Morten Harket is a Norwegian vocalist and musician, best known as the lead singer of the synthpop/rock band A-ha, which released ten studio albums and topped the charts internationally after their breakthrough hit "Take On Me" in 1985. A-ha disbanded in 2010. In 2015, after each member pursued his own artistic path, A-ha reunited to produce a new album, Cast In Steel, perform a world tour, kicking off at Rock in Rio in Rio de Janeiro, Brazil on 27 September 2015. Harket has released six solo albums. Before joining A-ha in 1982, Harket had appeared on the Oslo club scene as the singer for blues outfit Souldier Blue; the trio, composed of lead vocalist Harket, guitarist Paul Waaktaar-Savoy, keyboardist Magne Furuholmen, formed on 14 September 1982, left Norway for London in order to make a career in the music business. They chose the studio of musician and soon-to-be-manager, John Ratcliff, because it had a Space Invaders machine. Ratcliff introduced the band to his manager, Terry Slater, after a few meetings, A-ha had two managers.
Slater and Ratcliff together formed T. J. Management. Ratcliff dealt with all the musical aspects; the band says the name. Morten was looking through Paul's notebook, came across the name, which he liked, decided, the right name. In 1984, A-ha released their first single, "Take On Me", which became a hit only on the third attempt in 1985, after it had been re-recorded and accompanied by a music video directed by Steve Barron; the single's international success helped A-ha's debut album Hunting High and Low to sell over 10 million copies worldwide. Their second studio album was Scoundrel Days, followed by Stay on These Roads and East of the Sun, West of the Moon; the band issued the commercially disappointing Memorial Beach, after which the band went on hiatus. Harket re-joined his colleagues in A-ha in 1998 to perform at the Nobel Peace Prize concert. Since 1998, A-ha has released several compilations, their eighth studio album Analogue was released in 2005, became a big hit worldwide, achieving Platinum certification in the UK.
The band's last studio album before their split, Foot of the Mountain, was released in the spring of 2009. Harket held a note for 20.2 seconds in A-ha's 2000 song "Summer Moved On", believed to be the longest note in UK chart history. The note held exceeds the chest voice note in Bill Withers' famous song Lovely Day by 2.2 seconds. In October 2009, A-ha announced that they would disband after a farewell tour in 2010. Tickets for A-ha's final concert at the Oslo Spektrum on 4 December 2010 sold out within 2 hours. On 27 September 2015, A-ha reunited for a huge crowd assembled at Rock in Rio 2015 festival in Rio de Janeiro, which led to a reunion tour and the Cast in Steel album. In June 2017 the band performed for MTV Unplugged in their homeland; the performance was released as a live album that September, the acoustic version of "Take On Me" was made part of the soundtrack of the Hollywood movie Deadpool 2. Paul Waaktaar-Savoy describes Harket as being "totally different from me." He recalls the band's first visit to London together, during which Harket burned all his clothes and re-fashioned his wardrobe.
"He has given me self-confidence, encourages me to talk to people, not to be afraid and to use the abilities I have. Morten is the only one in Norway who had as much ambition as I did. I guess we both have big egos. In a way, we're each sitting in our own little world. Mags has to mediate between Morten and me... It's good; the tension between us is creative."Magne Furuholmen describes Harket as "together". Furuholmen says Harket "believes in everything he does; this goes for the band too, it rubs off on us. He can not be shaken. He's an expert at always getting the last word, whether he's not. Morten is loyal and he's fair when it comes to giving people a chance, letting them show who they are and what they're worth before judging them." The three members of a-ha, Morten Harket, Magne Furuholmen and Paul Waaktaar-Savoy, were appointed Knights of the 1st Class of the Royal Norwegian Order of St. Olav for their contribution to Norwegian music; the Royal Norwegian Order of St. Olav is granted as a reward for distinguished services to their country and humankind.
