Pulp magazines were inexpensive fiction magazines that were published from 1896 to the 1950s. The term pulp derives from the cheap wood pulp paper. In contrast, magazines printed on higher-quality paper were called "glossies" or "slicks"; the typical pulp magazine had 128 pages. The pulps gave rise to the term pulp fiction in reference to run-of-the-mill, low-quality literature. Pulps were the successors to the penny dreadfuls, dime novels, short-fiction magazines of the 19th century. Although many respected writers wrote for pulps, the magazines were best known for their lurid and sensational subject matter. Modern superhero comic books are sometimes considered descendants of "hero pulps"; the first "pulp" was Frank Munsey's revamped Argosy magazine of 1896, with about 135,000 words per issue, on pulp paper with untrimmed edges, no illustrations on the cover. The steam-powered printing press had been in widespread use for some time, enabling the boom in dime novels. In six years, Argosy went from a few thousand copies per month to over half a million.
Street & Smith, a dime novel and boys' weekly publisher, was next on the market. Seeing Argosy's success, they launched The Popular Magazine in 1903, which they billed as the "biggest magazine in the world" by virtue of its being two pages longer than Argosy. Due to differences in page layout however, the magazine had less text than Argosy; the Popular Magazine did introduce color covers to pulp publishing, the magazine began to take off when in 1905 the publishers acquired the rights to serialize Ayesha, by H. Rider Haggard, a sequel to his popular novel She. Haggard's Lost World genre influenced several key pulp writers, including Edgar Rice Burroughs, Robert E. Howard, Talbot Mundy and Abraham Merritt. In 1907, the cover price rose to 15 cents and 30 pages were added to each issue. Street and Smith's next innovation was the introduction of specialized genre pulps, with each magazine focusing on a particular genre, such as detective stories, etc. At their peak of popularity in the 1920s and 1930s, the most successful pulps could sell up to one million copies per issue.
In 1934, Frank Gruber said. The most successful pulp magazines were Argosy, Blue Book and Short Stories, collectively described by some pulp historians as "The Big Four". Among the best-known other titles of this period were Amazing Stories, Black Mask, Dime Detective, Flying Aces, Horror Stories, Love Story Magazine, Marvel Tales, Oriental Stories, Planet Stories, Spicy Detective, Startling Stories, Thrilling Wonder Stories, Weird Tales and Western Story Magazine. Although pulp magazines were an American phenomenon, there were a number of British pulp magazines published between the Edwardian era and World War II. Notable UK pulps included Pall Mall Magazine, The Novel Magazine, Cassell's Magazine, The Story-Teller, The Sovereign Magazine, Hutchinson's Adventure-Story and Hutchinson's Mystery-Story; the German fantasy magazine Der Orchideengarten had a similar format to American pulp magazines, in that it was printed on rough pulp paper and illustrated. During the Second World War paper shortages had a serious impact on pulp production, starting a steady rise in costs and the decline of the pulps.
Beginning with Ellery Queen's Mystery Magazine in 1941, pulp magazines began to switch to digest size. In 1949, Street & Smith closed most of their pulp magazines in order to move upmarket and produce slicks; the pulp format declined from rising expenses, but more due to the heavy competition from comic books and the paperback novel. In a more affluent post-war America, the price gap compared to slick magazines was far less significant. In the 1950s, men's adventure magazines began to replace the pulp; the 1957 liquidation of the American News Company the primary distributor of pulp magazines, has sometimes been taken as marking the end of the "pulp era". All of the few remaining pulp magazines are science fiction or mystery magazines now in formats similar to "digest size", such as Analog Science Fiction and Fact and Ellery Queen's Mystery Magazine; the format is still in use for some lengthy serials, like the German science fiction weekly Perry Rhodan. Over the course of their evolution, there were a huge number of pulp magazine titles.
Many titles of course survived only briefly. While the most popular titles were monthly, many were bimonthly and some were quarterly; the collapse of the pulp industry changed the landscape of publishing because pulps were the single largest sales outlet for short stories. Combined with the decrease in slick magazine fiction markets, writers attempting to support themselves by creating fiction switched to novels and bo
Jazz is a music genre that originated in the African-American communities of New Orleans, United States, in the late 19th and early 20th centuries, developed from roots in blues and ragtime. Jazz is seen by many as "America's classical music". Since the 1920s Jazz Age, jazz has become recognized as a major form of musical expression, it emerged in the form of independent traditional and popular musical styles, all linked by the common bonds of African-American and European-American musical parentage with a performance orientation. Jazz is characterized by swing and blue notes and response vocals and improvisation. Jazz has roots in West African cultural and musical expression, in African-American music traditions including blues and ragtime, as well as European military band music. Intellectuals around the world have hailed jazz as "one of America's original art forms"; as jazz spread around the world, it drew on national and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine and blues with collective polyphonic improvisation.
