Zappa in 1966. Rahsaan Roland Kirk performed with Jimi Hendrix at Ronnie Scott's Jazz Club in London. AllMusic states that "until around 1967, the worlds of jazz and rock were nearly separate".
As members of Miles Davis's band, Chick Corea and Herbie Hancock played electric piano on Filles de Kilimanjaro. Davis wrote in his autobiography that in 1968 he had been listening to Jimi Hendrix, James Brown, Sly and the Family Stone; when Davis recorded Bitches Brew in 1969, he abandoned the swing beat in favor of a rock and roll backbeat and bass guitar grooves. The album "mixed free jazz blowing by a large ensemble with electronic keyboards and guitar, plus a dense mix of percussion." Davis played his trumpet like an electric guitar -- pedals. By the end of the first year, Bitches Brew sold 400,000 copies, four times the average for a Miles Davis album. Over the next two years the aloof Davis recorded more worked with many sideman, appeared on television, performed at rock venues. Just as Davis tested the loyalty of rock fans by continuing to experiment, his producer, Teo Macero, inserted recorded material into the Jack Johnson soundtrack, Live-Evil, On the Corner. Although Bitches Brew gave him a gold record, the use of electric instruments and rock beats created consternation among some jazz critics, who accused Davis of betraying the essence of jazz.
Music critic Kevin Fellezs commented that some members of the jazz community regarded rock music as less sophisticated and more commercial than jazz. Davis's 1969 album In a Silent Way is considered his first fusion album. Composed of two side-long improvised suites edited by Teo Macero, the album was made by pioneers of jazz fusion: Corea, Wayne Shorter, Joe Zawinul, John McLaughlin. A Tribute to Jack Johnson has been cited as "the purest electric jazz record made" and "one of the most remarkable jazz rock discs of the era". According to music journalist Zaid Mudhaffer, the term "jazz fusion" was coined in a review of Song of Innocence by David Axelrod when it was released in 1968. Axelrod said. Miles Davis dropped out of music in 1975 because of problems with drugs and alcohol, but his sidemen took advantage of the creative and financial vistas, opened. Herbie Hancock brought elements of funk and electronic music into commercially successful albums such as Head Hunters and Feets, Don't Fail Me Now.
Several years after recording Miles in the Sky with Davis, guitarist George Benson becam
Salsa music is a popular dance music genre that arose in New York City during the 1960s. Salsa is the product of various musical genres including the Cuban son montuno, cha cha chá, to a certain extent bolero, the Puerto Rican bomba and plena. Latin jazz, developed in New York City, has had a significant influence on salsa arrangers, piano guajeos, instrumental soloists. Salsa is Cuban son, itself a fusion of Spanish canción and guitar and Afro-Cuban percussion, merged with North American music styles such as jazz. Salsa occasionally incorporates elements of rock, R&B, funk. All of these non-Cuban elements are grafted onto the basic Cuban son montuno template when performed within the context of salsa; the first salsa bands were predominantly Cubans and Puerto Ricans who moved to New York since the 1920s. The music spread throughout Colombia and the rest of the Americas, it became a global phenomenon. Some of the founding salsa artists were Johnny Pacheco, Celia Cruz, Ray Barretto, Rubén Blades, Willie Colón, Larry Harlow, Roberto Roena, Bobby Valentín, Eddie Palmieri, Héctor Lavoe.
Salsa means'sauce' in the Spanish language, carries connotations of the spiciness common in Latin and Caribbean cuisine. In the 20th century, salsa acquired a musical meaning in both Spanish. In this sense salsa has been described as a word with "vivid associations". Cubans and Puerto Ricans in New York have used the term analogously to soul music. In this usage salsa connotes a frenzied, "hot" and wild musical experience that draws upon or reflects elements of Latin culture, regardless of the style. Various music writers and historians have traced the use of salsa to different periods of the 20th century. Max Salazar traces the word back to the early 1930s, when Ignacio Piñeiro composed "Échale salsita", a Cuban son protesting tasteless food. While Salazar describes this song as the origin of salsa meaning "danceable Latin music", Ed Morales describes the usage in the same song as a cry from Piñeiro to his band, telling them to increase the tempo to "put the dancers into high gear". Morales claims that in the 1930s, vocalist Beny Moré would shout salsa during a performance "to acknowledge a musical moment's heat, to express a kind of cultural nationalist sloganeering'hotness' or'spiciness' of Latin American cultures".
World music author Sue Steward claims salsa was used in music as a "cry of appreciation for a piquant or flashy solo". She cites the first use in this manner to a Venezuelan radio DJ named Phidias Danilo Escalona. In 1955 José Curbelo recorded some others salsa songs; the contemporary meaning of salsa as a musical genre can be traced back to New York City Latin music promoter Izzy Sanabria: In 1973, I hosted the television show Salsa, the first reference to this particular music as salsa. I was using salsa; the music was still defined as Latin music. And, a very broad category, because it includes mariachi music, it includes everything. So salsa defined this particular type of music... It's a name. Sanabria's Latin New York magazine was an English language publication, his promoted events were covered in The New York Times, as well as Time and Newsweek magazines. They reported on this "new" phenomenon taking New York by storm—salsa, but promotion wasn't the only factor in the music's success, as Sanabria makes clear: "Musicians were busy creating the music but played no role in promoting the name salsa."
Johnny Pacheco, the creative director and producer of Fania Records, molded New York salsa into a tight and commercially successful sound. The unprecedented appeal of New York salsa the "Fania sound", led to its adoption across Latin America and elsewhere. Globally, the term salsa has eclipsed the original names of the various Cuban musical genres it encompasses. Cuban-based music was promoted more worldwide in the 1970s and 1980s by the salsa industry, than by Cuba. For a brief time in the early 1990s a fair number of Cuban musicians embraced the term, calling their own music salsa Cubana; the practice did not catch on however. There is considerable controversy surrounding the term salsa and the idea that it is its own distinct genre. Several New York musicians, performing Cuban dance music for decades when salsa was popularized scoffed at the term. For example, Cuban-born Machito declared: "There's nothing new about salsa, it is just the same old music, played in Cuba for over fifty years." New York native Tito Puente stated: "The only salsa I know is sold in a bottle called ketchup.
I play Cuban music." Though, both Machito and Puente embraced the term as a financial necessity. The salsa conflict can be summarized as a disagreement between those who do not recognize salsa as anything other than Cuban music with another name, those who identify with salsa as a music and culture distinct from its Cuban primogenitor; the concept of salsa music which began as a marketing ploy created by Izzy Sanabria was exploited by Fania Records eventually took on a life of its own, organically evolving into an authentic pan-Latin American cultural identity. Music professor and salsa trombonist Christopher Washburne writes: This pan-Latino association of salsa stems from what Felix Padilla labels a'Latinizing' process that occurred in the 1960s and was consc