The official ceremony took place on 6 November 2012. Before Morten joined Pål and Magne, he was the lead singer of a soul band called "Souldier Blue". In 1993, Harket performed a cover of "Can't Take My Eyes Off You" by Crewe/Gaudio on the Coneheads movie soundtrack in 1993. After A-ha went on a hiatus in 1994, Harket pursued a solo career, has so far released six studio albums. Two of those albums were sung in Norwegian, but his 1995 album, Wild Seed, became more of an international success because of its English lyrics. Harket worked with a Norwegian poet, to write most of the songs. "A Kind of Christmas Card" and "Spanish Steps" were the most successful numbers. The rest were either easy listening songs, or more profound songs, such as "East Timor" and "Brodsky Tune" which had political messages in them. Harket has collaborated in studio recordings with several artists. Among them, Pakistan rock band Junoon on the song "Piya", Hayley Westenra on "Children First", he has performed and worked with many other Scandinavian artists such as Bjørn E
The ARIA Charts are the main Australian music sales charts, issued weekly by the Australian Recording Industry Association. The charts are a record of the highest selling albums in various genres in Australia. ARIA became the official Australian music chart in June 1988, succeeding the Kent Music Report, Australia's national charts since 1974; the Go-Set charts were Australia's first national singles and albums charts published from 5 October 1966 until 24 August 1974. Succeeding Go-Set, the Kent Music Report began issuing the national top 100 charts in Australia from May 1974; the compiler, David Kent published Australia's national charts from 1940–1974 in a retrospective fashion using state based data. In mid 1983, the Australian Recording Industry Association commenced licensing the Kent Music Report chart; the first printed national top 50 chart available in record stores, branded the Countdown chart, was dated the week ending 10 July 1983. ARIA began compiling its own charts in-house from the chart survey dated 13 June 1988, corresponding with the printed top 50 chart dated week ending 26 June 1988.
Various artists compilation albums were included in the albums chart, as they had been on the Kent Report chart, until 2 July 1989, when a separate Compilations chart was created. The ARIA Report, detailing the top 100 singles and albums charts, was first available via subscription in January 1990; the printed top 50 chart ceased publication in June 1998, but resumed publication in the year. The printed top 50 chart again ceased publication at the end of 2000; the ARIA charts are based on data collected from digital retailers in Australia. Data of physical sales come from retailers such as Sanity and JB Hi-Fi, while data of digital sales come from online retailers such as iTunes. Since 17 February 1997, all physical sales data contributing towards the chart has been recorded electronically at point of sale. In March 1991, "Do the Bartman" by The Simpsons was the first single to reach #1 in Australia, not available on 7 inch vinyl, but cassingle only. Starting from 8 October 2006, due to low physical single sales at the time, the ARIA singles chart included online data as well as physical sales.
In 2006, it was announced that the Brazin retailing group, comprising major retailers HMV, Sanity and Virgin music/DVD stores would no longer contribute sales data to the ARIA charts. However, after a five-month absence, Brazin re-commenced contributing sales figures to the ARIA Charts on 26 November 2006; the ARIA website publishes the top 50 singles and albums charts, top 40 digital tracks chart, top 20 dance singles chart. The ARIA Report is available via paid e-mail subscription each week; these reports are uploaded to the Pandora Archive periodically. On 5 February 2006, the ARIA Chart Show was a radio program launched on the Nova network and broadcast throughout Australia, playing the official ARIA top 50 singles; the live music program was hosted by Jabba each Sunday afternoon at 3:00pm. From 1 June 2013 to 3 September 2016, the Take 40 Australia radio program broadcast the official ARIA top 40 singles on Saturday afternoons from 2:00 pm to 6:00 pm, on each state's Hit Network-owned radio station.
The show was aired before the top 50 chart, dated for the following Monday, is published on the ARIA website at 6:00 pm. The charts were published online at 6:00 pm each Sunday. ARIA Top 100 Singles Chart ARIA Top 100 Albums Chart ARIA Top 100 Physical Albums Chart ARIA Top 50 Digital Tracks Chart ARIA Top 50 Digital Albums Chart ARIA Top 50 Streaming Tracks Chart ARIA Top 50 Club Tracks Chart ARIA Top 50 Catalogue Albums Chart ARIA Top 40 Urban Singles Chart ARIA Top 40 Urban Albums Chart ARIA Top 40 Country Albums Chart ARIA Top 40 Music DVDs Chart ARIA Top 25 Dance Singles Chart ARIA Top 25 Dance Albums Chart ARIA Top 20 Australian Artist Singles Chart ARIA Top 20 Australian Artist Albums Chart ARIA Top 20 Compilation Albums Chart ARIA Top 20 Jazz & Blues Albums Chart ARIA Top 20 Classical/Crossover Albums Chart ARIA Top 10 Core Classical Albums Chart ARIA Top 20 Hitseekers Singles Chart ARIA Top 20 Hitseekers Albums Chart Yearly Top 100 End of Year charts profiling the year in music End of Decade Top 100 charts profiling the decade in music Pre-2000: 2000 to present: 2006 to present: Pre-2000: 2000 to present: 2016 to present: Music of Australia List of Australian chart achievements and milestones Official website Top 50 chart archives from June 1988 at australian-charts.com Top 100 chart archives from January 2001 at Pandora Archive
Summer Moved On
"Summer Moved On" is a song by Norwegian band A-ha which became their first single in more than six years. The album Minor Earth Major Sky was released in the UK on 22 May 2000, having been released in much of Europe on 27 March; the song was hastily written after A-ha agreed to a one-time reunion at the Nobel Peace Prize concert in 1998. The song became a number-one radio hit in much of Europe, including topping the chart in the band's native Norway, the band has continued to record and perform together to significant international success, though that success has not extended to the United States, where their recent work has gone unreleased; the song sold 2,500,000 copies worldwide. It was this song in which Morten Harket achieved the European record for the longest note held in a top 40 pop song; the music video, directed by Adam Berg, was shot in Cadiz, Spain over the course of a cold day in April 2000. CD: WEA. / 8573 82331-2 Europe "Summer Moved On" – 4:36 "Barely Hanging On" – 3:51It states that it features the "album version" of "Barely Hanging On", but this song has been remixed for the album.