In the 1930s arranged dance-oriented swing big bands, Kansas City jazz, a hard-swinging, improvisational style and Gypsy jazz were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music", played at faster tempos and used more chord-based improvisation. Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines; the 1950s saw the emergence of free jazz, which explored playing without regular meter and formal structures, in the mid-1950s, hard bop emerged, which introduced influences from rhythm and blues and blues in the saxophone and piano playing. Modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music's rhythms, electric instruments, amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay.
Other styles and genres abound in the 2000s, such as Afro-Cuban jazz. The origin of the word "jazz" has resulted in considerable research, its history is well documented, it is believed to be related to "jasm", a slang term dating back to 1860 meaning "pep, energy". The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described a pitch which he called a "jazz ball" "because it wobbles and you can't do anything with it"; the use of the word in a musical context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a musical context in New Orleans was in a November 14, 1916 Times-Picayune article about "jas bands". In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, "When Broadway picked it up, they called it'J-A-Z-Z', it wasn't called that. It was spelled'J-A-S-S'; that was dirty, if you knew what it was, you wouldn't say it in front of ladies."
The American Dialect Society named it the Word of the Twentieth Century. Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to the rock-infused fusion. Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music, but critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader, defining jazz as a "form of art music which originated in the United States through the confrontation of the Negro with European music" and arguing that it differs from European music in that jazz has a "special relationship to time defined as'swing'". Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror the individuality of the performing jazz musician". In the opinion of Robert Christgau, "most of us would say that inventing meaning while letting loose is the essence and promise of jazz".
A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, group interaction, developing an'individual voice', being open to different musical possibilities". Krin Gibbard argued that "jazz is a construct" which designates "a number of musics with enough in common to be understood as part of a coherent tradition". In contrast to commentators who have argued for excluding types of jazz, musicians are sometimes reluctant to define the music they play. Duke Ellington, one of jazz's most famous figures, said, "It's all music." Although jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as blues, a form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations; these work songs were structured around a repetitive call-and-response pattern, but early blues was improvisational.
Classical music performance is evaluated more by its fidelity to the musical score, with less attention given to interpretation and accompaniment. The classical performer's goal is to play the composition. In contrast, jazz is characterized by the product of i
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
A blue-collar worker is a working class person who performs manual labor. Blue-collar work may involve skilled or unskilled manufacturing, sanitation, custodial work, textile manufacturing, power plant operations, commercial fishing, pest control, food processing, oil field work, waste disposal, recycling, plumbing, mechanic, warehousing, technical installation, many other types of physical work. Blue-collar work involves something being physically built or maintained. In contrast, the white-collar worker performs work in an office environment and may involve sitting at a computer or desk. A third type of work is a service worker whose labor is related to customer interaction, sales or other service-oriented work. Many occupations blend white, or pink industry categorizations. Blue-collar work is paid hourly wage-labor, although some professionals may be paid by the project or salaried. There is a wide range of payscales for such work depending upon field of experience; the term blue collar was first used in reference to trades jobs in 1924, in an Alden, Iowa newspaper.
The phrase stems from the image of manual workers wearing blue denim or chambray shirts as part of their uniforms. Industrial and manual workers wear durable canvas or cotton clothing that may be soiled during the course of their work. Navy and light blue colors conceal potential dirt or grease on the worker's clothing, helping him or her to appear cleaner. For the same reason, blue is a popular color for boilersuits; some blue collar workers have uniforms with the name of the business and/or the individual's name embroidered or printed on it. The popularity of the colour blue among manual labourers contrasts with the popularity of white dress shirts worn by people in office environments; the blue collar/white collar colour scheme has socio-economic class connotations. However, this distinction has become blurred with the increasing importance of skilled labour, the relative increase in low-paying white-collar jobs. Since many blue-collar jobs consist of manual labor, educational requirements for workers are lower than those of white-collar workers.
Only a high school diploma is required, many of the skills required for blue-collar jobs will be learned by the employee while working. In higher level jobs, vocational training or apprenticeships may be required, for workers such as electricians and plumbers, state-certification is necessary. With the information revolution, Western nations have moved towards a service and white collar economy. Many manufacturing jobs have been offshored to developing nations which pay their workers lower wages; this offshoring has pushed agrarian nations to industrialized economies and concurrently decreased the number of blue-collar jobs in developed countries. In the United States, blue collar and service occupations refer to jobs in precision production and repair occupations. In the United States, an area known as the Rust Belt comprising the Northeast and Midwest, including Western New York and Western Pennsylvania, has seen its once large manufacturing base shrink significantly. With the de-industrialization of these areas starting in the mid-1960s cities like Cleveland, Ohio.
Due to this economic osmosis, the rust belt has experienced high unemployment and urban blight. Due to many blue-collar jobs involving manual labor and unskilled workers, automation poses a threat of unemployment for blue-collar workers. One study from the MIT Technology Review estimates that 83% of jobs that make less than $20 per hour are threatened by automation; some examples of technology that threaten workers are self-driving cars and automated cleaning devices, which could place blue-collar workers such as truck drivers or janitors out of work. Others have suggested that technological advancement will not lead to blue-collar job unemployment, but rather shifts in the types of work that blue-collar workers do; some foresee computer coding as becoming the blue-collar job of the future. Proponents of this idea view coding as a skill that can be learned through vocational training, suggest that more coders will be needed in a technologically advancing world. Others see future of blue-collar work as humans and computers working together to improve efficiency.
Such jobs would consist of labeling. Blue-collar workers have played a large role in electoral politics. In the 2016 United States Presidential election, many attributed Donald Trump's victories in the states of Ohio and Michigan to blue-collar workers, who overwhelmingly favored Trump over opponent Hillary Clinton. Among white-working class citizens, Trump won 64% of the votes, compared to only 32% for Clinton; this was the largest margin of victory among this group of voters for any presidential candidate since 1980. Many attributed Trump's success among this bloc of voters to his opposition of international trade deals and environmental regulations, two of the largest threats to blue-collar employment. Opponents of this view believe Trump's success with this bloc had more to do with an anti-immigrant and nationalist platform that supports deportation and discourages investment in higher education. "Blue-collar" can be
Comics is a medium used to express ideas through images combined with text or other visual information. Comics takes the form of juxtaposed sequences of panels of images. Textual devices such as speech balloons and onomatopoeia indicate dialogue, sound effects, or other information; the size and arrangement of panels contribute to narrative pacing. Cartooning and similar forms of illustration are the most common image-making means in comics. Common forms include comic strips and gag cartoons, comic books. Since the late 20th century, bound volumes such as graphic novels, comic albums, tankōbon have become common, while online webcomics have proliferated in the 21st century with the advent of the internet; the history of comics has followed different paths in different cultures. Scholars have posited a pre-history as far back as the Lascaux cave paintings in France. By the mid-20th century, comics flourished in the United States, western Europe, Japan; the history of European comics is traced to Rodolphe Töpffer's cartoon strips of the 1830s, but the medium became popular in the 1930s following the success of strips and books such as The Adventures of Tintin.
American comics emerged as a mass medium in the early 20th century with the advent of newspaper comic strips. Histories of Japanese comics and cartooning propose origins as early as the 12th century. Modern comic strips emerged in Japan in the early 20th century, the output of comics magazines and books expanded in the post-World War II era with the popularity of cartoonists such as Osamu Tezuka. Comics has had a lowbrow reputation for much of its history, but towards the end of the 20th century began to find greater acceptance with the public and academics; the term comics is used as a singular noun when it refers to the medium, but becomes plural when referring to particular instances, such as individual strips or comic books. Though the term derives from the humorous work that predominated in early American newspaper comic strips, it has become standard for non-humorous works too. In English, it is common to refer to the comics of different cultures by the terms used in their original languages, such as manga for Japanese comics, or bandes dessinées for French-language comics.
There is no consensus amongst historians on a definition of comics. The increasing cross-pollination of concepts from different comics cultures and eras has only made definition more difficult. Examples of early comics The European and Japanese comics traditions have followed different paths. Europeans have seen their tradition as beginning with the Swiss Rodolphe Töpffer from as early as 1827 and Americans have seen the origin of theirs in Richard F. Outcault's 1890s newspaper strip The Yellow Kid, though many Americans have come to recognize Töpffer's precedence. Japan had a long prehistory of satirical comics leading up to the World War II era; the ukiyo-e artist Hokusai popularized the Japanese term for comics and cartooning, manga, in the early 19th century. In 1930s, Mr. Chester, an early founder of "the Golden Age of Comics", which make the comics flourished after World War II. In the post-war era modern Japanese comics began to flourish when Osamu Tezuka produced a prolific body of work.
Towards the close of the 20th century, these three traditions converged in a trend towards book-length comics: the comic album in Europe, the tankōbon in Japan, the graphic novel in the English-speaking countries. Outside of these genealogies, comics theorists and historians have seen precedents for comics in the Lascaux cave paintings in France, Egyptian hieroglyphs, Trajan's Column in Rome, the 11th-century Norman Bayeux Tapestry, the 1370 bois Protat woodcut, the 15th-century Ars moriendi and block books, Michelangelo's The Last Judgment in the Sistine Chapel, William Hogarth's 18th-century sequential engravings, amongst others. Illustrated humour periodicals were popular in 19th-century Britain, the earliest of, the short-lived The Glasgow Looking Glass in 1825; the most popular was Punch. On occasion the cartoons in these magazines appeared in sequences. American comics developed out of such magazines as Puck and Life; the success of illustrated humour supplements in the New York World and the New York American Outcault's The Yellow Kid, led to the development of newspaper comic strips.
Early Sunday strips were full-page and in colour. Between 1896 and 1901 cartoonists experimented with sequentiality and speech balloons. Shorter, black-and-white daily strips began to appear early in the 20th century, became established in newspapers after the success in 1907 of Bud Fisher's Mutt and Jeff. In Britain, the Amalgamated Press established a popular style of a sequence of images with text beneath them, including Illustrated Chips and Comic Cuts. Humour strips predominated at first, in the 1920s and 1930s strips with continuing stories in genres such as adventure and drama became popular. Thin periodicals called
The piano is an acoustic, stringed musical instrument invented in Italy by Bartolomeo Cristofori around the year 1700, in which the strings are struck by hammers. It is played using a keyboard, a row of keys that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings; the word piano is a shortened form of pianoforte, the Italian term for the early 1700s versions of the instrument, which in turn derives from gravicembalo col piano e forte and fortepiano. The Italian musical terms piano and forte indicate "soft" and "loud" in this context referring to the variations in volume produced in response to a pianist's touch or pressure on the keys: the greater the velocity of a key press, the greater the force of the hammer hitting the strings, the louder the sound of the note produced and the stronger the attack; the name was created as a contrast to harpsichord, a musical instrument that doesn't allow variation in volume. The first fortepianos in the 1700s had smaller dynamic range.
An acoustic piano has a protective wooden case surrounding the soundboard and metal strings, which are strung under great tension on a heavy metal frame. Pressing one or more keys on the piano's keyboard causes a padded hammer to strike the strings; the hammer rebounds from the strings, the strings continue to vibrate at their resonant frequency. These vibrations are transmitted through a bridge to a soundboard that amplifies by more efficiently coupling the acoustic energy to the air; when the key is released, a damper stops the strings' vibration, ending the sound. Notes can be sustained when the keys are released by the fingers and thumbs, by the use of pedals at the base of the instrument; the sustain pedal enables pianists to play musical passages that would otherwise be impossible, such as sounding a 10-note chord in the lower register and while this chord is being continued with the sustain pedal, shifting both hands to the treble range to play a melody and arpeggios over the top of this sustained chord.
Unlike the pipe organ and harpsichord, two major keyboard instruments used before the piano, the piano allows gradations of volume and tone according to how forcefully a performer presses or strikes the keys. Most modern pianos have a row of 88 black and white keys, 52 white keys for the notes of the C major scale and 36 shorter black keys, which are raised above the white keys, set further back on the keyboard; this means that the piano can play 88 different pitches, going from the deepest bass range to the highest treble. The black keys are for the "accidentals". More some pianos have additional keys. Most notes have three strings, except for the bass; the strings are sounded when keys are pressed or struck, silenced by dampers when the hands are lifted from the keyboard. Although an acoustic piano has strings, it is classified as a percussion instrument rather than as a stringed instrument, because the strings are struck rather than plucked. There are two main types of piano: the upright piano.
The grand piano is used for Classical solos, chamber music, art song, it is used in jazz and pop concerts. The upright piano, more compact, is the most popular type, as it is a better size for use in private homes for domestic music-making and practice. During the 1800s, influenced by the musical trends of the Romantic music era, innovations such as the cast iron frame and aliquot stringing gave grand pianos a more powerful sound, with a longer sustain and richer tone. In the nineteenth century, a family's piano played the same role that a radio or phonograph played in the twentieth century. During the nineteenth century, music publishers produced many musical works in arrangements for piano, so that music lovers could play and hear the popular pieces of the day in their home; the piano is employed in classical, jazz and popular music for solo and ensemble performances and for composing and rehearsals. Although the piano is heavy and thus not portable and is expensive, its musical versatility, the large number of musicians and amateurs trained in playing it, its wide availability in performance venues and rehearsal spaces have made it one of the Western world's most familiar musical instruments.
With technological advances, amplified electric pianos, electronic pianos, digital pianos have been developed. The electric piano became a popular instrument in the 1960s and 1970s genres of jazz fusion, funk music and rock music; the piano was founded on earlier technological innovations in keyboard instruments. Pipe organs have been used since Antiquity, as such, the development of pipe organs enabled instrument builders to learn about creating keyboard mechanisms for sounding pitches; the first string instruments with struck strings were the hammered dul
An electric guitar is a guitar that uses one or more pickups to convert the vibration of its strings into electrical signals. The vibration occurs when a guitar player strums, fingerpicks, slaps or taps the strings; the pickup uses electromagnetic induction to create this signal, which being weak is fed into a guitar amplifier before being sent to the speaker, which converts it into audible sound. The electric signal can be electronically altered to change the timbre of the sound; the signal is modified using effects such as reverb, distortion and "overdrive". Invented in 1931, the electric guitar was adopted by jazz guitar players, who wanted to play single-note guitar solos in large big band ensembles. Early proponents of the electric guitar on record include Les Paul, Lonnie Johnson, Sister Rosetta Tharpe, T-Bone Walker, Charlie Christian. During the 1950s and 1960s, the electric guitar became the most important instrument in popular music, it has evolved into an instrument, capable of a multitude of sounds and styles in genres ranging from pop and rock to country music and jazz.
It served as a major component in the development of electric blues and roll, rock music, heavy metal music and many other genres of music. Electric guitar design and construction varies in the shape of the body and the configuration of the neck and pickups. Guitars may have a fixed bridge or a spring-loaded hinged bridge, which lets players "bend" the pitch of notes or chords up or down, or perform vibrato effects; the sound of an electric guitar can be modified by new playing techniques such as string bending and hammering-on, using audio feedback, or slide guitar playing. There are several types of electric guitar, including: the solid-body guitar. In pop and rock music, the electric guitar is used in two roles: as a rhythm guitar, which plays the chord sequences or progressions, riffs, sets the beat. In a small group, such as a power trio, one guitarist switches between both roles. In large rock and metal bands, there is a rhythm guitarist and a lead guitarist. Many experiments at electrically amplifying the vibrations of a string instrument were made dating back to the early part of the 20th century.
Patents from the 1910s show telephone transmitters were adapted and placed inside violins and banjos to amplify the sound. Hobbyists in the 1920s used carbon button microphones attached to the bridge. With numerous people experimenting with electrical instruments in the 1920s and early 1930s, there are many claimants to have been the first to invent an electric guitar. Electric guitars were designed by acoustic guitar makers and instrument manufacturers; the demand for amplified guitars began during the big band era. The first electric guitars used in jazz were hollow archtop acoustic guitar bodies with electromagnetic transducers. Early electric guitar manufacturers include Rickenbacker in 1932; the first electrically amplified stringed instrument to be marketed commercially was designed in 1931 by George Beauchamp, the general manager of the National Guitar Corporation, with Paul Barth, vice president. The maple body prototype for the one-piece cast aluminium "frying pan" was built by Harry Watson, factory superintendent of the National Guitar Corporation.
Commercial production began in late summer of 1932 by the Ro-Pat-In Corporation, in Los Angeles, a partnership of Beauchamp, Adolph Rickenbacker, Paul Barth. In 1934, the company was renamed the Rickenbacker Electro Stringed Instrument Company. In that year Beauchamp applied for a United States patent for an Electrical Stringed Musical Instrument and the patent was issued in 1937. By early-mid 1935, Electro String Instrument Corporation had achieved mainstream success with the A-22 "Frying Pan" steel guitar, set out to capture a new audience through its release of the Electro-Spanish Model B and the Electro-Spanish Ken Roberts, the first full 25" scale electric guitar produced; the Electro-Spanish Ken Roberts was revolutionary for its time, providing players a full 25" scale, with easy access to 17 frets free of the body. Unlike other lap-steel electrified instruments produced during the time, the Electro-Spanish Ken Roberts was designed to play standing vertical, upright with a strap; the Electro-Spanish Ken Roberts was the first instrument to feature a hand-operated vibrato as a standard appointment, a device called the "Vibrola," invented by Doc Kauffman.
It is estimated that fewer than 50 Electro-Spanish Ken Roberts were constructed between 1933 and 1937. The solid-body electric guitar is made without functionally resonating air spaces; the first solid-body Spanish standard guitar was offered by Vivi-Tone no than 1934. This model featured a guitar-shaped body of a single sheet