Ballard is a neighborhood in northwestern Seattle, Washington, U. S; the City of Seattle's official boundaries for Ballard are that it is bounded to the north by Crown Hill,. Other neighborhood or district boundaries existed in the past, other boundaries are recognized by various Seattle City Departments, commercial or social organizations, other Federal and local government agencies. Ballard's landmarks include the Ballard Locks, the Nordic Museum, the Shilshole Bay Marina, Golden Gardens Park; the neighborhood's main thoroughfares running north-south are Seaview, 32nd, 24th, Leary, 15th, 8th Avenues N. W.. W. Leary Way and N. W. 85th, 80th, 65th, Market Streets. The Ballard Bridge carries 15th Avenue over Salmon Bay to the Interbay neighborhood, the Salmon Bay Bridge carries the BNSF Railway tracks across the bay, west of the Ballard Locks. Ballard is within Seattle City Council District 6, which includes all of the neighborhoods Crown Hill, Green Lake, Phinney Ridge, as well as most of Fremont, North Beach/Blue Ridge, Wallingford.
Ballard is part of the Seattle Public Schools, the Washington State Legislature's 36th legislative district. At the Federal level, Ballard is part of the United States House of Representatives's 7th congressional district; the area now called. There were plentiful salmon and clams in the region.. The U. S. government code in the CDC for this group is American Indian, Puget Sound Salish.. The Burke Museum has artifacts from the group of Duwamish who lived at Shilshole.. The references say that before non-Natives arrived, the group living around Shilshole may have been in decline due to a "great catastrophe"; the remaining dozen or fewer families were evicted by non-Natives in the mid-19th century. One source suggests that the decline of the Shilshole dwelling Salish might have been due to raiding from Natives from farther north and these raids alarmed non-Native settlers.. The last member of the Shilshole native group-HWelch’teed or "Salmon Bay Charlie"-was forcibly removed to allow construction of the Hiram Chittendon LocksThe first European resident, homesteader Ira Wilcox Utter, moved to his claim in 1853.
Utter hoped to see a rapid expansion of population but that did not happen, so he sold the land to Thomas Burke, a judge. Thirty-six years Judge Burke, together with John Leary and railroader Daniel H. Gilman, formed the West Coast Improvement Company to develop Burke's land holdings in the area as they anticipated the building of the Great Northern Railway along the Salmon Bay coastline on the way to Interbay and central Seattle; the partners built a spur from Fremont's main line of the Seattle, Lake Shore and Eastern Railway. Today three miles of this line, running along Salmon Bay from N. W. 40th Street to the BNSF Railway mainline at N. W. 67th, are operated as the Ballard Terminal Railroad. During the late 19th century Captain William Rankin Ballard, owner of land adjoining Judge Burke's holdings, joined the partnership with Burke and Gilman. In 1887 the partnership was dissolved and the assets divided, but no one wanted the land in Salmon Bay so the partners flipped a coin. Capt. Ballard ended up with the "undesirable" 160-acre tract.
The railroad to Seattle ended at Salmon Bay because the railroad company was unwilling to build a trestle to cross the bay. From the stop at "Ballard Junction," passengers could walk across the wagon bridge and continue the journey to Seattle. In addition to gaining notoriety as the end of the railway line, fledgling Ballard benefited economically from the railway because the railroad provided a way to bring supplies into the area and to export locally manufactured products. Ability to ship products spurred the growth of mills of many types. Ballard's first mill, built in 1888 by Mr. J Sinclair was a lumber mill. After the Great Seattle Fire in 1889 the mills provided opportunities for those who had lost jobs in the fire, which in turn spurred the growth of the settlement as families moved north to work in the mills. With the rapid population growth the residents realized that there might soon be a need for laws to keep order, a process that would require a formal government. In the late summer of 1889 the community discussed incorporating as a town, but rejected the idea of incorporation.
The issue pressed, however, so several months on November 4, 1889, the residents again voted on the question and this time they voted to incorporate. The first mayor of Ballard was Charles F. Treat. A municipal census, conducted shortly after the passing vote showed that the new town of Ballard had more than 1500 residents, allowing it to be the first "third class town" to be incorporated in the newly admitted state of Washington. By 1900, Ballard's population had grown to 4,568 making it the seventh largest city in Washington, the town was faced with many of the problems common to small towns. Saloons had been a problem since the beginning, in 1904 the drinking and gambling became so bad that the mayor ordered the City of Ballard closed for the day in order to prevent gambling; the city faced problems with loose livestock, so the Cow Ordinance of 1903 made allowing cows to graze south
MusicBrainz is a project that aims to create an open data music database, similar to the freedb project. MusicBrainz was founded in response to the restrictions placed on the Compact Disc Database, a database for software applications to look up audio CD information on the Internet. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become a structured open online database for music. MusicBrainz captures information about artists, their recorded works, the relationships between them. Recorded works entries capture at a minimum the album title, track titles, the length of each track; these entries are maintained by volunteer editors. Recorded works can store information about the release date and country, the CD ID, cover art, acoustic fingerprint, free-form annotation text and other metadata; as of 21 September 2018, MusicBrainz contained information about 1.4 million artists, 2 million releases, 19 million recordings. End-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as FLAC, MP3, Ogg Vorbis or AAC.
MusicBrainz allows contributors to upload cover art images of releases to the database. Internet Archive provides the bandwidth and legal protection for hosting the images, while MusicBrainz stores metadata and provides public access through the web and via an API for third parties to use; as with other contributions, the MusicBrainz community is in charge of maintaining and reviewing the data. Cover art is provided for items on sale at Amazon.com and some other online resources, but CAA is now preferred because it gives the community more control and flexibility for managing the images. Besides collecting metadata about music, MusicBrainz allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this. In 2000, MusicBrainz started using Relatable's patented TRM for acoustic fingerprint matching; this feature allowed the database to grow quickly. However, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions.
This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, replacing TRM with MusicDNS. TRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND; some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free identification service was uncertain, a replacement for it was sought; the Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský. While AcoustID and Chromaprint are not MusicBrainz projects, they are tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second. Additional post-processing is applied to compress this fingerprint while retaining patterns; the AcoustID search server searches from the database of fingerprints by similarity and returns the AcoustID identifier along with MusicBrainz recording identifiers if known.
Since 2003, MusicBrainz's core data are in the public domain, additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL; the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, which allows use of the code by proprietary software products. In December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye. On 20 January 2006, the first commercial venture to use MusicBrainz data was the Barcelona, Spain-based Linkara in their Linkara Música service. On 28 June 2007, BBC announced that it has licensed MusicBrainz's live data feed to augment their music Web pages; the BBC online music editors will join the MusicBrainz community to contribute their knowledge to the database. On 28 July 2008, the beta of the new BBC Music site was launched, which publishes a page for each MusicBrainz artist.
Amarok – KDE audio player Banshee – multi-platform audio player Beets – automatic CLI music tagger/organiser for Unix-like systems Clementine – multi-platform audio player CDex – Microsoft Windows CD ripper Demlo – a dynamic and extensible music manager using a CLI iEatBrainz – Mac OS X deprecated foo_musicbrainz component for foobar2000 – Music Library/Audio Player Jaikoz – Java mass tag editor Max – Mac OS X CD ripper and audio transcoder Mp3tag – Windows metadata editor and music organizer MusicBrainz Picard – cross-platform album-oriented tag editor MusicBrainz Tagger – deprecated Microsoft Windows tag editor puddletag – a tag editor for PyQt under the GPLv3 Rhythmbox music player – an audio player for Unix-like systems Sound Juicer – GNOME CD ripper Zortam Mp3 Media Studio – Windows music organizer and ID3 Tag Editor. Freedb clients can access MusicBrainz data through the freedb protocol by using the MusicBrainz to FreeDB gateway service, mb2freedb. List of online music databases Making Metadata: The Case of Mus
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
Numb (Hammerbox album)
Numb is the second and final studio album by alternative rock band Hammerbox. It was released in 1993 on A&M Records. "Hole" – 2:39 "Hed" – 3:17 "No" – 4:13 "Blur" – 3:07 "Outside" – 3:30 "When 3 Is 2" – 4:26 "Trip" – 3:27 "Attack of the Slime Creatures" – 3:46 "God" – 3:56 "Simple Passing" – 2:01 "Sleep" – 4:33 "Anywhere But Here"– 3:04 Two of the songs from the album and Simple Passing, were used on the 3DO Interactive Multiplayer and SEGA CD video game Road Rash. Carrie Akre - Vocals James Atkins - Bass Michael Beinhorn - Producer Dave Bosch - Drums, backing vocals Paul McKenna - Engineering, mixing Harris Thurmond - Guitar Howie Weinberg - Mastering
Indie rock is a genre of rock music that originated in the United States and United Kingdom in the 1970s. Used to describe independent record labels, the term became associated with the music they produced and was used interchangeably with alternative rock; as grunge and punk revival bands in the US and Britpop bands in the UK broke into the mainstream in the 1990s, it came to be used to identify those acts that retained an outsider and underground perspective. In the 2000s, as a result of changes in the music industry and the growing importance of the Internet, some indie rock acts began to enjoy commercial success, leading to questions about its meaningfulness as a term. Sometimes used interchangeably with "guitar pop rock", in the mid-1980s, the term "indie" began to be used to describe the music produced on punk and post-punk labels; some prominent indie rock record labels were founded during the 1980s. During the 1990s, grunge bands broke into the mainstream, the term "alternative" lost its original counter-cultural meaning.
The term "indie rock" became associated with the bands and genres that remained dedicated to their independent status. By the end of the 1990s, indie rock developed several subgenres and related styles, including lo-fi, noise pop, slowcore, post-rock, math rock. In the 2000s, changes in the music industry and in music technology enabled a new wave of indie rock bands to achieve mainstream success. In the early 2000s, a new group of bands that played a stripped-down, back-to-basics version of guitar rock emerged into the mainstream; the commercial breakthrough from these scenes was led by four bands: The Strokes, The White Stripes, The Hives and The Vines. Emo broke into mainstream culture in the early 2000s. By the end of the decade, the proliferation of indie bands was being referred to as "indie landfill"; the term indie rock, which comes from "independent," describes the small and low-budget labels on which it is released and the do-it-yourself attitude of the bands and artists involved. Although distribution deals are struck with major corporate companies, these labels and the bands they host have attempted to retain their autonomy, leaving them free to explore sounds and subjects of limited appeal to large, mainstream audiences.
The influences and styles of the artists have been diverse, including punk, post-punk and country. The terms "alternative rock" and "indie rock" were used interchangeably in the 1980s, but after many alternative bands followed Nirvana into the mainstream in the early 1990s, "indie rock" began to be used to describe those bands, working in a variety of styles, that did not pursue or achieve commercial success. Aesthetically speaking, indie rock is characterized as having a careful balance of pop accessibility with noise, experimentation with pop music formulae, sensitive lyrics masked by ironic posturing, a concern with "authenticity," and the depiction of a simple guy or girl. Allmusic identifies indie rock as including a number of "varying musical approaches compatible with mainstream tastes". Linked by an ethos more than a musical approach, the indie rock movement encompassed a wide range of styles, from hard-edged, grunge-influenced bands, through do-it-yourself experimental bands like Pavement, to punk-folk singers such as Ani DiFranco.
In fact, there is an everlasting list of subgenres of indie rock. Many countries have developed an extensive local indie scene, flourishing with bands with enough popularity to survive inside the respective country, but unknown elsewhere. However, there are still indie bands that start off locally, but attract an international audience. Indie rock is noted for having a high proportion of female artists compared with preceding rock genres, a tendency exemplified by the development of the feminist-informed Riot Grrrl music of acts like Bikini Kill, Bratmobile, 7 Year Bitch, Team Dresch and Huggy Bear. However, Cortney Harding pointed out that this sense of equality is not reflected in the number of women running indie labels; the BBC documentary Music for Misfits: The Story of Indie pinpoints the birth of indie as the 1977 self-publication of the Spiral Scratch EP by Manchester band Buzzcocks. Although Buzzcocks are classified as a punk band, it has been argued by the BBC and others that the publication of Spiral Scratch independently of a major label led to the coining of the name "indie".
"Indie pop" and "indie" were synonymous. In the mid-1980s, "indie" began to be used to describe the music produced on post-punk labels rather than the labels themselves; the indie rock scene in the US was prefigured by the college rock that dominated college radio playlists, which included key bands like R. E. M. from the US and The Smiths from the UK. These two bands rejected the dominant synthpop of the early 1980s, helped inspire guitar-based jangle pop. In the United States, the term was associated with the abrasive, distortion-heavy sounds of the Pixies, Hüsker Dü, Meat Puppets, Dinosaur Jr. and The Replacements. In the United Kingdom the C86 cassette, a 1986 NME compilation featuring Primal Scream, The Pastels, The Wedding Present and other bands, was a document of the UK indie scene at the start of 1986, it gave its name to the indie pop scene that followed, a major influence on the development of the British indie scene as a whole. Major precursors of indie pop included Postcard bands Josef K and Orange Juice, significant labels included Creation and Glass.
The Jesus and Mary Chain's sound combined the Velvet
Hammerbox is the debut studio album from Seattle rock band Hammerbox. All songs written and arranged by Hammerbox."Bred" – 3:04 "Size of the World" – 3:20 "When 3 Is 2" – 4:08 "We" – 2:32 "Ask Why" – 3:39 "Under the Moon" – 3:56 "Texas Ain't So Bad, Really" – 1:57 "Their Given Voice" – 4:14 "Woke Up" – 5:24 "Kept House" – 4:06 Carrie Akre: Vocals, Tambourine Harris Thurmond: Guitars, Vocals James Atkins: Bass Dave Bosch: Drums, Vocals Produced by Hammerbox and Ed Brooks.
Pearl Jam is an American rock band formed in 1990 in Seattle, Washington. Since its inception, the band's line-up has included Eddie Vedder, Mike McCready, Stone Gossard, Jeff Ament. Since 1998, the band has included drummer Matt Cameron. Boom Gaspar has been a session/touring member with the band since 2002. Drummers Jack Irons, Dave Krusen, Matt Chamberlain, Dave Abbruzzese are former members of the band. Formed after the demise of Gossard and Ament's previous band, Mother Love Bone, Pearl Jam broke into the mainstream with its debut album, Ten, in 1991. One of the key bands in the grunge movement of the early 1990s, its members shunned popular music industry practices such as making music videos or giving interviews; the band sued Ticketmaster, claiming it had monopolized the concert-ticket market. In 2006, Rolling Stone described the band as having "spent much of the past decade deliberately tearing apart their own fame."The band had sold nearly 32 million albums in the United States by 2012, by 2018, they had sold more than 85 million albums worldwide.
Pearl Jam outsold many of its contemporary alternative rock bands from the early 1990s, is considered one of the most influential bands of the decade. AllMusic editor Stephen Thomas Erlewine referred to Pearl Jam as "the most popular American rock & roll band of the'90s". Pearl Jam was inducted into the Rock and Roll Hall of Fame on April 7, 2017, in its first year of eligibility, they were ranked at number 8 in a reader poll by Rolling Stone magazine in its Top ten live acts of all time issue. Stone Gossard and Jeff Ament were members of pioneering grunge band Green River during the mid-1980s. Green River toured and recorded to moderate success but disbanded in 1987 due to a stylistic division between the pair and bandmates Mark Arm and Steve Turner. In late 1987, Gossard and Ament began playing with Malfunkshun vocalist Andrew Wood organizing the band Mother Love Bone. In 1988 and 1989, the band recorded and toured to increasing interest and found the support of the PolyGram record label, which signed the band in early 1989.
Mother Love Bone's debut album, was released in July 1990, four months after Wood died of a heroin overdose. Ament and Gossard were devastated by the resulting demise of Mother Love Bone. Gossard spent his time afterwards writing material, harder-edged than what he had been doing previously. After a few months, Gossard started practicing with fellow Seattle guitarist Mike McCready, whose band, had broken up. After practicing for a while, the trio sent out a five-song demo tape in order to find a singer and a drummer, they gave former Red Hot Chili Peppers drummer Jack Irons the demo to see if he would be interested in joining the band and to distribute the demo to anyone he felt might fit the lead vocal position. Irons passed on the invitation but gave the demo to his basketball friend, San Diego, California singer Eddie Vedder. Vedder was the lead vocalist for a San Diego band, Bad Radio, worked part-time at a gas station, he listened to the tape shortly before going surfing. He recorded the vocals to three of the songs in what he described as a "mini-opera" entitled Momma-Son.
Vedder sent the tape with his vocals back to the three Seattle musicians, who were impressed enough to fly Vedder up to Seattle for an audition. Within a week, Vedder had joined the band. With the addition of Dave Krusen on drums, the band took the name Mookie Blaylock, in reference to the then-active basketball player Mookie Blaylock; the band played its first official show at the Off Ramp Café in Seattle on October 22, 1990. They opened for Alice in Chains at the Moore Theatre in Seattle on December 22, 1990, served as the opening act for the band's Facelift tour in 1991. Mookie Blaylock soon renamed themselves Pearl Jam. In an early promotional interview, Vedder said that the name "Pearl Jam" was a reference to his great-grandmother Pearl, married to a Native American and had a special recipe for peyote-laced jam. In a 2006 Rolling Stone cover story however, Vedder admitted that this story was "total bullshit" though he indeed had a great-grandma named Pearl. Ament and McCready explained that Ament came up with "pearl", that the band settled on "Pearl Jam" after attending a concert by Neil Young, in which he extended his songs as improvisations of 15–20 minutes in length.
Pearl Jam entered Seattle's London Bridge Studios in March 1991 to record Ten. McCready said that "Ten was Stone and Jeff. Krusen left the band in May 1991 after checking himself into rehabilitation. After playing only a handful of shows, one of, filmed for the "Alive" video, Chamberlain left to join the Saturday Night Live band. Chamberlain suggested Dave Abbruzzese as his replacement. Abbruzzese played the rest of Pearl Jam's live shows supporting Ten. Released on August 27, 1991, Ten contained eleven tracks dealing with dark subjects like depression, suicide and murder. Ten's musical style, influenced by classic rock, combined an "expansive harmonic vocabulary" with an anthemic sound; the album was slow to sell, but by the second half of 1992 it became a breakthrough success, being certified gold and reaching number two on the Billboard charts. Ten produced the hit singles "Alive", "Even Flow", "Jeremy". Interpreted as a