CD: WEA. / 3984 29692-2 Europe "Summer Moved On" – 4:06 "Summer Moved On" – 4:36 "Barely Hanging On" – 3:51 "Summer Moved On" – 6:00It states that it features the "album version" of "Barely Hanging On", but this song has been remixed for the album. CD: WEA. / CDWP009 Promo Brazil "Summer Moved On" – 4:06 "Summer Moved On" – 4:36 "Summer Moved On" – 6:00 "Summer Moved On" – Track 1 is the same version as the "Radio Edit". Track 2 is the same version as the "Album Edit". CD: We Love Music. / 0602527682198 Germany "Summer Moved On" – 4:58 "Scoundrel Days" – 4:20Both tracks taken From The Farewell Show And Upcoming Live DVD "Ending On A High Note – The Final Concert"
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
Memorial Beach is the fifth album by the Norwegian band A-ha, released in 1993. The album was recorded at Prince's Paisley Park studios outside Minneapolis in the U. S. Memorial Beach featured three UK Top 50 singles for the band, "Move to Memphis", "Dark is the Night" and "Angel in the Snow". While the album did not chart on the U. S. Billboard 200 and would be the band's last to be released there, the single "Dark Is the Night" peaked at #11 on the Billboard Bubbling Under Hot 100 Singles chart, their last U. S. charting to date. Q magazine listed the album as one of the 50 best albums of 1993: "If a band deserved reappraisal on the back of an album it was a-ha!" "Angel in the Snow" was written by Pål Waaktaar for Lauren, as a wedding gift. Recording the album was, according to Morten Harket, "A rather dark and heavy period for the band", although Magne Furuholmen has said, "I dig Memorial Beach, and'Dark is the Night for All' is the high point, the best thing on the disc." JD and Jevetta Steele from the American gospel group The Steeles contribute backing vocals on the songs "Move to Memphis" and "Lie Down in Darkness".
French actress Béatrice Dalle appears in the music video for the song "Move to Memphis". Some lyrics from "Locust" were reused on the 2004 Savoy single "Whalebone"; this was the last album to feature the original a-ha logo until they reunited for the second time for Cast in Steel. All tracks written by Pål Waaktaar unless noted otherwise: "Dark Is the Night for All" – 3:46 "Move to Memphis" – 4:22 "Cold as Stone" – 8:19 "Angel in the Snow" – 4:13 "Locust" – 5:09 "Lie Down in Darkness" – 4:32 "How Sweet It Was" – 6:00 "Lamb to the Slaughter" – 4:20 "Between Your Mama and Yourself" – 4:16 "Memorial Beach" – 4:36 Disc 1 Dark Is The Night For All Move To Memphis Cold As Stone Angel In The Snow Locust Lie Down In Darkness How Sweet It Was Lamb To The Slaughter Between Your Mama And Yourself Memorial BeachBonus tracks Move To Memphis Angel In The Snow Disc 2* Dark Is The Night For All Cold As Stone Angel In The Snow Locust Lie Down In Darkness How Sweet It Was Bar Room Lamb To The Slaughter Between Your Mama And Yourself Memorial Beach Dark Is The Night For All Swing Of Things Dark Is The Night For All Move To Memphis Cold As Stone/Sycamore Leaves Shapes That Go Together Morten Harket - vocals Magne Furuholmen - keyboards, backing vocals Pål Waaktaar - guitars, drum programming, backing vocals J.
