Art rock is a subgenre of rock music that reflects a challenging or avant-garde approach to rock, or which makes use of modernist, experimental, or unconventional elements. Art rock aspires to elevate rock from entertainment to an artistic statement, opting for a more experimental and conceptual outlook on music. Influences may be drawn from genres such as experimental rock, avant-garde music, classical music, jazz, its music was created with the intention of listening and contemplation rather than for dancing, is distinguished by the use of electronic effects and easy listening textures far removed from the propulsive rhythms of early rock. The term may sometimes be used interchangeably with "progressive rock", though the latter is instead characterized in particular by its employment of classically trained instrumental technique and symphonic textures; the genre's greatest level of popularity was in the early 1970s through British artists. The music, as well as the theatrical nature of performances associated with the genre, was able to appeal to artistically inclined adolescents and younger adults due to its virtuosity and musical/lyrical complexity.
Art rock is most associated with a certain period of rock music, beginning in 1966–67 and ending with the arrival of punk in the mid 1970s. After, the genre would be infused within popular music genres of the 1970s–90s. Critic John Rockwell says that art rock is one of rock's most wide-ranging and eclectic genres with its overt sense of creative detachment, classical music pretensions, experimental, avant-garde proclivities. In the rock music of the 1970s, the "art" descriptor was understood to mean "aggressively avant-garde" or "pretentiously progressive". "Art rock" is used synonymously with progressive rock. The term has been used to describe at least two related, but distinct, types of rock music; the first is progressive rock, while the second usage refers to groups who rejected psychedelia and the hippie counterculture in favor of a modernist, avant-garde approach defined by the Velvet Underground. Essayist Ellen Willis compared these two types: From the early sixties … there was a counter-tradition in rock and roll that had much more in common with high art—in particular avant-garde art—than the ballyhooed art-rock synthesis.
While art rock was implicitly based on the claim that rock and roll was or could be as worthy as more established art forms, rock-and-roll art came out of an obsessive commitment to the language of rock and roll and an obsessive disdain for those who rejected that language or wanted it watered down, made easier … the new wave has inherited the counter-tradition. Art rock emphasizes Romantic and autonomous traditions, in distinction to the aesthetic of the everyday and the disposable embodied by art pop. Larry Starr and Christopher Waterman's American Popular Music defines art rock as a "form of rock music that blended elements of rock and European classical music", citing the English rock bands King Crimson, Lake & Palmer, Pink Floyd as examples. Common characteristics include album-oriented music divided into compositions rather than songs, with complicated and long instrumental sections, symphonic orchestration, its music was traditionally used within the context of concept records, its lyrical themes tended to be "imaginative" and politically oriented.
Differences have been identified between art rock and progressive rock, with art rock emphasizing avant-garde or experimental influences and "novel sonic structure", while progressive rock has been characterized as putting a greater emphasis on classically trained instrumental technique, literary content, symphonic features. Compared to progressive rock, art rock is "more challenging and unconventional" and "less classically influenced", with more of an emphasis on avant-garde music. Similarities are that they both describe a British attempt to elevate rock music to new levels of artistic credibility, became the instrumental analog to concept albums and rock operas, which were more vocal oriented. Art rock can refer to either classically driven rock, or to a progressive rock-folk fusion. Bruce Eder's essay The Early History of Art-Rock/Prog Rock states that "'progressive rock,' sometimes known as'art rock,' or'classical rock'" is music in which the "bands playing suites, not songs; the boundaries between art and pop music became blurred throughout the second half of the 20th century.
The first usage of the term "art rock", according to Merriam-Webster Online Dictionary, was in 1968. As pop music's dominant format transitioned from singles to albums, many rock bands created works that aspired to make grand artistic statements, where art rock would flourish; as it progressed in the late 1960s – in tandem with the development of progressive rock – art rock acquired notoriety alongside experimental rock. The earliest figure of art rock has been assumed to be record producer and songwriter Phil Spector, who became known as an auteur for his Wall of Sound productions that aspired to a "classical grandiosity". According to biographer Richard Williams: " created a new concept: the producer as overall director of the creative process, from beginning to end, he took control of everything, he picked the artists, wrote or chose the material, supervised the arrangements, t
Robert Michael Nesmith is an American musician, actor, novelist and philanthropist, best known as a member of the pop rock band the Monkees and co-star of the TV series The Monkees. Nesmith's songwriting credits include "Different Drum". After the break-up of the Monkees, Nesmith continued his successful songwriting and performing career, first with the seminal country rock group the First National Band, with whom he had a top-40 hit, "Joanne", as a solo artist, he is a noted player of the 12-string guitar, performing on custom-built 12-string electric guitars with the Monkees and various 12-string acoustic models during his post-Monkees career. He is an executive producer of the cult film Repo Man. In 1981, Nesmith won the first Grammy Award given for Video of the Year for his hour-long television show, Elephant Parts. Nesmith was born in Houston, Texas, in 1942, he is an only child. He and his mother moved to Dallas to be closer to her family. Bette took temporary jobs ranging from clerical work to graphic design.
When Nesmith was 13, his mother invented the typewriter correction fluid known commercially as Liquid Paper. Over the next 25 years, she built the Liquid Paper Corporation into a multimillion-dollar international company, which she sold to Gillette in 1979 for US$48 million, she died a few months aged 56. Nesmith participated in drama activities at Thomas Jefferson High School in Dallas, he began to write verse poetry. At 15, he was in the Dallas Theater Center teen program. Without graduating from high school, Nesmith enlisted in the United States Air Force in 1960, he completed basic training at Lackland Air Force Base in San Antonio, was trained as an aircraft mechanic at Sheppard Air Force Base in Wichita Falls and was permanently stationed at the Clinton-Sherman Air Force Base near Burns Flat, Oklahoma. While in the Air Force, Nesmith obtained a GED and was discharged under honorable conditions in 1962, he enrolled in San Antonio College, a community college, where he met John Kuehne and began a musical collaboration.
The duo won the first San Antonio College talent award, performing a mixture of standard folk songs and a few of Nesmith's original songs. While in college, Nesmith began to write more songs and poetry and after moving to Los Angeles, began singing in folk clubs around the city, he served as the "Hootmaster" for the Monday night hootenannies at The Troubadour, a West Hollywood nightclub that featured new artists. Nesmith performed with many different members of the burgeoning new LA music scene. Randy Sparks from the New Christy Minstrels offered Nesmith a publishing deal for his songs, it was during this time that Barry Friedman, aka the Rev. Frazier Mohawk, showed him an ad for auditions for a new TV series, The Monkees. In October 1965, Nesmith landed the role as the wool hat-wearing guitar player "Mike" in the show, which required real-life musical talent; the Monkees television series aired from 1966 until 1968, has developed a cult following over the years. After a tour of duty in the Air Force, Nesmith was given a guitar as a Christmas present from his mother and stepfather.
Learning as he went, he played solo and in a series of working bands, performing folk and rock and roll. His verse poems became the basis for song lyrics, after moving to Los Angeles with Phyllis and friend John London, he signed a publishing deal for his songs. Nesmith's "Mary, Mary" was recorded by the Paul Butterfield Blues Band, while "Different Drum" and "Some of Shelly's Blues" were recorded by Linda Ronstadt and the Stone Poneys. "Pretty Little Princess", written in 1965, was recorded by Frankie Laine and released as a single in 1968 on ABC Records. "Some of Shelly's Blues" and "Propinquity" were made popular by the Nitty Gritty Dirt Band on their 1970 album Uncle Charlie & His Dog Teddy. Nesmith began his recording career in 1963 by releasing a single on the Highness label, he followed this in 1965 with a one-off single released on Edan Records followed by two more recorded singles. From 1965 to early 1970, Nesmith was a member of the television pop-rock band The Monkees, created for the television situation comedy of the same name.
Nesmith won his role by appearing nonchalant when he auditioned. He rode his motorcycle to the audition, wore a wool hat to keep his hair out of his eyes. Once he was cast, Screen Gems bought his songs. Many of the songs Nesmith wrote for The Monkees, such as "The Girl I Knew Somewhere", "Mary, Mary", "Listen to the Band", became minor hits. One song he wrote, "You Just May Be the One", is in mixed meter, interspersing 5/4 bars into an otherwise 4/4 structure; as part of a promotional deal, Gretsch guitar company built a one-off, natural-finish, 12-string electric guitar for Nesmith when he was performing with The Monkees. The custom-made guitar was cited at that time as being worth $5,000, undoubtedly inflated for publicity purposes, he earlier played a customized Gretsch 12-string, a six-str
Anthony John Medeski is an American jazz keyboard player and composer. Medeski is a veteran of New York's 1990s avant-garde jazz scene and is known popularly as a member of Medeski Martin & Wood, he plays the acoustic piano and an eclectic array of keyboards, including the Hammond B3 organ, mellotron, clavinet, ARP String Ensemble, Wurlitzer electric piano, Moog Voyager Synthesizer, Wurlitzer 7300 Combo Organ, Vox Continental Baroque organ, Yamaha CS-1 Synthesizer, among others. When playing acoustic piano, Medeski plays the Steinway piano and is listed as a Steinway Artist. Medeski was born in Louisville and grew up in Florida. After studying piano as a child, he began as a teenager to perform with musicians such as Mark Murphy and Jaco Pastorius, he attended Pine Crest School. In 1983, after graduating from high school, he began studying piano at the New England Conservatory in Boston, where he performed as a sideman with Dewey Redman, Billy Higgins, Bob Mintzer, Alan Dawson. Medeski attributes his early interest in playing improvised music and jazz to listening to Oscar Peterson.
Medeski performs in a range of musical styles, from accessible groove based funk and jazz to more experimental music. Medeski is best known for his work with Medeski Martin & Wood including drummer and percussionist Billy Martin and bassist Chris Wood; the trio formed in New York in 1991 playing gigs at The Village Gate. Since the mid-1990s they have toured in both national and international funk and jam music scenes; the band has collaborated with such musicians as Trey Anastasio and John Scofield. Medeski was featured on the Dirty Dozen Brass Band's 1999 release Buckjump. In 1999, he played the organ on two tracks of the Morphine album The Night. In 2000, Medeski became a member of The Word, a bluesy gospel style project with members Robert Randolph from Robert Randolph and the Family Band, brothers Luther Dickinson and Cody Dickinson, Chris Chew of North Mississippi Allstars; the band released a self-titled album in 2001 and toured in 2001 and 2002. The band reunited in 2005 for a performance at the Bonnaroo Music Festival, they embarked on tour again in late 2007.
He has occasionally performed with Phil Lesh and Friends. Medeski was a guest on Marian McPartland's Piano Jazz radio program on September 27, 2005. During the show he talked at length about his formal training on the piano, his approach to playing music, some of the musicians that he admires the most, he performed several songs by Thelonious Monk and other composers, as well as the Medeski, Martin & Wood classic "Bubblehouse". The show was released on compact disc on April 4, 2006. Medeski was an inaugural member of the Independent Music Awards' judging panel to support independent artists. On July 14, 2006, John Medeski & The Itch performed their debut gig at the All Good Music Festival in Masontown, West Virginia; the Itch consists of Eric Krasno of Adam Deitch with Medeski playing a B3 Organ. In 2006, Medeski performed with The Million Dollar Bashers for the recording of the soundtrack to the Bob Dylan biopic, I'm Not There. In 2008, Medeski was featured on guitarist Will Bernard's Blue Plate Special album.
In 2012, Medeski was featured on progressive rock band Coheed and Cambria's albums "The Afterman: Ascension" and "The Afterman: Descension," performing piano and synthesizer parts. In 2016, Medeski formed the supergroup Saudade along with Chino Moreno of Deftones, Team Sleep and Crosses. SoloA Different Time With Medeski Martin & WoodNotes from the Underground It's a Jungle in Here Friday Afternoon in the Universe Shack-man Farmer's Reserve Bubblehouse Combustication Tonic The Dropper Electric Tonic Uninvisible End of the World Party Let's Go Everywhere The Radiolarian Series Radiolarians 1 Radiolarians 2 Radiolarians 3 The Stone: Issue Four 20 Free Magic – acoustic live album, recorded 2007With Medeski Scofield Martin & WoodOut Louder In Case the World Changes Its Mind Juice With David FiuczynskiLunar Crush With Marian McPartlandJohn Medeski: Marian McPartland's Piano Jazz With James CarterHeaven on Earth With Cibo MattoStereo * Type A With Either/Orchestra The Half-Life of Desire With Béla Fleck and the FlecktonesOutbound With Billy MartinMago With Robert RandolphThe Word With Marc RibotThe Prosthetic Cubans With Roswell RuddTrombone for Lovers With John ScofieldA Go Go Überjam Überjam Deux With Spectrum Road Spectrum Road With Steev RichterBeloved With Surrender to the AirSurrender to the Air With John ZornBar Kokhba
Experimental rock is a subgenre of rock music which pushes the boundaries of common composition and performance technique or which experiments with the basic elements of the genre. Artists aim to liberate and innovate, with some of the genre's distinguishing characteristics being improvisational performances, avant-garde influences, odd instrumentation, opaque lyrics, unorthodox structures and rhythms, an underlying rejection of commercial aspirations. From its inception, rock music was experimental, but it was not until the late 1960s that rock artists began creating extended and complex compositions through advancements in multitrack recording. In 1967, the genre was as commercially viable as pop music, but by 1970, most of its leading players had incapacitated themselves in some form. In Germany, the krautrock subgenre merged elements of improvisation and psychedelic rock with avant-garde and contemporary classical pieces. In the 1970s, significant musical crossbreeding took place in tandem with the developments of punk and new wave, DIY experimentation, electronic music.
Funk, jazz-rock, fusion rhythms became integrated into experimental rock music. The first wave of 1980s experimental rock groups had few direct precedents for their sound. In the decade, avant-rock pursued a psychedelic aesthetic that differed from the self-consciousness and vigilance of earlier post-punk. During the 1990s, a loose movement known as post-rock became the dominant form of experimental rock; as of the 2010s, the term "experimental rock" has fallen to indiscriminate use, with many modern rock bands being categorized under prefixes such as "post-", "kraut-", "psych-", "noise-". Although experimentation had always existed in rock music, it was not until the late 1960s that new openings were created from the aesthetic intersecting with the social. In 1966, the boundaries between pop music and the avant-garde began to blur as rock albums were conceived and executed as distinct, extended statements. Self-taught rock musicians in the middle and late 1960s drew from the work of composers such as John Cage, Karlheinz Stockhausen, Luciano Berio.
Academic Bill Martin writes: "in the case of imitative painters, what came out was always derivative, whereas in the case of rock music, the result could be quite original, because assimilation and imitation are integral parts of the language of rock." Martin says that the advancing technology of multitrack recording and mixing boards were more influential to experimental rock than electronic instruments such as the synthesizer, allowing the Beatles and the Beach Boys to become the first crop of non-classically trained musicians to create extended and complex compositions. Drawing from the influence of George Martin, the Beatles' producer, the Beach Boys' Brian Wilson, music producers after the mid 1960s began to view the recording studio as an instrument used to aid the process of composition; when the Beach Boys' Pet Sounds was released to a four-month chart stay in the British top 10, many British groups responded to the album by making more experimental use of recording studio techniques.
In the late 1960s, groups such as the Mothers of Invention, the Velvet Underground, the Fugs, the Beatles, the Jimi Hendrix Experience began incorporating elements such as avant-garde music, sound collage, poetry in their work. Historian David Simonelli writes that, further to the Beatles' "Tomorrow Never Knows", the band's February 1967 double A-side single, pairing "Strawberry Fields Forever" with "Penny Lane", "establish the Beatles as the most avant-garde composers of the postwar era". Aside from the Beatles, author Doyle Greene identifies Frank Zappa, the Velvet Underground, Plastic Ono Band, Captain Beefheart, Pink Floyd, the Soft Machine and Nico as "pioneers of avant-rock". In addition, The Quietus' Ben Graham described duos the Silver Apples and Suicide as antecedents of avant-rock. In the opinion of Stuart Rosenberg, the first "noteworthy" experimental rock group was the Mothers of Invention led by composer Frank Zappa, who professor Kelly Fisher Lowe claims "set the tone" for experimental rock with the way he incorporated "countertextural aspects... calling attention to the recordedness of the album."
This would be reflected in other contemporary experimental rock LPs, such as the Beach Boys' Pet Sounds and Smile, the Who's The Who Sell Out and Tommy, the Beatles' Sgt. Pepper's Lonely Hearts Club Band; the Velvet Underground were a "groundbreaking group in experimental rock", according to Rosenberg, "even further out of step with popular culture than the early recordings of the Mothers of Invention." The band were playing experimental rock in 1965 before other significant countercultural rock scenes had developed, pioneering avant-rock through their integration of minimalist rock and avant-garde ideas. The Beatles' album Sgt. Pepper's inspired a new consideration for experimental rock as commercially viable music. Once the group released their December 1967 film Magical Mystery Tour, author Barry Faulk writes, "pop music and experimental rock were synonymous, the Beatles stood at the apex of a progressive movement in musical capitalism"; as progressive rock developed, experimental rock acquired notoriety alongside art rock.
By 1970, most of the musicians, at the forefront of experimental rock had incapacitated themselves. From on, the ideas and work of British artist and former Roxy Music member Brian Eno—which suggested that ideas from the art world, including those of experimental music and the avant-garde, should be deployed in the context of experimental rock—were a key innovation throughout the decade. In the late 1960s and early 1970s, Germany's "krautrock"
The Magik Markers are a noise rock band from Hartford, Connecticut. The members, Elisa Ambrogio, Pete Nolan and Leah Quimby started the band in their basement in 2001; the band gained wider recognition after opening for Sonic Youth on their American tour in 2004. Their debut album, I Trust My Guitar, Etc... was released in 2005 on Thurston Moore's Ecstatic Peace label. In 2006, they released A Panegyric To The Things I Do Not Understand under Gulcher Records, the Markers' first proper CD. In 2006, the band recorded a session for Southern records' Latitudes series, released as The Voldoror Dance. Leah Quimby left in May 2006 to pursue a career in ventriloquism. Various people filled in before they settled as a duo composed of original members Pete and Elisa. In September 2007, the band released Boss, produced by Lee Ranaldo; this record was the most structured recording. Following in the wake of the Textile release For Sada Jane and the Road Pussy CD-R, the band set out to more capture the sound of Magik Markers practices and jams, as opposed to the performance driven chaos of live shows.
Magik Markers have since toured the Europe several times. As a part of the Threelobed subscription series they released Gucci Rapidshare Download in 2008. Since their inception Peter Nolan has produced limited release cdr and tape snapshot documents of the Magik Markers studio/4-track recordings and live performances, all with original handmade artwork, intended for a small audience. With the increasing ubiquity of file sharing, the entire catalogue of long out of print cdrs became available. Gucci Rapidshare Download was created by downloading Magik Markers cdrs from websites where they had been posted and remixing and recontextualizing the sounds with newly recorded and archival material. In the same way the Magik Markers have at times blurred the line between performer and audience live, here they have attempted to switch out the authority of the producer and creator with the perceived ownership of the listener. Though no effort of the people who created it, music, intended to be temporal, such as performance, or a cdr duct taped to a piece of cardboard, has become digitally permanent and musical recordings intended to be'permanent' pieces have become disposable through the authority of the listener.
The cd cover features a christ-like Kareem Abdul-Jabbar floating to a rookie dunk shot and a faceless picture of Elisa and Pete by a dumpster, making passionate love. In addition to the Markers, longtime collaborator Ben Chasny played, plus Joshua Burkett guested and John Shaw plays on the record. Production is co-credited to Ben Chasny. In 2008 Magik Markers played for the first time in Scotland, Ireland and Wales. Jefferson Hack invited the Magik Markers to perform live from Studio A at Abbey Road in London, as part of Nick Kent's ShowStudio project. Magik Markers traveled to Estonia to appear in Veiko Õunpuu's upcoming film. Peter Nolan was honored to again play drums in Jandek's band alongside Matt Heyner in London, Elisa Ambrogio joined Six Organs of Admittance on a US and two European tours. Peter Nolan's Spectre Folk played their first UK tour, with Julie Tomlinson and John Truscinski, Rupert Murdock. While not touring Elisa Ambrogio recorded an LP and performed with San Francisco Dirty Stealer and contributed short pieces of writing to various projects.
In the winter of 2008 the Magik Markers recorded a new record titled Balf Quarry with Grammy winning producer and wizard Scott Colburn of Seattle. Balf Quarry was released in May 2009 on Drag City. Magik Markers have been chosen as one of the "Best New Bands" of Connecticut by Boston Phoenix Annual 50 Best Bands in America. 2002 Beep Beep Mystery City 2003 Book as Symbol of 8 Precious Things - Hand of the Creator 2004 In the East Blues for Randy Sutherland Live'03 Live in Ashville Live Summer 2004 2005 Tale of the Whale I Trust My Guitar, Etc. Feel the Crayon NxCxHxCx Vol. 1 2006 Inverted Belgium For Sada Jane Don and Phil If it's Not a Ford it Sux Road Pussy A Panegyric to the Things I Do Not Understand Voldoror Dance Black & Blue 2007 Last of the Retsin - You Can't Fuck a Clock / Here Lies the Last of the Redstone Castel Franco Veneto Zagreb Super Report Magik Markers M/M/D/C/ Boss Redux aka the Real McCoy 2008 Bored Fortress, split with Vampire Belt Danau Blues For Mary Meyer, the Blind Bear of the Dustbowl Pwtre Ser Gucci Rapidshare Download Three Lobed Recordings - September 8, 20082009 Baltimore Trust Balf Quarry Shame Mask Я Tour 12 with Sic Alps2010 Volodor Dance - February 02, 2010 The Magik Markers at Ecstatic Peace PUNKCAST#1206 live video @ Death By Audio, Brooklyn, on Oct 1 2007.
Magik Markers has been chosen as one of the "Best N
Sharon Van Etten
Sharon Van Etten is an American singer-songwriter and actress from New Jersey. Van Etten was born in Belleville, New Jersey and lived in Nutley, NJ before moving to Clinton as a pre-teen, she moved to Tennessee to attend Middle Tennessee State University and studied recording, but dropped out of college after a year. Van Etten ended up working at the Red Rose, a coffee and record shop and music venue in Murfreesboro, for about five years. In 2004, she moved back to New Jersey, where she worked at Spirits. Van Etten moved to New York City in 2005. Van Etten self-released handmade CDs until 2009. Before her studio debut, she worked as a publicist at Ba Da Bing Records. Van Etten's debut, Because I Was in Love, was released on May 26, 2009, on Language of Stone, was manufactured and distributed by Drag City; because I Was in Love was produced by Greg Weeks at Hexham Head studio in Philadelphia. On September 21, 2010, Van Etten released epic, on Ba Da Bing Records. With no set band at the time, Van Etten called on friends Jeffrey Kish, Dave Hartley, Jessica Larrabee, Andy LaPlant of She Keeps Bees, Cat Martino, Meg Baird, Jim Callan, Brian Christinzio.
The first song recorded for the album was "Love More", recorded in December 2009 by producer Brian McTear for Weathervane Music's Shaking Through documentary video series. The remainder of the album was produced by Brian McTear with engineer Amy Morrissey in May 2010 at Miner Street Recordings in Philadelphia. NPR described it as possessing "a fuller sound compared to the super-spare arrangements on her first two self-produced albums, but epic still feels intimate, with lots of room to breathe and unfold." Van Etten's third studio album, was released on February 7, 2012, on Jagjaguwar. Tramp was produced by The National's Aaron Dessner and recorded in his home studio in Brooklyn, New York. Additional recording took place at Miner Street Recordings in Philadelphia, where the album was mixed with Engineers and Mixers Brian McTear and Jonathan Low; the album features musicians Doug Keith, Thomas Bartlett, Bryan Devendorf, Bryce Dessner, Matt Barrick, Rob Moose, Julianna Barwick, Peter Silberman, Logan Coale, Clarice Jensen, Ben Lanz, Zach Condon, Jenn Wasner.
May 2014 brought about the release of Van Etten's fourth studio album, Are We There, on Jagjaguwar. Van Etten produced the record with Stewart Lerman, with the guidance of bandmate and manager Zeke Hutchins. Most of the recording was done at Hobo Sound Studios in Weehawken, New Jersey, with piano tracks being recorded at Electric Lady Studios in New York City; the record features musicians Zeke Hutchins, Doug Keith, Heather Woods Broderick, Dave Hartley, Adam Granduciel, Marisa Anderson, Stuart D. Bogie, Mickey Free, Mary Lattimore, Little Isidor, Jacob Morris, Torres' Mackenzie Scott, Shearwater's Jonathan Meiburg, Lower Dens' Jana Hunter, Efterklang touring member Peter Broderick. In 2015, the EP I Don't Want to Let, it is composed of the songs. On October 2, 2018, Van Etten released a new track entitled Comeback Kid and announced her next album Remind Me Tomorrow, released on January 18, 2019. On February 28, 2019, Van Etten appeared on The Ellen DeGeneres Show to perform the single Seventeen.
Van Etten's music is characterized by a heavy use of harmonies. Pitchfork described her songs as having "echoes of folk tradition." NPR Music asserts: "Her songs are heartfelt without being overly earnest. With "Comeback Kid" and Remind Me Tomorrow, she introduced electronic sounds into her music. In 2016, Van Etten appeared in five episodes of season 1 of the Netflix drama The OA as Rachel, a fellow abductee along with Prairie in Dr. Percy's basement lab/terrarium. Rachel and the other captives are subjected to after-life experiments while conspiring over a period of years to escape, at one point, Rachel sings a song of remembrance. Van Etten appeared in episode six of the 2017 Twin Peaks series on Showtime. Van Etten gave birth to her first child in 2017 and lives in Brooklyn, New York; because I Was in Love epic Tramp Are We There Remind Me Tomorrow Amazon Artist Lounge - EP I Don't Want to Let You Down - EP 2007: "Much More Than That" / "Over Your Shoulder" by Sharon Van Etten - Abaton Book Company, Lost Lathe Series 2010: "One Day" / "If You Were Here" - Ba Da Bing!
September 10, 2010: "I'm Giving Up on You" / "You Didn't Really Do That" by Sharon Van Etten - Polyvinyl Record Company – PRC-206 2012: "Serpents" - Jagjaguwar 2012: "Leonard" - Jagjaguwar 2012: "Give Out" - Jagjaguwar 2012: "Magic Chords" - Jagjaguwar 2013: "We Are Fine" - Jagjaguwar April 2013: "Stop Draggin' My Heart Around" / "A Wake for the Minotaur" by Shearon Van Ettenwater - a collaboration between Van Etten and Shearwater for Record Store Day 2013 2014: "Taking Chances" - Jagjaguwar 2014: "Our Love" - Jagjaguwar 2014: "Every Time The Sun Comes Up"- Jagjaguwar 2014: "Nothing Will Change" - Jagjaguwar January 2015: "I Don't Want to Let You Down" by Sharon Van Etten - Jagjaguwar 2018: "Comeback Kid" – #20 Adult Alternative Songs 2019: "Seventeen" - Jagjaguwar – #9 Adult Alternative Songs "Taking Chances" "Our Love" "Magic Chords" "Every Time the Sun Comes Up" "Your Love is Killing Me" "Leonard" "For You" "Comeback Kid" "Seventeen" "Jupiter 4" The Free People short film Rangeen
The State University of New York at Binghamton referred to as Binghamton University and SUNY Binghamton, is a public research university with campuses in Binghamton and Johnson City, New York, United States. It is one of the four university centers in the State University of New York system; as of Fall 2018, 17,768 undergraduate and graduate students attend the university. The Vestal campus is listed as a census-designated place, with a residential population of 6,177 as of the 2010 Census. Since its establishment in 1946, the school has evolved from a small liberal arts college to a large research university, ranked among the best public universities in the United States. Binghamton University is considered to be one of the "Public Ivies," a publicly-funded university considered as providing a quality of education comparable to those of the Ivy League; the university is designated as an R1 Doctoral University with high research activity according to the Carnegie Classification of Institutions of Higher Education.
Binghamton's athletic teams are known as the Bearcats, compete in Division I of the NCAA. The Bearcats are members of the America East Conference. Binghamton University was established in 1946 in Endicott, New York, as Triple Cities College to serve the needs of local veterans returning from World War II. Thomas J. Watson, a founding member of IBM in Broome County, viewed the Triple Cities region as an area of great potential. In the early 1940s he collaborated with local leaders to begin establishing the two-year school as a satellite of private Syracuse University, donating land that would become the school's early home. Triple Cities College students finished their bachelor's degrees at Syracuse. By the 1948–1949 academic year, these could be completed at the College. In 1950, it split from Syracuse and became incorporated into the public State University of New York system as Harpur College, named in honor of Robert Harpur, a colonial teacher and pioneer who settled in the Binghamton area.
At the time it joined Champlain College in Plattsburgh as the only two liberal arts schools in the New York state system. When Champlain closed in 1952 to make way for the Plattsburgh Air Force Base, the records and some students and faculty were transferred to Harpur College in Binghamton. Harpur received 16,000 non-duplicate volumes and the complete contents of the Champlain College library. In 1955, Harpur began to plan its current location in a town near Binghamton. A site large enough to anticipate future growth was purchased, with the school's move to its new 387-acre campus being completed by 1961. Colonial Hall, Triple Cities College's original building in Endicott, stands today as the village's Visitor's Center. In 1965, Harpur College was selected to join New York state schools at Stony Brook and Buffalo as one of the four new SUNY university centers. Redesignated the State University of New York at Binghamton, the school's new name reflected its status as an advanced degree granting institution.
In a nod to tradition, its undergraduate college of arts and sciences remained "Harpur College". With more than 60% of undergraduate and graduate students enrolled in Harpur's degree programs, it is the largest of Binghamton's constituent schools. In 1967, the School of Advanced Technology was established, the precursor to the Thomas J. Watson School of Engineering and Applied Science, founded in 1983. Since 1992, the school has made an effort to distinguish itself from the SUNY system, rebranding itself as "Binghamton University," or "Binghamton University, State University of New York". Still and the State University of New York at Binghamton, its University administration procedures discourage references to the school as "SUNY—Binghamton," "SUNY—B," "Harpur College," or other names not listed above; the first president of Harpur College, who began as dean of Triple Cities College, was Glenn Bartle. The second president, G. Bruce Dearing, served several years during the Vietnam era before leaving to become vice chancellor for academic affairs at the SUNY Central Administration in Albany.
Next was C. Peter Magrath, former interim president of the University of Nebraska, who served from 1972 to 1974 left to become president at the University of Minnesota; the fourth president at Binghamton was Clifford D. Clark, who left his position as dean of the business school at the University of Kansas to serve as vice president for academic affairs at Binghamton in 1973, he was asked to take on the job of acting president in the fall of 1974, when Magrath left for Minnesota. Clark was selected as president and served from March 1975 through mid-1990. During this time he led the school's evolution from a four-year liberal arts college to a research university. Clark added the Anderson Center for the Performing Arts and inaugurated the Summer Music Festival, created the Harpur Forum, established the Thomas J. Watson School of Engineering and Applied Science, fostered the expansion and development of the Decker School of Nursing. Lois B. DeFleur became the university's fifth president upon Clark's retirement in 1990.
During her nearly 20-year tenure the University experienced its most significant growth. She oversaw substantial additions to the student and faculty populations, vastly expanded research activities and funding, formalized Binghamton's fundraising efforts, expanded the campus' physical footprint by 20 buildings, launched Binghamton's "green" efforts for which they are now nationally recognized, transitioned the school from Division III athletics to Division I and catalyzed the biggest increase in academic rankings to date. DeFleur retired in 2010 and on July 1