B. Bogeberg - bass Per Hillestad - drums J. D. Steele - backing vocals on Jevetta Steele - backing vocals Kat Wilson- backing vocal Producers - A-ha, Pål Waaktaar, David Z Mastering - Ted Jensen at Sterling Sound, NYC The song "Memorial Beach" was used in an episode of Baywatch
OCLC Online Computer Library Center, Incorporated d/b/a OCLC is an American nonprofit cooperative organization "dedicated to the public purposes of furthering access to the world's information and reducing information costs". It was founded in 1967 as the Ohio College Library Center. OCLC and its member libraries cooperatively produce and maintain WorldCat, the largest online public access catalog in the world. OCLC is funded by the fees that libraries have to pay for its services. OCLC maintains the Dewey Decimal Classification system. OCLC began in 1967, as the Ohio College Library Center, through a collaboration of university presidents, vice presidents, library directors who wanted to create a cooperative computerized network for libraries in the state of Ohio; the group first met on July 5, 1967 on the campus of the Ohio State University to sign the articles of incorporation for the nonprofit organization, hired Frederick G. Kilgour, a former Yale University medical school librarian, to design the shared cataloging system.
Kilgour wished to merge the latest information storage and retrieval system of the time, the computer, with the oldest, the library. The plan was to merge the catalogs of Ohio libraries electronically through a computer network and database to streamline operations, control costs, increase efficiency in library management, bringing libraries together to cooperatively keep track of the world's information in order to best serve researchers and scholars; the first library to do online cataloging through OCLC was the Alden Library at Ohio University on August 26, 1971. This was the first online cataloging by any library worldwide. Membership in OCLC is based on use of services and contribution of data. Between 1967 and 1977, OCLC membership was limited to institutions in Ohio, but in 1978, a new governance structure was established that allowed institutions from other states to join. In 2002, the governance structure was again modified to accommodate participation from outside the United States.
As OCLC expanded services in the United States outside Ohio, it relied on establishing strategic partnerships with "networks", organizations that provided training and marketing services. By 2008, there were 15 independent United States regional service providers. OCLC networks played a key role in OCLC governance, with networks electing delegates to serve on the OCLC Members Council. During 2008, OCLC commissioned two studies to look at distribution channels. In early 2009, OCLC negotiated new contracts with the former networks and opened a centralized support center. OCLC provides bibliographic and full-text information to anyone. OCLC and its member libraries cooperatively produce and maintain WorldCat—the OCLC Online Union Catalog, the largest online public access catalog in the world. WorldCat has holding records from private libraries worldwide; the Open WorldCat program, launched in late 2003, exposed a subset of WorldCat records to Web users via popular Internet search and bookselling sites.
In October 2005, the OCLC technical staff began a wiki project, WikiD, allowing readers to add commentary and structured-field information associated with any WorldCat record. WikiD was phased out; the Online Computer Library Center acquired the trademark and copyrights associated with the Dewey Decimal Classification System when it bought Forest Press in 1988. A browser for books with their Dewey Decimal Classifications was available until July 2013; until August 2009, when it was sold to Backstage Library Works, OCLC owned a preservation microfilm and digitization operation called the OCLC Preservation Service Center, with its principal office in Bethlehem, Pennsylvania. The reference management service QuestionPoint provides libraries with tools to communicate with users; this around-the-clock reference service is provided by a cooperative of participating global libraries. Starting in 1971, OCLC produced catalog cards for members alongside its shared online catalog. OCLC commercially sells software, such as CONTENTdm for managing digital collections.
It offers the bibliographic discovery system WorldCat Discovery, which allows for library patrons to use a single search interface to access an institution's catalog, database subscriptions and more. OCLC has been conducting research for the library community for more than 30 years. In accordance with its mission, OCLC makes its research outcomes known through various publications; these publications, including journal articles, reports and presentations, are available through the organization's website. OCLC Publications – Research articles from various journals including Code4Lib Journal, OCLC Research, Reference & User Services Quarterly, College & Research Libraries News, Art Libraries Journal, National Education Association Newsletter; the most recent publications are displayed first, all archived resources, starting in 1970, are available. Membership Reports – A number of significant reports on topics ranging from virtual reference in libraries to perceptions about library funding. Newsletters – Current and archived newsletters for the library and archive community.
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A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular