1.
Punk rock
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Punk rock is a rock music genre that developed in the early to mid-1970s in the United States, United Kingdom, and Australia. Rooted in 1960s garage rock and other forms of what is now known as proto-punk music, Punk bands typically produced short or fast-paced songs, with hard-edged melodies and singing styles, stripped-down instrumentation, and often political, anti-establishment lyrics. Punk embraces a DIY ethic, many bands self-produce recordings and distribute them through informal channels, the term punk was first used in relation to rock music by some American critics in the early 1970s, to describe garage bands and their devotees. The following year saw punk rock spreading around the world, for the most part, punk took root in local scenes that tended to reject association with the mainstream. An associated punk subculture emerged, expressing youthful rebellion and characterized by distinctive styles of clothing and adornment, by the beginning of the 1980s, faster, more aggressive styles such as hardcore and street punk had become the predominant mode of punk rock. Musicians identifying with or inspired by punk also pursued a range of other variations, giving rise to post-punk. At the end of the 20th century, punk rock had been adopted by the mainstream, as pop punk and punk bands such as Green Day. The first wave of rock was aggressively modern, distancing itself from the bombast. According to Ramones drummer Tommy Ramone, In its initial form, unfortunately, what happens is that people who could not hold a candle to the likes of Hendrix started noodling away. Soon you had endless solos that went nowhere, by 1973, I knew that what was needed was some pure, stripped down, no bullshit rock n roll. In critic Robert Christgaus description, It was also a subculture that rejected the political idealism. Technical accessibility and a DIY spirit are prized in punk rock, in the early days of punk rock, this ethic stood in marked contrast to what those in the scene regarded as the ostentatious musical effects and technological demands of many mainstream rock bands. Musical virtuosity was often looked on with suspicion, according to Holmstrom, punk rock was rock and roll by people who didnt have very many skills as musicians but still felt the need to express themselves through music. In December 1976, the English fanzine Sideburns published an illustration of three chords, captioned This is a chord, this is another, this is a third. The title of a 1980 single by the New York punk band Stimulators, inscribed a catchphrase for punks basic musical approach. The previous year, when the rock revolution began in Great Britain, was to be both a musical and a cultural Year Zero. As a Clash associate describes singer Joe Strummers outlook, Punk rock is meant to be our freedom, were meant to be able to do what we want to do. Scholar Daniel S. Traber argues that attaining authenticity in the identity can be difficult, as the punk scene matured, he observes
2.
Free jazz
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For the Ornette Coleman album see Free Jazz, A Collective Improvisation. Though the music of jazz composers varied widely, a common feature was dissatisfaction with the limitations of bebop, hard bop. Often described as avant-garde, free jazz has also described as an attempt to return jazz to its primitive, often religious, roots. As its name implies, free jazz cannot be defined more than loosely, as many musicians draw on free jazz concepts and idioms, and it was never completely distinct as a genre. Many free jazz musicians, notably Pharoah Sanders and John Coltrane, used harsh overblowing or other techniques to elicit unconventional sounds from their instruments, Free jazz musicians created a progressive musical language which drew on earlier styles of jazz such as Dixieland jazz and African music. Typically this kind of music is played by groups of musicians. The music often swings but without regular meter, and there are frequent accelerandi and ritardandi, Free jazz is strongly associated with the 1950s innovations of Ornette Coleman and Cecil Taylor and the later works of saxophonist John Coltrane. Other important pioneers include Charles Mingus, Eric Dolphy, Albert Ayler, Archie Shepp, Joe Maneri, some of bassist Charles Minguss work was also important in establishing free jazz. Although today free jazz is the generally used term, many terms were used to describe the loosely defined movement, including avant-garde, energy music. During its early and mid-1960s heyday, much free jazz was released by established labels such as Prestige, Blue Note, keith Johnson of AllMusic describes a Modern Creative genre, in which musicians may incorporate free playing into structured modes -- or play just about anything. Defining the essence of jazz is complicated, many musicians draw on free jazz concepts and idioms. Many individual musicians reject efforts at classification, regarding them as useless or unduly limiting, earlier jazz styles typically were built on a framework of song forms with a set framework of chord changes. In free jazz, the dependence on a fixed and pre-established form is eliminated, Free jazz, especially during its inception, contains theme of both progressive musical language and gathering inspiration from the past. The rejection of the bop aesthetic was combined with a fascination with earlier styles of jazz such as Dixieland jazz with its collective improvisation. This includes Ed Blackwells use of the West African talking drum, typically this kind of music is played by small groups of musicians, although some examples use larger numbers. For example, John Coltranes 1965 album Ascension, uses eleven musicians, other forms of jazz use clear regular meters and strongly pulsed rhythms, usually in 4/4 or 3/4. Free jazz normally retains a general pulsation and often swings but without regular meter, despite all of this, it is still very often possible to tap ones foot to a free jazz performance, meter is more freely variable but has not disappeared entirely. Previous jazz forms used harmonic structures, and even when improvisation occurred it was founded on the notes in the chords, Free jazz almost by definition is free of such structures, but also by definition it retains much of the language of earlier jazz playing
3.
Funk
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Funk is a music genre that originated in the mid- 1960s when African American musicians created a rhythmic, danceable new form of music through a mixture of soul music, jazz, and rhythm and blues. Like much of African-inspired music, funk typically consists of a groove with rhythm instruments playing interlocking grooves. Funk uses the same richly-colored extended chords found in jazz, such as minor chords with added sevenths and elevenths. Other musical groups, including Sly and the Family Stone and Parliament-Funkadelic, soon began to adopt, Funk samples have been used extensively in genres including hip hop, house music, and drum and bass. It is also the influence of go-go, a subgenre associated with funk. The word funk initially referred to a strong odor and it is originally derived from Latin fumigare via Old French fungiere and, in this sense, it was first documented in English in 1620. In 1784 funky meaning musty was first documented, which, in turn, in early jam sessions, musicians would encourage one another to get down by telling one another, Now, put some stank on it. At least as early as 1907, jazz songs carried titles such as Funky, as late as the 1950s and early 1960s, when funk and funky were used increasingly in the context of jazz music, the terms still were considered indelicate and inappropriate for use in polite company. According to one source, New Orleans-born drummer Earl Palmer was the first to use the word funky to explain to other musicians that their music should be made more syncopated, the style later evolved into a rather hard-driving, insistent rhythm, implying a more carnal quality. This early form of the set the pattern for later musicians. The music was identified as slow, sexy, loose, riff-oriented, a great deal of funk is rhythmically based on a two-celled onbeat/offbeat structure, which originated in sub-Saharan African music traditions. New Orleans appropriated the bifurcated structure from the Afro-Cuban mambo and conga in the late 1940s, New Orleans funk, as it was called, gained international acclaim largely because James Browns rhythm section used it to great effect. Funk creates an intense groove by using strong guitar riffs and bass lines, like Motown recordings, funk songs used bass lines as the centerpiece of songs. Slap basss mixture of thumb-slapped low notes and finger popped high notes allowed the bass to have a rhythmic role. In funk bands, guitarists typically play in a style, often using the wah-wah sound effect. Guitarist Ernie Isley of The Isley Brothers and Eddie Hazel of Funkadelic were notably influenced by Jimi Hendrixs improvised solos, Eddie Hazel, who worked with George Clinton, is one of the most notable guitar soloists in funk. Ernie Isley was tutored at an age by Jimi Hendrix himself. Jimmy Nolen and Phelps Collins are famous funk rhythm guitarists who both worked with James Brown, on Browns Give It Up or Turnit a Loose, Jimmy Nolens guitar part has a bare bones tonal structure
4.
Noise music
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Noise music is a category of music that is characterised by the expressive use of noise within a musical context. This type of music tends to challenge the distinction that is made in conventional musical practices between musical and non-musical sound, Noise music includes a wide range of musical styles and sound-based creative practices that feature noise as a primary aspect. Some of the music can feature acoustically or electronically generated noise, there may also be emphasis on high volume levels and lengthy, continuous pieces. More generally noise music may contain aspects such as improvisation, extended technique, cacophony, in many instances, conventional use of melody, harmony, rhythm or pulse is dispensed with. Contemporary noise music is associated with extreme volume and distortion. In the domain of experimental rock, examples include Jimi Hendrixs use of feedback, Lou Reeds Metal Machine Music, genres such as industrial, industrial techno, lo-fi music, black metal, sludge metal, and glitch music employ noise-based materials. According to Danish noise and music theorist Torben Sangild, one definition of noise in music is not possible. According to Murray Schafer there are four types of noise, unwanted noise, unmusical sound, any sound. Definitions regarding what is considered noise, relative to music, have changed over time, ben Watson, in his article Noise as Permanent Revolution, points out that Ludwig van Beethovens Grosse Fuge sounded like noise to his audience at the time. Indeed, Beethovens publishers persuaded him to remove it from its setting as the last movement of a string quartet. He did so, replacing it with a sparkling Allegro and he defines noise at different times as intrusive, unwanted, lacking skill, not being appropriate and a threatening emptiness. He traces these trends starting with 18th-century concert hall music, Hegarty contends that it is John Cages composition 433, in which an audience sits through four and a half minutes of silence, that represents the beginning of noise music proper. Writing about Japanese noise music, Hegarty suggests that it is not a genre, but it is also a genre that is multiple, Japanese noise music can come in all styles, referring to all other genres. But crucially asks the question of genre—what does it mean to be categorized, in Noise, The Political Economy of Music, Jacques Attali explores the relationship between noise music and the future of society. He indicates that noise in music is a predictor of social change, like much of modern and contemporary art, noise music takes characteristics of the perceived negative traits of noise mentioned below and uses them in aesthetic and imaginative ways. In common use, the word noise means unwanted sound or noise pollution, Noise can block, distort, or change the meaning of a message in both human and electronic communication. White noise is a signal with a flat power spectral density. In other words, the signal contains equal power within a fixed bandwidth at any center frequency, White noise is considered analogous to white light which contains all frequencies
5.
Experimental rock
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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. From its inception, rock music was experimental, but it wasnt until the late 1960s that rock artists began creating extended, 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, later in the 1970s, significant musical crossbreeding took place in tandem with the developments of punk and new wave, DIY experimentation, and electronic music. Funk, jazz-rock, and fusion rhythms became integrated into experimental rock music. The first wave of 1980s experimental rock groups had few precedents for their sound. Later in the decade, avant-rock pursued a psychedelic aesthetic that differed from the self-consciousness, during the 1990s, a loose movement known as post-rock became the dominant form of experimental rock. As of the 2010s, the experimental rock has fallen to indiscriminate use, with virtually every modern rock band being categorized under prefixes such as post-, kraut-, psych-. Although experimentation had always existed in music, it wasnt 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, self-taught rock musicians in the middle and late 1960s drew from the work of composers such as John Cage, Karlheinz Stockhausen, and Luciano Berio. In addition, The Quietus Ben Graham described duos the Silver Apples, calling attention to the very recordedness of the album. This would also be reflected in contemporary experimental rock LPs, such as the Beach Boys Pet Sounds and Smile, the Whos The Who Sell Out and Tommy. The Velvet Underground were a group in experimental rock, according to Rosenberg. Peppers inspired a new consideration for experimental rock as commercially viable music, as progressive rock developed, experimental rock acquired notoriety alongside art rock. By 1970, most of the musicians which had been at the forefront of rock had incapacitated themselves. Groups such as Can, Faust, Neu, the ideas of minimalism and composers such as Stockhausen would be particularly influential. During this era, funk, jazz-rock, and fusion rhythms became integrated into experimental rock music, some groups who were categorized as post-punk considered themselves part of an experimental rock trajectory, with This Heat as one of the prominent players. Anderson claims that the no wave scene represented New York’s last stylistically cohesive avant-rock movement, steve Redhead noted the resuscitation of New Yorks avant-rock scene, including artists such as Sonic Youth and John Zorn, in the 1980s. In the late 1980s, avant-rock pursued a frazzled, psychedelia-tinged, blissed out aesthetic that differed from the self-consciousness, the UK shoegaze scene was seen by some as a continuation of an experimental rock tradition
6.
New York City
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The City of New York, often called New York City or simply New York, is the most populous city in the United States. With an estimated 2015 population of 8,550,405 distributed over an area of about 302.6 square miles. Located at the tip of the state of New York. Home to the headquarters of the United Nations, New York is an important center for international diplomacy and has described as the cultural and financial capital of the world. Situated on one of the worlds largest natural harbors, New York City consists of five boroughs, the five boroughs – Brooklyn, Queens, Manhattan, The Bronx, and Staten Island – were consolidated into a single city in 1898. In 2013, the MSA produced a gross metropolitan product of nearly US$1.39 trillion, in 2012, the CSA generated a GMP of over US$1.55 trillion. NYCs MSA and CSA GDP are higher than all but 11 and 12 countries, New York City traces its origin to its 1624 founding in Lower Manhattan as a trading post by colonists of the Dutch Republic and was named New Amsterdam in 1626. The city and its surroundings came under English control in 1664 and were renamed New York after King Charles II of England granted the lands to his brother, New York served as the capital of the United States from 1785 until 1790. It has been the countrys largest city since 1790, the Statue of Liberty greeted millions of immigrants as they came to the Americas by ship in the late 19th and early 20th centuries and is a symbol of the United States and its democracy. In the 21st century, New York has emerged as a node of creativity and entrepreneurship, social tolerance. Several sources have ranked New York the most photographed city in the world, the names of many of the citys bridges, tapered skyscrapers, and parks are known around the world. Manhattans real estate market is among the most expensive in the world, Manhattans Chinatown incorporates the highest concentration of Chinese people in the Western Hemisphere, with multiple signature Chinatowns developing across the city. Providing continuous 24/7 service, the New York City Subway is one of the most extensive metro systems worldwide, with 472 stations in operation. Over 120 colleges and universities are located in New York City, including Columbia University, New York University, and Rockefeller University, during the Wisconsinan glaciation, the New York City region was situated at the edge of a large ice sheet over 1,000 feet in depth. The ice sheet scraped away large amounts of soil, leaving the bedrock that serves as the foundation for much of New York City today. Later on, movement of the ice sheet would contribute to the separation of what are now Long Island and Staten Island. The first documented visit by a European was in 1524 by Giovanni da Verrazzano, a Florentine explorer in the service of the French crown and he claimed the area for France and named it Nouvelle Angoulême. Heavy ice kept him from further exploration, and he returned to Spain in August and he proceeded to sail up what the Dutch would name the North River, named first by Hudson as the Mauritius after Maurice, Prince of Orange
7.
Noise rock
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Noise rock is a diverse style of experimental rock that spun off from punk rock in the 1980s. Some groups are tied to song structures, such as Sonic Youth, while the music had been around for some time, the term noise rock was coined in the 1980s to describe an offshoot of punk groups with an increasingly abrasive approach. An archetypal album is the Velvet Undergrounds White Light/White Heat, treblezines Joe Gross credits the cult classic with being the first noise rock album, accordingly, perhaps it’s an obvious starting point, but it’s also the starting point. Sonic Youths Thurston Moore explained, Noise has taken the place of punk rock, people who play noise have no real aspirations to being part of the mainstream culture. Punk has been co-opted, and this subterranean noise music and the folk scene have replaced it. Starting in the 1990s, noise punk developed mostly as a form of party music, with the band Lightning Bolt serving as key players in the 2000s noise punk scene in Providence, Rhode Island
8.
Punk jazz
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Punk jazz describes the amalgamation of elements of the jazz tradition with the instrumentation or conceptual heritage of punk rock. John Zorns band Naked City, James Chance and the Contortions, Lounge Lizards, Universal Congress Of, patti Smith, who sought out collaboration with Ornette Coleman, and Television, also developed a sinuous, improvisatory strain of punk, indebted to jazz. In Maine, The Same Band styled itself as a punk-jazz band, in England, jazz musicians who performed with punk acts included the saxophonist Lol Coxhill, who recorded with The Damned. Punk drummers who had played in jazz bands included Jet Black of The Stranglers, the pioneering Australian punk scene of the mid-1970s was also influenced by jazz. The introduction of swing arrangements and a section on The Saints 1978 album Prehistoric Sounds, were carried over into Ed Kueppers subsequent band. Kuepper sought to create a free jazz sheets of sound aesthetic similar to that of Sun Ra, Pharoah Sanders, the early punk projects of Ollie Olsen also drew inspiration from free jazz, including Ornette Coleman. The Boys Next Door, known later as The Birthday Party, were incorporating elements of jazz during the late 1970s. The efforts of these Australian punk bands has been described as desert jazz, during the 1980s, a relaxation of orthodoxy, concurrent with post-punk, led to a new appreciation for jazz. In London, The Pop Group began to mix jazz, along with dub reggae. Nick Cave stated that The Pop Groups song We Are All Prostitutes was an influence on The Birthday Party. Their sound on Junkyard was described by one journalist as a mix of guitar, free-jazz craziness. In New York, no wave took direct inspiration from free jazz and punk. Laswell would go on to part in Last Exit and Pain Killer. James Blood Ulmer, who applied Colemans harmolodic style to guitar, bad Brains, widely acknowledged to have established the rudiments of the hardcore style, began by attempting jazz fusion. Guitarist Joe Baiza executed his own blend of punk and free jazz with Saccharine Trust and especially in Universal Congress Of, a group highly influenced by the work of Albert Ayler. Greg Ginn of Black Flag also began to incorporate elements of jazz into his guitar playing. Henry Rollins has praised free jazz, releasing albums by Matthew Shipp on his 2.13.61 label and collaborating with Charles Gayle. The Minutemen were influenced by jazz as well as folk and funk music, greek-American singer Diamanda Galás also approached jazz tradition from a thematically and stylistically transgressive perspective
9.
Industrial music
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Industrial music is a genre of experimental/electronic music that draws on transgressive or provocative sounds and themes. In general, the style is harsh and challenging, allMusic defines industrial as the most abrasive and aggressive fusion of rock and electronic music, initially a blend of avant-garde electronics experiments and punk provocation. The first industrial artists experimented with noise and aesthetically controversial topics, musically and visually, such as fascism, serial killers and their production was not limited to music, but included mail art, performance art, installation pieces and other art forms. Prominent industrial musicians include Throbbing Gristle, Monte Cazazza, SPK, Boyd Rice, Cabaret Voltaire, Musicians also cite writers such as William S. Burroughs, and philosophers such as Friedrich Nietzsche as influences. These artists expanded the genre by pushing it into noisier and more electronic directions, over time, its influence spread into and blended with styles including ambient and rock, all of which now fall under the post-industrial music label. Electro-industrial music is a subgenre that developed in the 1980s. These three distinct genres are often referred to as simply industrial, Industrial music drew from a broad range of predecessors. Industrial music was created originally by using mechanical and electric machinery, monroe also argues for Suicide as an influential contemporary of the industrial musicians. Groups cited as inspirational by the founders of industrial music include The Velvet Underground, Joy Division, genesis P-Orridge of Throbbing Gristle had a cassette library including recordings by the Master Musicians of Jajouka, Kraftwerk, Charles Manson, and William S. Burroughs. P-Orridge also credited 1960s rock such as The Doors, Pearls Before Swine, The Fugs, Captain Beefheart, chris Carter also enjoyed and found inspiration in Pink Floyd and Tangerine Dream. Boyd Rice was influenced by the music of 60s girl groups, Cabaret Voltaire cited Roxy Music as their initial forerunners, as well as Kraftwerks Trans-Europe Express. Cabaret Voltaire also recorded pieces reminiscent of musique concrète and composers such as Morton Subotnick, Nurse with Wound cited a long list of obscure free improvisation and Krautrock as recommended listening. 23 Skidoo borrowed from Fela Kuti and Miles Daviss On the Corner, many industrial groups, including Einstürzende Neubauten, took inspiration from world music. Many of the industrial musicians preferred to cite artists or thinkers, rather than musicians. Simon Reynolds declares that Being a Throbbing Gristle fan was like enrolling in a university course of cultural extremism, John Cage was an initial inspiration for Throbbing Gristle. SPK appreciated Jean Dubuffet, Marcel Duchamp, Jean Baudrillard, Michel Foucault, Walter Benjamin, Marshall McLuhan, Friedrich Nietzsche, Cabaret Voltaire took conceptual cues from Burroughs, J. G. Ballard, and Tristan Tzara. Whitehouse and Nurse with Wound dedicated some of their work to the Marquis de Sade, another influence on the industrial aesthetic was Lou Reeds Metal Machine Music. Pitchfork Music cites this album as inspiring, in part, much of the contemporary avant-garde music scene—noise, the album consists entirely of guitar feedback, anticipating industrials use of non-musical sounds
10.
New wave music
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New wave is a genre of rock music popular from the late 1970s to the mid-1980s with ties to 1970s punk rock. New wave moved away from smooth blues and rock and roll sounds to create pop music that incorporated electronic and experimental music, mod, initially new wave was similar to punk rock, before becoming a distinct genre. It subsequently engendered subgenres and fusions, including synth-pop, college rock, common characteristics of new wave music include the use of synthesizers and electronic productions, the importance of styling and the arts, as well as diversity. In the mid-1980s, differences between new wave and other genres began to blur. New wave has enjoyed resurgences since the 1990s, after a rising nostalgia for several new wave-influenced artists, subsequently, the genre influenced other genres. During the 2000s, a number of acts explored new wave and post-punk influences, such as the Strokes, Interpol, Franz Ferdinand and these acts were sometimes labeled new wave of new wave. The catch-all nature of new music has been a source of much confusion. The 1985 discography Whos New Wave in Music listed artists in over 130 separate categories, the New Rolling Stone Encyclopedia of Rock calls the term virtually meaningless, while AllMusic mentions stylistic diversity. New wave first emerged as a genre in the early 1970s, used by critics including Nick Kent and Dave Marsh to classify such New York-based groups as the Velvet Underground. It gained currency beginning in 1976 when it appeared in UK punk fanzines such as Sniffin Glue and newsagent music weeklies such as Melody Maker and New Musical Express. In November 1976 Caroline Coon used Malcolm McLarens term new wave to designate music by bands not exactly punk, the term was also used in that sense by music journalist Charles Shaar Murray in his comments about the Boomtown Rats. For a period of time in 1976 and 1977, the new wave. By the end of 1977, new wave had replaced punk as the definition for new music in the UK. As radio consultants in the United States had advised their clients that punk rock was a fad, like the filmmakers of the French new wave movement, its new artists were anti-corporate and experimental. At first, most U. S. writers exclusively used the new wave for British punk acts. Music historian Vernon Joynson claimed that new wave emerged in the UK in late 1976, in the U. S. the first new wavers were the not-so-punk acts associated with the New York club CBGB. CBGB owner Hilly Kristal, referring to the first show of the band Television at his club in March 1974, said, furthermore, many artists who would have originally been classified as punk were also termed new wave. A1977 Phonogram Records compilation album of the same name features US artists including the Dead Boys, Ramones, Talking Heads, New wave is much more closely tied to punk and came and went more quickly in the United Kingdom than in the United States
11.
Avant-garde
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The avant-garde are people or works that are experimental, radical, or unorthodox, with respect to art, culture, and society. It may be characterized by nontraditional, aesthetic innovation and initial unacceptability, the avant-garde pushes the boundaries of what is accepted as the norm or the status quo, primarily in the cultural realm. The avant-garde is considered by some to be a hallmark of modernism, the avant-garde also promotes radical social reforms. Several writers have attempted, with limited success, to map the parameters of avant-garde activity, the Italian essayist Renato Poggioli provides one of the best-known analyses of vanguardism as a cultural phenomenon in his 1962 book Teoria dellarte davanguardia. Other authors have attempted both to clarify and to extend Poggiolis study, bürgers essay also greatly influenced the work of contemporary American art-historians such as the German Benjamin H. D. Buchloh. Buchloh, in the collection of essays Neo-avantgarde and Culture Industry critically argues for an approach to these positions. Subsequent criticism theorized the limitations of these approaches, noting their circumscribed areas of analysis, including Eurocentric, chauvinist, and genre-specific definitions. The concept of avant-garde refers primarily to artists, writers, composers and thinkers whose work is opposed to cultural values. For Greenberg, these forms were therefore kitsch, phony, faked or mechanical culture, for instance, during the 1930s the advertising industry was quick to take visual mannerisms from surrealism, but this does not mean that 1930s advertising photographs are truly surreal. In this way the autonomous artistic merit so dear to the vanguardist was abandoned and sales became the measure. It has become common to describe successful rock musicians and celebrated film-makers as avant-garde, nevertheless, an incisive critique of vanguardism as against the views of mainstream society was offered by the New York critic Harold Rosenberg in the late 1960s. Since then it has been flanked by what he called avant-garde ghosts to the one side, and this has seen culture become, in his words, a profession one of whose aspects is the pretense of overthrowing it. Avant-garde in music can refer to any form of working within traditional structures while seeking to breach boundaries in some manner. The term is used loosely to describe the work of any musicians who radically depart from tradition altogether, although most avant-garde composers have been men, this is not exclusively the case. Women avant-gardists include Pauline Oliveros, Diamanda Galás, Meredith Monk, there are movements in theatre history that are characterized by their contributions to the avant-garde traditions in both the United States and Europe. Among these are Fluxus, Happenings, and Neo-Dada, Avant-garde – Wikipedia book Barron, Stephanie, and Maurice Tuchman. The Avant-garde in Russia, 1910–1930, New Perspectives, Los Angeles County Museum of Art Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D. C. Los Angeles, CA, Los Angeles County Museum of Art ISBN 0-87587-095-3, Cambridge, MA, ISBN 0-671-20422-X Berg, Hubert van den, and Walter Fähnders
12.
Rock and roll
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While elements of rock and roll can be heard in blues records from the 1920s and in country records of the 1930s, the genre did not acquire its name until the 1950s. For the purpose of differentiation, this deals with the first definition. The beat is essentially a blues rhythm with an accentuated backbeat, classic rock and roll is usually played with one or two electric guitars, a double bass or string bass or an electric bass guitar, and a drum kit. Beyond simply a style, rock and roll, as seen in movies and on television, influenced lifestyles, fashion, attitudes. In addition, rock and roll may have contributed to the civil rights movement because both African-American and white American teens enjoyed the music and it went on to spawn various genres, often without the initially characteristic backbeat, that are now more commonly called simply rock music or rock. The term rock and roll now has at least two different meanings, both in common usage, the American Heritage Dictionary and the Merriam-Webster Dictionary both define rock and roll as synonymous with rock music. Encyclopædia Britannica, on the hand, regards it as the music that originated in the mid-1950s. In 1934, the song Rock and Roll by the Boswell Sisters appeared in the film Transatlantic Merry-Go-Round, in 1942, Billboard magazine columnist Maurie Orodenker started to use the term rock-and-roll to describe upbeat recordings such as Rock Me by Sister Rosetta Tharpe. By 1943, the Rock and Roll Inn in South Merchantville, in 1951, Cleveland, Ohio disc jockey Alan Freed began playing this music style while popularizing the phrase to describe it. The origins of rock and roll have been debated by commentators. The migration of former slaves and their descendants to major urban centers such as St. The immediate roots of rock and roll lay in the rhythm and blues, then called race music, particularly significant influences were jazz, blues, gospel, country, and folk. The 1940s saw the use of blaring horns, shouted lyrics. In the same period, particularly on the West Coast and in the Midwest, similarly, country boogie and Chicago electric blues supplied many of the elements that would be seen as characteristic of rock and roll. Rock and roll arrived at a time of technological change, soon after the development of the electric guitar, amplifier and microphone. It was the realization that relatively affluent white teenagers were listening to music that led to the development of what was to be defined as rock. Because the development of rock and roll was a process, no single record can be identified as unambiguously the first rock. Other artists with rock and roll hits included Chuck Berry, Bo Diddley, Little Richard, Jerry Lee Lewis
13.
Consonance and dissonance
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In music, consonance and dissonance form a structural dichotomy in which the terms define each other by mutual exclusion, a consonance is what is not dissonant, and reciprocally. However, a finer consideration shows that the forms a gradation. Consonance is associated with sweetness, pleasantness and acceptability and dissonance with harshness, unpleasantness, as Hindemith stressed, The two concepts have never been completely explained, and for a thousand years the definitions have varied. The opposition can be made in different contexts, In acoustics or psychophysiology, in modern times, it usually is based on the perception of harmonic partials of the sounds considered, to such an extent that the distinction really holds only in the case of harmonic sounds. In music, even if the opposition often is founded on the preceding, objective distinction, it often is subjective, conventional, cultural. A major second would be considered dissonant if it occurred in a J. S, Bach prelude from the 1700s, however, the same interval may sound consonant in the context of a Claude Debussy piece from the early 1900s or an atonal contemporary piece. For this reason, consonance and dissonance have been considered particularly in the case of Western polyphonic music, most historical definitions of consonance and dissonance since about the 16th century have stressed their pleasant/unpleasant, or agreeable/disagreeable character. In addition, the oppositions pleasant/unpleasant or agreeable/disagreeable evidence a confusion between the concepts of dissonance and of noise and these include, Frequency ratios, with ratios of lower simple numbers being more consonant than those that are higher. Many of these definitions do not require exact integer tunings, only approximation, coincidence of partials, with consonance being a greater coincidence of partials. By this definition, consonance is dependent not only on the width of the interval between two notes, but also on the spectral distribution and thus sound quality of the notes. Thus, a note and the note one octave higher are highly consonant because the partials of the note are also partials of the lower note. Although Helmholtzs work focused almost exclusively on harmonic timbres and also the tunings, subsequent work has generalized his findings to embrace non-harmonic tunings, fusion, perception of unity or tonal fusion between two notes. A stable tone combination is a consonance, consonances are points of arrival, rest, an unstable tone combination is a dissonance, its tension demands an onward motion to a stable chord. Thus dissonant chords are active, traditionally they have been considered harsh and have expressed pain, grief, in Western music, dissonance is the quality of sounds that seems unstable and has an aural need to resolve to a stable consonance. Both consonance and dissonance are words applied to harmony, chords, and intervals and, by extension, to melody, tonality, and even rhythm and metre. Nevertheless, the ideas of dissonance, consonance, and resolution exist in some form in all musical traditions that have a concept of melody, harmony. Dissonance being the complement of consonance it may be defined, as above, as non-coincidence of partials, lack of fusion or pattern matching, or as complexity. For many musicians and composers, the ideas of dissonance
14.
Atonality
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Atonality in its broadest sense is music that lacks a tonal center, or key. The repertory of atonal music is characterized by the occurrence of pitches in novel combinations, erialism arose partly as a means of organizing more coherently the relations used in the preserial free atonal music. Thus many useful and crucial insights about even strictly serial music depend only on such basic atonal theory, the term atonality was coined in 1907 by Joseph Marx in a scholarly study of tonality, which was later expanded into his doctoral thesis. Their music arose from what was described as the crisis of tonality between the nineteenth century and early twentieth century in classical music. The connections between harmonies were uncertain even on the lowest—chord-to-chord—level, on higher levels, long-range harmonic relationships and implications became so tenuous that they hardly functioned at all. At best, the probabilities of the style system had become obscure, at worst. The first phase, known as free atonality or free chromaticism, Works of this period include the opera Wozzeck by Alban Berg and Pierrot Lunaire by Schoenberg. This period included Bergs Lulu and Lyric Suite, Schoenbergs Piano Concerto, his oratorio Die Jakobsleiter and numerous smaller pieces, however, actual analysis of Weberns twelve-tone works has so far failed to demonstrate the truth of this assertion. One analyst concluded, following an examination of the Piano Variations. 27, that while the texture of this music may superficially resemble that of serial music. None of the patterns within separate nonpitch characteristics makes audible sense in itself, the point is that these characteristics are still playing their traditional role of differentiation. Twelve-tone technique, combined with the parametrization of Olivier Messiaen, would be taken as the inspiration for serialism, Atonality emerged as a pejorative term to condemn music in which chords were organized seemingly with no apparent coherence. In Nazi Germany, atonal music was attacked as Bolshevik and labeled as degenerate along with music produced by enemies of the Nazi regime. Many composers had their works banned by the regime, not to be played until after its collapse after World War II, after Schoenbergs death, Igor Stravinsky used the twelve-tone technique. The twelve-tone technique was preceded by Schoenbergs freely atonal pieces of 1908–1923, the twelve-tone technique was also preceded by nondodecaphonic serial composition used independently in the works of Alexander Scriabin, Igor Stravinsky, Béla Bartók, Carl Ruggles, and others. Additionally George Perle explains that, the free atonality that preceded dodecaphony precludes by definition the possibility of self-consistent, in other words, reverse the rules of the common practice period so that what was not allowed is required and what was required is not allowed. This is what was done by Charles Seeger in his explanation of dissonant counterpoint, kostka and Payne list four procedures as operational in the atonal music of Schoenberg, all of which may be taken as negative rules. Equal-interval chords are often of indeterminate root, mixed-interval chords are often best characterized by their interval content, Perle also points out that structural coherence is most often achieved through operations on intervallic cells
15.
Nihilism
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Nihilism is a philosophical doctrine that suggests the lack of belief in one or more reputedly meaningful aspects of life. Most commonly, nihilism is presented in the form of existential nihilism, moral nihilists assert that there is no inherent morality, and that accepted moral values are abstractly contrived. Nihilism may also take epistemological, ontological, or metaphysical forms, meaning respectively that, in some aspect, knowledge is not possible, movements such as Futurism and deconstruction, among others, have been identified by commentators as nihilistic. Nihilism has many definitions, and thus can describe multiple arguably independent philosophical positions, extreme metaphysical nihilism is commonly defined as the belief that nothing exists as a correspondent component of the self-efficient world. The American Heritage Medical Dictionary defines one form of nihilism as a form of skepticism that denies all existence. A similar skepticism concerning the world can be found in solipsism. However, despite the fact that both deny the certainty of objects true existence, the nihilist would deny the existence of self whereas the solipsist would affirm it, both these positions are considered forms of anti-realism. Epistemological nihilism is a form of skepticism in which all knowledge is accepted as being possibly untrue or as being unable to be confirmed true and this interpretation of existence must be based on resolution. Therefore, there is no way to surmise or measure the validity of mereological nihilism. Thus, the resolution with which the ant views the world it exists within is an important determining factor in how the ant experiences this within the world feeling. Existential nihilism is the belief that life has no meaning or value. With respect to the universe, existential nihilism posits that a human or even the entire human species is insignificant, without purpose. The meaninglessness of life is explored in the philosophical school of existentialism. For example, a moral nihilist would say that killing someone, in this way a moral nihilist believes that all moral claims are void of any truth value. An alternative scholarly perspective is that moral nihilism is a morality in itself, cooper writes, In the widest sense of the word morality, moral nihilism is a morality. An influential analysis of political nihilism is presented by Leo Strauss, the Russian Nihilist movement was a Russian trend in the 1860s that rejected all authority. Their name derives from the Latin nihil, meaning nothing, after the assassination of Tsar Alexander II in 1881, the Nihilists gained a reputation throughout Europe as proponents of the use of violence for political change. The Nihilists expressed anger at what they described as the nature of the Eastern Orthodox Church and of the tsarist monarchy
16.
Disco
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Disco is a genre of dance music containing elements of funk, soul, pop, and salsa. It achieved popularity during the mid-1970s to the early 1980s, Disco can be seen as a reaction against both the domination of rock music and the stigmatization of dance music by the counterculture during this period. It was popular with men and women, from many different backgrounds. The disco sound often has several components, a beat, an eighth note or 16th note hi-hat pattern with an open hi-hat on the off-beat. In most disco tracks, string sections, horns, electric piano, Orchestral instruments such as the flute are often used for solo melodies, and lead guitar is less frequently used in disco than in rock. Many disco songs use electronic synthesizers, particularly in the late 1970s, well-known 1970s disco performers included Donna Summer, the Bee Gees, Boney M. KC and the Sunshine Band, The Trammps, Sylvester, Village People, Gloria Gaynor and Chic. While performers and singers garnered much attention, record producers working behind the scenes played an important role in developing the disco sound. Many non-disco artists recorded songs at the height of discos popularity. Disco was the last mass popular movement that was driven by the baby boom generation. Disco was a phenomenon, but its popularity drastically declined in the United States in 1980. Disco Demolition Night, an anti-disco protest held in Chicago on 12 July 1979, is thought of as a factor in discos fast. By the late 1970s most major U. S. cities had thriving disco club scenes, Studio 54, a venue popular amongst celebrities, is a well-known example of a disco club. Popular dances included the Hustle, a suggestive dance. Discotheque-goers often wore expensive, extravagant and sexy fashions, Disco clubs were also associated with promiscuity. Disco was a key influence on the 1980s electronic dance style called house. The term is derived from discothèque, by the early 1940s, the terms disc jockey and DJ were in use to describe radio presenters. During WWII, because of restrictions set in place by the Nazi occupiers, eventually more than one of these jazz venues had the proper name discothèque. By 1959, the term was used in Paris to describe any of these type of nightclubs and that year a young reporter named Klaus Quirini started to select and introduce records at the Scotch-Club in Aachen, West Germany
17.
Hip hop
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Hip hop is a subculture and art movement developed by African-Americans and Latinos from the inner-city South Bronx neighbourhood in New York City in the late 1970s. Jamaican immigrant DJ Kool Herc also played a key role in developing hip hop music, at 1520 Sedgwick Avenue, Herc mixed samples of existing records and DJed percussion breaks, mixing this music with his own Jamaican-style toasting to rev up the crowd and dancers. These youths mixed these influences with existing musical styles associated with African Americans prior to the 1970s, Hip hop music became popular outside of the African-American community in the late 1980s, with the mainstream commercial success of gangsta rap. Critic Greg Tate described the hip hop movement as the only avant-garde still around, Hip hop culture has spread to both urban and suburban communities throughout the United States and subsequently the world. These elements were adapted and developed considerably, particularly as the art spread to new continents and merged with local styles in the 1990s. Sampling older culture and re-using it in a new context or a new format is called flipping in hip hop culture. Hip hop music follows in the footsteps of earlier African-American-rooted musical genres such as blues, jazz, rag-time, funk, cowboy later worked the hip hop cadence into his stage performance. The group frequently performed with artists who would refer to this new type of music by calling them hip hoppers. The name was meant as a sign of disrespect, but soon came to identify this new music. The song Rappers Delight, by The Sugarhill Gang, released in 1979, begins with the phrase I said a hip, hop the hippie the hippie to the hip hip hop, and you dont stop. Lovebug Starski, a Bronx DJ who put out a single called The Positive Life in 1981, and DJ Hollywood then began using the term when referring to this new disco rap music. Bill Alder, an independent consultant, once said, There was hardly ever a moment when rap music was underground, one of the very first so-called rap records, was a monster hit. Hip hop pioneer and South Bronx community leader Afrika Bambaataa also credits Lovebug Starski as the first to use the hip hop. Bambaataa, former leader of the Black Spades gang, also did much to popularize the term. In the 1970s, an urban movement known as Hip Hop began to develop in the South Bronx in New York City. It focused on emceeing over breakbeats, house parties and neighbourhood block party events, Hip hop music has been a powerful medium for protesting the impact of legal institutions on minorities, particularly police and prisons. Jamaican-born DJ Clive Kool Herc Cindy Campbell pioneered the use of DJing percussion breaks in hip hop music, beginning at Hercs home in a high-rise apartment at 1520 Sedgwick Avenue, the movement later spread across the entire borough. Herc created the blueprint for hip hop music and culture by building upon the Jamaican tradition of impromptu toasting, on August 11,1973 DJ Kool Herc was the DJ at his sisters back-to-school party
18.
World music
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The term was popularized in the 1980s as a marketing category for non-Western traditional music. Globalization has facilitated the expansion of world musics audiences and scope and it has grown to include hybrid subgenres such as world fusion, global fusion, ethnic fusion, and worldbeat. To enhance the process of learning, he invited more than a dozen visiting performers from Africa and Asia, the term became current in the 1980s as a marketing/classificatory device in the media and the music industry. There are several conflicting definitions for world music, one is that it consists of all the music in the world, though such a broad definition renders the term virtually meaningless. The term also is taken as a classification of music that combines Western popular music styles with one of many genres of music that are also described as folk music or ethnic music. However, world music is not exclusively traditional folk music and it may include cutting edge pop music styles as well. Succinctly, it can be described as music from out there. It is a nebulous term with an increasing number of genres that fall under the umbrella of world music to capture musical trends of combined ethnic style and texture. As a result, definitions of the genre have become particularly varied, similar terminology between distinctly different sub-categories under primary music genres, such as world, rock and pop can be as ambiguous and confusing to industry moguls as it is to consumers. In a report on the 2014 globalFEST National Public Radios Anastasia Tsioulcas said Even within the music community. Whats more, I believe that in peoples imaginations, world music means a kind of fairly awful, gloppy, hippy-ish. Its a problematic, horrible term that satisfies absolutely no one, the Breton musician Alan Stivell pioneered the connection between traditional folk music, modern rock music and world music with his 1972 album Renaissance of the Celtic Harp. At this time, Stivells contemporary, Welsh singer-songwriter Meic Stevens popularised Welsh folk music, more recently, other Welsh-language bands such as Calan and 9 Bach have achieved international acclaim. The broad category of music includes isolated forms of ethnic music from diverse geographical regions. These dissimilar strains of music are commonly categorized together by virtue of their indigenous roots. World fusion / Worldbeat / Ethnic fusion / Global fusion can also blend specific indigenous sounds with more blatant elements of Western pop. Depending on style and context, world music can sometimes share the music genre. Good examples are Tibetan bowls, Tuvan throat singing, Gregorian chant or Native American flute music, World music blended with new-age music is a sound, loosely classified as the hybrid genre, ethnic fusion
19.
Blues rock
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Blues rock is a fusion genre combining elements of blues and rock. It is mostly an electric ensemble-style music with similar to electric blues. From its beginnings in the early- to mid-1960s, blues rock has gone through several stylistic shifts and along the way inspired hard rock, Southern rock, Blues rock continues to be an influence, with performances and recordings by several popular artists. Blues rock started with rock musicians in the United Kingdom and the United States performing American blues songs. They typically recreated electric Chicago-style blues songs, such as those by Muddy Waters, Jimmy Reed, Howlin Wolf, and Albert King, at faster tempos and with a more aggressive sound common to rock. In the UK, the style was popularized by such as the Rolling Stones, the Yardbirds, and the Animals. In the US, Lonnie Mack, the Paul Butterfield Blues Band, in the US, Johnny Winter, the Allman Brothers Band, and ZZ Top represented a hard rock trend. Although around this time, AllMusic commented, the lines between rock and hard rock were barely visible, there was a return to more blues-influenced styles. Groups, such as the Jon Spencer Blues Explosion and the White Stripes, brought an edgier, more diverse style into the 2000s, Blues rock bands borrow the idea of an instrumental combo and loud amplification from rock & roll. It is also played at a fast tempo, again distinguishing it from the blues. The core blues rock sound is created by the guitar, bass guitar. Often bands also included a harmonica, usually called a harp, the electric guitar is usually amplified through a tube guitar amplifier or using an overdrive effect. While 1950s-era blues bands would still use the upright bass, the blues rock bands of the 1960s used the electric bass. Keyboard instruments, such as the piano and Hammond organ, are occasionally used. As with the guitar, the sound of the Hammond organ is typically amplified with a tube amplifier. Vocals also typically play a key role, although the vocals may be equal in importance or even subordinate to the guitar playing. As well, a number of rock pieces are instrumental-only. Blues-rock pieces often follow typical blues structures, such as blues, sixteen-bar blues
20.
Chuck Berry
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Charles Edward Anderson Chuck Berry was an American guitarist, singer and songwriter and one of the pioneers of rock and roll music. With songs such as Maybellene, Roll Over Beethoven, Rock and Roll Music, Goode, Berry refined and developed rhythm and blues into the major elements that made rock and roll distinctive. Writing lyrics that focused on teen life and consumerism, and developing a style that included guitar solos and showmanship. Born into a middle-class African-American family in St. Louis, Missouri, Berry had an interest in music from an early age, while still a high school student he was convicted of armed robbery and was sent to a reformatory, where he was held from 1944 to 1947. After his release, Berry settled into married life and worked at an assembly plant. By early 1953, influenced by the guitar riffs and showmanship techniques of the blues musician T-Bone Walker and his break came when he traveled to Chicago in May 1955 and met Muddy Waters, who suggested he contact Leonard Chess, of Chess Records. With Chess, he recorded Maybellene—Berrys adaptation of the country song Ida Red—which sold over a million copies, reaching number one on Billboard magazines rhythm and blues chart. By the end of the 1950s, Berry was a star, with several hit records and film appearances. He had also established his own St. Louis nightclub, Berrys Club Bandstand, but in January 1962, he was sentenced to three years in prison for offenses under the Mann Act—he had transported a 14-year-old girl across state lines. After his release in 1963, Berry had several hits, including No Particular Place to Go, You Never Can Tell. His insistence on being paid in cash led in 1979 to a jail sentence and community service. Berry is included in several of Rolling Stone magazines greatest of all time lists, the Rock and Roll Hall of Fames 500 Songs That Shaped Rock and Roll includes three of Berrys, Johnny B. Goode, Maybellene, and Rock and Roll Music, Berrys Johnny B. Goode is the only rock-and-roll song included on the Voyager Golden Record. Born in St. Louis, Missouri, Berry was the child in a family of six. He grew up in the north St. Louis neighborhood known as the Ville and his father, Henry William Berry, was a contractor and deacon of a nearby Baptist church, his mother, Martha Bell, was a certified public school principal. His upbringing allowed him to pursue his interest in music from an early age, Berrys account in his autobiography is that his car broke down and he flagged down a passing car and stole it at gunpoint with a nonfunctional pistol. He was convicted and sent to the Intermediate Reformatory for Young Men at Algoa, near Jefferson City, Missouri, the singing group became competent enough that the authorities allowed it to perform outside the detention facility. Berry was released from the reformatory on his 21st birthday in 1947, on October 28,1948, Berry married Themetta Toddy Suggs, who gave birth to Darlin Ingrid Berry on October 3,1950
21.
Jazz
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Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in Blues and Ragtime. Since the 1920s jazz age, jazz has become recognized as a form of musical expression. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms, Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Although the foundation of jazz is deeply rooted within the Black experience of the United States, different cultures have contributed their own experience, intellectuals around the world have hailed jazz as one of Americas original art forms. As jazz spread around the world, it drew on different national, regional, and local musical cultures, New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging musicians music which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, 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 rhythms, electric instruments. In the early 1980s, a form of jazz fusion called smooth jazz became successful. Other styles and genres abound in the 2000s, such as Latin, the question of the origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a term dating back to 1860 meaning pep. The use of the word in a context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a 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. That was dirty, and if you knew what it was, the American Dialect Society named it the Word of the Twentieth Century. Jazz has proved to be difficult to define, since it encompasses such a wide range of music spanning a period of over 100 years. Attempts have been made to define jazz from the perspective of other musical traditions, in the opinion of Robert Christgau, most of us would say that inventing meaning while letting loose is the essence and promise of jazz. As Duke Ellington, one of jazzs most famous figures, said, although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, improvisation is consistently regarded as being one of its key elements
22.
Blues
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Blues is a genre and musical form originated by African Americans in the Deep South of the United States around the end of the 19th century. The genre developed from roots in African musical traditions, African-American work songs, spirituals, Blues incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads. Blue notes, usually thirds or fifths flattened in pitch, are also a part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect known as the groove, Blues as a genre is also characterized by its lyrics, bass lines, and instrumentation. Early traditional blues verses consisted of a single line repeated four times, Early blues frequently took the form of a loose narrative, often relating the troubles experienced in African-American society. Many elements, such as the format and the use of blue notes. The origins of the blues are closely related to the religious music of the Afro-American community. The first appearance of the blues is often dated to after the ending of slavery and, later and it is associated with the newly acquired freedom of the former slaves. Chroniclers began to report about blues music at the dawn of the 20th century, the first publication of blues sheet music was in 1908. Blues has since evolved from unaccompanied vocal music and oral traditions of slaves into a variety of styles and subgenres. Blues subgenres include country blues, such as Delta blues and Piedmont blues, as well as urban blues styles such as Chicago blues, World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience, especially white listeners. In the 1960s and 1970s, a form called blues rock evolved. The term blues may have come from blue devils, meaning melancholy and sadness, the phrase blue devils may also have been derived from Britain in the 1600s, when the term referred to the intense visual hallucinations that can accompany severe alcohol withdrawal. As time went on, the phrase lost the reference to devils, by the 1800s in the United States, the term blues was associated with drinking alcohol, a meaning which survives in the phrase blue law, which prohibits the sale of alcohol on Sunday. Though the use of the phrase in African-American music may be older, it has been attested to in print since 1912, in lyrics the phrase is often used to describe a depressed mood. The lyrics of traditional blues verses probably often consisted of a single line repeated four times. Two of the first published songs, Dallas Blues and Saint Louis Blues, were 12-bar blues with the AAB lyric structure. Handy wrote that he adopted this convention to avoid the monotony of lines repeated three times, the lines are often sung following a pattern closer to rhythmic talk than to a melody
23.
The Village Voice
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The Village Voice is an American news and culture paper, known for being the countrys first alternative newsweekly. Founded in 1955 by Dan Wolf, Ed Fancher and Norman Mailer, since its founding, The Village Voice has received three Pulitzer Prizes, the National Press Foundation Award and the George Polk Award. Among news sources, The Village Voice is known for its combination of news reporting and arts & culture coverage. The Village Voice has hosted a variety of writers and artists, including writer Ezra Pound, cartoonist Lynda Barry. In addition to daily coverage through its website and a print edition that circulates in New York City. In the 1960s the offices were located at Sheridan Square, then, from the 70s through 1980, at 11th Street and University Place, in 1991 they moved to Cooper Square in the East Village, and in 2013, to the Financial District. John Wilcock wrote a column every week for the papers first ten years, another regular from that period was the cartoonist Kin Platt, who did weekly theatrical caricatures. Other prominent regulars have included Peter Schjeldahl, Ellen Willis, Tom Carson, Wayne Barrett, the Voice has published investigations of New York City politics, as well as reporting on national politics, with arts, culture, music, dance, film, and theater reviews. Writers for the Voice have received three Pulitzer Prizes, in 1981,1986 and 2000, almost since its inception the paper has recognized alternative theater in New York through its Obie Awards. The papers Pazz & Jop music poll, started by Robert Christgau in the early 1970s, is released annually, in 1999, film critic J. Hoberman and film section editor Dennis Lim began a similar Village Voice Film Poll for the year in film. In 2001 the paper sponsored its first music festival, Siren Festival, in 2011, the event moved to the lower tip of Manhattan and re-christened the 4knots Music Festival, a reference to the speed of the East Rivers current. Today, the Voice is known for its support for the civil rights of gays. However, early in its history, the newspaper had a reputation as having an anti-homosexuality slant, while reporting on the Stonewall riots of 1969, the newspaper referred to the riots as The Great Faggot Rebellion. Two reporters, Smith and Truscott, both used the words faggot and dyke in their articles about the riots, the newspaper changed their policy after the GLF petitioned the newspaper to do so. Over time, the Voice has changed its stance, and in 1982, as a testament to the Voices popularity in New York City, the paper is mentioned in the musical Rent during the song La Vie Boheme. The line states To riding your bike midday past the three suits, to fruits, to no absolutes, to Absolut, to choice, to The Village Voice. Seventeen alternative weeklies around the United States are owned by the Voices parent company Village Voice Media, in 2005, the Phoenix alternative weekly chain New Times Media purchased the company and took the Village Voice Media name. After The Village Voice was acquired by New Times Media in 2005, the Voice was then managed by two journalists from Phoenix, Arizona
24.
Melody
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A melody, also tune, voice, or line, is a linear succession of musical tones that the listener perceives as a single entity. In its most literal sense, a melody is a combination of pitch and rhythm, while more figuratively and it may be considered the foreground to the background accompaniment. A line or part need not be a foreground melody, melodies often consist of one or more musical phrases or motifs, and are usually repeated throughout a composition in various forms. Melodies may also be described by their melodic motion or the pitches or the intervals between pitches, pitch range, tension and release, continuity and coherence, cadence, the true goal of music—its proper enterprise—is melody. All the parts of harmony have as their purpose only beautiful melody. Therefore, the question of which is the significant, melody or harmony, is futile. Beyond doubt, the means is subordinate to the end, given the many and varied elements and styles of melody many extant explanations confine us to specific stylistic models, and they are too exclusive. Paul Narveson claimed in 1984 that more than three-quarters of melodic topics had not been explored thoroughly, melodies in the 20th century utilized a greater variety of pitch resources than ha been the custom in any other historical period of Western music. While the diatonic scale was used, the chromatic scale became widely employed. Composers also allotted a structural role to the dimensions that previously had been almost exclusively reserved for pitch. Kliewer states, The essential elements of any melody are duration, pitch, and quality, texture, for example, Jazz musicians use the term lead or head to refer to the main melody, which is used as a starting point for improvisation. Rock music, melodic music, and other forms of popular music, indian classical music relies heavily on melody and rhythm, and not so much on harmony, as the music contains no chord changes. Balinese gamelan music often uses complicated variations and alterations of a melody played simultaneously. In western classical music, composers often introduce an initial melody, or theme, classical music often has several melodic layers, called polyphony, such as those in a fugue, a type of counterpoint. Often, melodies are constructed from motifs or short melodic fragments, richard Wagner popularized the concept of a leitmotif, a motif or melody associated with a certain idea, person or place. Appropriation Hocket Parsons code, a notation used to identify a piece of music through melodic motion—the motion of the pitch up. Harvard Dictionary of Music, 2nd ed. p. 517–19, the Art of Melody, p. xix–xxx. A Textbook of Melody, A course in functional melodic analysis, a History Of Melody, Barrie and Rockliff, London
25.
La Monte Young
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La Monte Thornton Young is an American avant-garde composer, musician, and artist generally recognized as the first minimalist composer. His works are cited as examples of post-war experimental and contemporary music. Youngs work has called into question the nature and definition of music, despite having released very little recorded material throughout his career—much of it currently out of print—Vulture described him as the most influential living composer today. The Observer wrote that his work has had a profound effect on the last half-century of music. His evolving composition The Well-Tuned Piano, first conceived in 1964, has characterized as one of the great achievements of 20th-century music by The Guardian. Young and his family moved several times in childhood, as his father searched for work before settling in Los Angeles and he was raised as a member of The Church of Jesus Christ of Latter-day Saints. He graduated from John Marshall High School and studied at Los Angeles City College, in the jazz milieu of Los Angeles, Young played with notable musicians including Ornette Coleman, Don Cherry, and Billy Higgins. He undertook further studies at the University of California, Los Angeles and his compositions during this period were influenced by Anton Webern, Gregorian chant, Indian classical music, Gagaku, and Indonesian gamelan music. A number of Youngs early works use the technique, which he studied under Leonard Stein at Los Angeles City College. Young also studied composition with Robert Stevenson at UCLA and with Seymore Shifrin at UC Berkeley, in 1958, he developed the Trio for Strings, originally scored for violin, viola, and cello, which would presage his work in proceeding years. The Trio for Strings has been described as a point for minimalism. When Young visited Darmstadt in 1959, he encountered the music, there he also met Cages collaborator, pianist David Tudor, who subsequently gave premières of some of Youngs works. At Tudors suggestion, Young engaged in a correspondence with Cage, within a few months Young was presenting some of Cages music on the West Coast. In turn, Cage and Tudor included some of Youngs works in performances throughout the U. S. by this time Young had taken a turn toward the conceptual, using principles of indeterminacy in his compositions and incorporating non-traditional sounds, noises, and actions. When Young moved to New York in 1960, he had established a reputation as an enfant terrible of the avant-garde. He initially developed a relationship with Fluxus founder George Maciunas. Yoko Ono, for example, hosted a series of concerts curated by Young at her loft, Youngs works of the time, scored as short haiku-like texts, though conceptual and extreme, were not meant to be merely provocative but, rather, dream-like. His Compositions 1960 includes a number of unusual actions, some of them are un-performable, but each deliberately examines a certain presupposition about the nature of music and art and carries ideas to an extreme
26.
Downtown music
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Downtown music is a subdivision of American music, closely related to experimental music. Prior to this, most classical music performances in New York City occurred uptown around the areas that the Juilliard School at Lincoln Center, brooklyn Academy of Music has also shown a predilection for composers from the Downtown scene. Another generalization one could point to is an embrace of the attitudes of John Cage, though this is not universal. Some Downtown music, particularly that of Philip Glass, Steve Reich, John Zorn, more than a continuous scene, Downtown music has resembled a battlefield on which, from time to time, various groups have reigned ascendant. In chronological order of dominance, the movements have been prominent Downtown, Conceptualism – starting with the Fluxus artists. This scene coexisted with minimalism, and due to the dearth of funding opportunities for Downtown composers, art rock or experimental rock – this is a term with several different meanings, depending on ones milieu, but two are most relevant to Downtown music,1. Originally, music made by artists, presumably musical amateurs, often tending toward surreal theater, as in the early performances of Glenn Branca and Jeffrey Lohn. Subsequent to Rhys Chathams influence, a transferral of minimalism to rock instruments, resulting in static pieces played on electric guitars, groups like DNA, Sonic Youth, Live Skull and the Swans arose from this movement. The Velvet Underground, in Andy Warhols Exploding Plastic Inevitable, combined avant-garde, minimalist, drone and rock music with visual arts and avant-garde theater. Free improvisation – originating with Terry Riley and Pauline Oliveros, this took over Downtown in the early 1980s, under the leadership of John Zorn. Postminimalism – a style of music based on a beat and diatonic harmony, less linear or obvious than minimalism. Postminimalism was more a national movement than anything specific to Manhattan. Totalism – another style emerging from minimalism but taking it in the direction of rhythmic complexity, postminimalism and totalism were both bolstered by the emergence, starting in 1987, of the Bang on a Can festival, curated by Julia Wolfe, David Lang, and Michael Gordon. The history of sound installations should be taken into account, along with the recent advent of DJ-ing as an art form. One could say that, if, when a composer gets played in New York City, its likely to be at a Downtown space, then he or she can be called a Downtown composer, regardless of primary residence. In this respect, as a descriptive, and without reference to any particular scene, experimental. Due to its obvious and inconvenient applicability to many types of music, use of new music as describing a specific type of contemporary composition has fallen off in recent years
27.
Suicide (band)
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Suicide was an American musical duo, intermittently active between 1970 and 2016, composed of vocalist Alan Vega and instrumentalist Martin Rev. The groups pioneering music made use of minimalist electronic instrumentation and primitive drum machines and it was among the first groups to use the phrase punk music in an advertisement for a concert in 1970. Though never widely popular among the public, Suicide have been recognized as among the most influential acts of their era. Their debut album Suicide was described by Entertainment Weekly as a landmark of electronic music, while AllMusic stated that it provided the blueprints for post-punk, synth pop, and industrial rock. Rolling Stone called them an influence on the industrial dance, noise, techno, ambient. Suicide took its name from the title of a Ghost Rider comic book titled Satan Suicide, revs simple keyboard riffs were accompanied by primitive drum machines, providing a pulsing, minimalistic, electronic backdrop for Vegas murmuring and nervy vocals. It was the first band to use the term punk to describe itself, some of the bands earliest posters use the terms punk music and punk music mass. Suicide emerged alongside the early punk scene in New York. Many of the early shows were at the Mercer Arts Center, alongside bands such as the New York Dolls and Eric Emerson. David Johansen once played harmonica with Suicide in a show there. Vega and Rev both dressed like arty street thugs, and Vega was notorious for brandishing a length of drive chain onstage. Vega once stated We started getting booed as soon as we came onstage, just from the way we looked they started giving us hell already. This sort of confrontation was inspired by Vegas witnessing of an Iggy and the Stooges concert at the New York State Pavilion in August 1969. After the collapse of the Mercer Arts Center in 1973, Suicide played at Maxs Kansas City and CBGB and their first album was reissued with bonus material, including 23 Minutes Over Brussels, a recording of a Suicide concert that deteriorated into a riot. The bands first album, Suicide, was released independently on Red Star Records, although initial press reviews were divided, media recognition has changed over the years. One critic writes, Che, Ghost Rider—these eerie, sturdy, proto-punk anthems rank among the most visionary, of note is the ten-minute Frankie Teardrop, which tells the story of a poverty-stricken 20-year-old factory worker pushed to the edge. Critic Emerson Dameron writes that the song is one of the most terrifying, riveting, Nick Hornby in his book 31 Songs described Frankie Teardrop as something you would listen to only once. Among others, Steve Albini, Panthére, Gang Gang Dance, The Jesus and Mary Chain, The Sisters of Mercy, She Wants Revenge, Henry Rollins, Joy Division/New Order, Soft Cell, Nick Cave, D. A. F. E. M
28.
Ornette Coleman
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Randolph Denard Ornette Coleman was an American jazz saxophonist, violinist, trumpeter, and composer. He was one of the innovators of the free jazz movement of the 1960s. His Broadway Blues has become a standard and has cited as a key work in the free jazz movement. He was awarded a MacArthur Fellowship in 1994 and his album Sound Grammar received the 2007 Pulitzer Prize for music. Coleman was born in 1930 in Fort Worth, Texas, where he was also raised and he attended I. M. Terrell High School, where he participated in band until he was dismissed for improvising during The Washington Post. He began performing R&B and bebop initially on tenor saxophone, and started a band, the Jam Jivers, with some fellow students including Prince Lasha and Charles Moffett. Seeking a way to work his way out of his town, he took a job in 1949 with a Silas Green from New Orleans traveling show and then with touring rhythm. After a show in Baton Rouge, Louisiana, he was assaulted and he switched to alto saxophone, which remained his primary instrument, first playing it in New Orleans after the Baton Rouge incident. He then joined the band of Pee Wee Crayton and travelled with them to Los Angeles and he worked at various jobs, including as an elevator operator, while continuing to pursue his musical career. From the beginning of his career, Colemans music and playing were in many ways unorthodox and his raw, highly vocalized sound and penchant for playing in the cracks of the scale led many Los Angeles jazz musicians to regard Colemans playing as out-of-tune. He sometimes had difficulty finding like-minded musicians with whom to perform, nevertheless, pianist Paul Bley was an early supporter and musical collaborator. In 1958, Coleman led his first recording session for Contemporary, the session also featured trumpeter Don Cherry, drummer Billy Higgins, bassist Don Payne and Walter Norris on piano. 1959 was a productive year for Coleman. His last release on Contemporary was Tomorrow Is the Question, a quartet album, with Shelly Manne on drums, and excluding the piano, which he would not use again until the 1990s. Next Coleman brought double bassist Charlie Haden – one of a handful of his most important collaborators – into a group with Cherry. He signed a contract with Atlantic Records, who released The Shape of Jazz to Come in 1959. While definitely – if somewhat loosely – blues-based and often quite melodic, some musicians and critics saw Coleman as an iconoclast, others, including conductor Leonard Bernstein and composer Virgil Thomson regarded him as a genius and an innovator. Jazzwise listed it #3 on their list of the 100 best jazz albums of all time, Colemans quartet received a lengthy – and sometimes controversial – engagement at New York Citys famed Five Spot jazz club
29.
ZE Records
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ZE Records was originally a New York-based record label, started in 1978 by Michael Zilkha and Michel Esteban. It was reestablished by Esteban in 2003, Michael Zilkha is a British-born Oxford graduate of Iraqi descent, the son of Selim Zilkha, former owner of Mothercare, a major UK retail company, and the stepson of Cabinet member Lord Lever. In the mid-1970s, Zilkha worked in the New York publishing industry and was a contributor to the Village Voice, the basement shop quickly became the rehearsal place for Parisian new wave bands. Between 1975 and 1976, Esteban published Rock News, which covered the birth of the rock movement in London, New York. In 1977 he published Patti Smiths books Witt and The Night, in 1977, Esteban signed French new wave band Marie et les Garçons, and asked John Cale - who had been introduced to him by Patti Smith - to produce them. Cale produced the single Re Bop in New York, and when he decided to start a label with Jane Friedman he asked Esteban to assist. Much of the produced by the company later became categorised as either Mutant Disco – a title used for one of ZEs early compilation albums - or No Wave. Chris Blackwell - a friend of Estebans then-girlfriend, fashion editor Anna Wintour - gave ZE worldwide exposure through the labels licence deal with Island Records, many of its releases were first played at the Paradise Garage club in New York, starting point of Garage music. ZE developed an independent and surrealist aesthetic identity and it was described by John Peel in Melody Maker in 1980 as the best independent record label in the world, and by Paul Tickell in The Face in 1982 as the world¹s most fashionable label. The labels success and influence peaked around 1981-82, Esteban left New York in 1982, and ZE Records closed down in 1984. Esteban continued to work with Lizzy Mercier Descloux, and with Lio and he restarted the ZE label in 2003 in France to record new artists, including Glasgow band Michael Dracula, as well as to reissue old material. He lives today in Salvador da Bahia, Brazil, where he is working on music, contemporary arts, meanwhile, Michael Zilkha joined his family in working in the energy business, and is currently co-owner of a major renewable energy company based in Houston, Texas. List of record labels Official site Japanese fan site Dusted magazine review of reissues
30.
Dub music
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Dub is a genre of music that grew out of reggae in the 1960s, and is commonly considered a subgenre, though it has developed to extend beyond the scope of reggae. Other techniques include dynamically adding extensive echo, reverb, panoramic delay, Dub was pioneered by Osbourne King Tubby Ruddock, Lee Scratch Perry, Errol Thompson and others in the late 1960s. Augustus Pablo is credited with bringing the melodica to dub, and is also among the pioneers and creators of the genre, similar experiments with recordings at the mixing desk outside of the dancehall environment were also done by producers Clive Chin and Herman Chin Loy. These producers, especially Ruddock and Perry, looked upon the mixing console as an instrument, manipulating tracks to come up with something new and different. Dub has influenced many genres of music, including rock, pop, hip hop, disco, and later house, techno, ambient, electronic dance music, the verb dub is defined as making a copy of one recording to another. The term dub had multiple meanings in Jamaica around the time of the musics origin, in concert, the order dub this one. Meant put an emphasis on bass and drums, drummer Sly Dunbar points to a similar interpretation, relating the term dubwise to using only drums and bass. Another possible source was the term dub plate, as suggested by Augustus Pablo, the word duppy also relates to dub through Jamaicas history of intra-racial terror, violence, and murder that is often overlooked in favor of Jamaican ideologies of racial solidarity. The ghosts of these victims, or duppies, are thought to be captured best within the dub instrumentals, a version is a record with the vocals removed, the alternative cut of a song made for the DJ to toast over. These versions were used as the basis of new songs by rerecording them with new elements, the instrumental tracks are typically drenched in sound effects such as echo, reverberation, with instruments and vocals dropping in and out of the mix. Another hallmark of the dub sound is the prominent use of bass guitar, the music sometimes features other noises, such as birds singing, thunder and lightning, water flowing, and producers shouting instructions at the musicians. It can be augmented by live DJs. There is usually an organic feel to the music, even though the effects are electronically created. Often these tracks are used for toasters rapping heavily rhymed and alliterative lyrics, in forms of sound system based reggae, the performer using a microphone is referred to as the DJ or deejay, and the person choosing the music and operating the turntables is called the selector. A major reason for producing multiple versions was economic, a producer could use a recording he owned to produce numerous versions from a single studio session. A version was also an opportunity for a producer or remix engineer to experiment, Dub music and toasting introduced a new era of creativity in reggae music. From their beginning, toasting and dub music developed together and influenced each other, in 1968, Kingston, Jamaica sound system operator Rudolph Ruddy Redwood went to Duke Reids Treasure Isle studio to cut a one-off dub plate of The Paragons hit On The Beach. Engineer Byron Smith left the track out by accident, but Redwood kept the result
31.
Lydia Lunch
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Lydia Lunch is an American singer, poet, writer, actress and self-empowerment speaker whose career was spawned by the New York no wave scene. The Boston Phoenix named Lunch one of the 10 most influential performers of the 1980s and her work typically features provocative and confrontational noise music delivery and has maintained an anti-commercial ethic operating independently of major labels and distributors. Lunchs moniker was given to her by Willy DeVille because she stole food for her friends, Lunch was born in Rochester, New York. She moved to New York City at the age of 16 and eventually moved into a household of artists. Soon Willy DeVille gave her the name Lunch because she often stole lunches for the Dead Boys, after befriending Alan Vega and Martin Rev at Maxs Kansas City, she founded the short-lived but influential no wave band Teenage Jesus and the Jerks, with James Chance. Both Teenage Jesus and the Jerks and the Contortions, Chances subsequent band, played on the no wave compilation No New York, Lunch later appeared on two songs on James White and the Blacks album, Off-White. In the mid-1980s, she formed her own recording and publishing company called Widowspeak Productions, on which she continues to release her own material, from music to spoken word. Two albums published by Lunchs label were released in 2013, Collision Course & Trust The Witch, by Big Sexy Noise, Lunch released her studio album Smoke in the Shadows in November 2004, through Atavistic Records and Breakin Beats, after a six-year break from music. Nels Cline, the lead guitarist of rock band Wilco, was featured on the album. Smoke in the Shadows was met with reviews by Allmusic, PopMatters. In 2009 Lunch formed the band Big Sexy Noise, the group features Lunch on vocals, James Johnston, Terry Edwards, and Ian White. Johnston, White and Edwards are members of the British band Gallon Drunk. A six-track eponymous EP was released on June 1,2009, through Sartorial Records, and included a cover of Lou Reeds song Kill Your Sons, as well as The Gospel Singer, a song co-written with Gordon. The debut, self-titled album, Big Sexy Noise, was released in 2010, for both albums, Lunch and her band completed tours throughout Europe. In 2010, The Jeffrey Lee Pierce Sessions Project launched We Are Only Riders, the album features interpretations of Pierces work by friends, collaborators, and admirers, including Lunch. Lunch also contributed to the album from the project, The Journey is Long. Although the Pierce Sessions Projects third and final album, The Task Has Overwhelmed Us, was due for release in late 2012, the schedule was changed after the release of the second installment. Glitterhouse Records, the producing the collection, instead released a third album titled Axles & Sockets in May 2014
32.
Summer of Love
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Although hippies also gathered in many other places in the U. S. Canada and Europe, San Francisco was at time the most publicized location for hippie fashions. Hippies, sometimes called flower children, were an eclectic group, many were suspicious of the government, rejected consumerist values, and generally opposed the Vietnam War. A few were interested in politics, others were concerned more with art or religious, the Diggers established a Free Store, and a Free Clinic where medical treatment was provided. The prelude to the Summer of Love was a known as the Human Be-In at Golden Gate Park on January 14,1967. James Rado and Gerome Ragni were in attendance, allegedly helping to inspire their musical drama Hair. Rado recalled, There was so much excitement in the streets and the parks and the hippie areas and we hung out with them and went to their Be-Ins let our hair grow. It was very important historically, and if we hadnt written it and you could read about it and see film clips, but youd never experience it. We thought, This is happening in the streets, and we wanted to bring it to the stage, also at this event, Timothy Leary voiced his phrase, turn on, tune in, drop out. This phrase became the chisel for shaping the entire hippie counterculture and these ideas included communal living, political decentralization, and dropping out. The term dropping out became popular among high school and college students, who would often abandon their education for a summer of sex, drugs. The gathering of approximately 30,000 at the Human Be-In helped publicize hippie fashions, the term Summer of Love originated with the formation of the Council for the Summer of Love during the spring of 1967 as a response to the convergence of young people on the Haight-Ashbury district. The Council also assisted the Free Clinic and organized housing, food, sanitation, music and arts, along with maintaining coordination with local churches and other social groups. The increasing numbers of traveling to the Haight-Ashbury district alarmed the San Francisco authorities. Adam Kneeman, a resident of the Haight-Ashbury, recalls that the police did little to help the hordes of newcomers. By spring, some Haight-Ashbury residents responded by forming the Council of the Summer of Love, the mainstream medias coverage of hippie life in the Haight-Ashbury drew the attention of youth from all over America. Hunter S. Thompson termed the district Hashbury in The New York Times Magazine, the event was also reported by the countercultures own media, particularly the San Francisco Oracle, the pass-around readership of which is thought to have exceeded a half-million people that summer. At Monterey, approximately 30,000 people gathered for the first day of the music festival, musician John Phillips of the band The Mamas & the Papas wrote the song San Francisco for his friend Scott McKenzie
33.
Charles Manson
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Charles Milles Manson, 136–7 is an American criminal and former cult leader who led what became known as the Manson Family, a quasi-commune that arose in California in the late 1960s. Mansons followers committed a series of nine murders at four locations over a period of five weeks in the middle of 1969. In 1971 he was guilty of conspiracy to commit the murders of seven people – most notably of the actress Sharon Tate – all of which were carried out by members of the group at his instruction. He is currently serving nine concurrent life sentences at Corcoran State Prison in Corcoran, Manson believed in what he called Helter Skelter, a term he took from the Beatles song of the same name. Manson believed Helter Skelter to be an impending race war. He believed the murders would help precipitate that war, from the beginning of his notoriety, a pop culture arose around him in which he ultimately became an emblem of insanity, violence and the macabre. At the time the Family began to form, Manson was a former convict. Before the murders, he was a singer-songwriter on the fringe of the Los Angeles music industry, chiefly through an association with Dennis Wilson, drummer. After Manson was charged with the crimes of which he was convicted, recordings of songs written. Various musicians have covered some of his songs, born to an unmarried 16-year-old named Kathleen Maddox, in the General Hospital, in Cincinnati, Ohio, Manson was first named no name Maddox. Within weeks, he was called Charles Milles Maddox. 136–7 For a period after his birth and his biological father appears to have been Colonel Walker Scott against whom Kathleen Maddox filed a paternity suit that resulted in an agreed judgment in 1937. In the biography Manson in His Own Words, Colonel Scott is said to have been a young drugstore cowboy, a transient laborer working on a nearby dam project. It is not clear what nearby means, the description is in a paragraph that indicates Kathleen Maddox gave birth to Manson while living in Cincinnati, after she had run away from her own home, in Ashland, Kentucky. There is much about Mansons early life that is in dispute because of the stories he has offered to interviewers. Mansons mother was allegedly a heavy drinker. 136–7 According to Manson, she sold her son for a pitcher of beer to a childless waitress. In 1947, Kathleen Maddox tried to have her son placed in a foster home, the court placed Manson in the Gibault School for Boys in Terre Haute, Indiana. He escaped after one day, but was recaptured and placed in Boys Town, four days after his arrival there, he escaped with another boy. The pair committed two armed robberies on their way to the home of the boys uncle
34.
Vietnam War
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It was the second of the Indochina Wars and was officially fought between North Vietnam and the government of South Vietnam. The war is considered a Cold War-era proxy war. As the war continued, the actions of the Viet Cong decreased as the role. U. S. and South Vietnamese forces relied on air superiority and overwhelming firepower to conduct search and destroy operations, involving ground forces, artillery, in the course of the war, the U. S. conducted a large-scale strategic bombing campaign against North Vietnam. The North Vietnamese government and the Viet Cong were fighting to reunify Vietnam and they viewed the conflict as a colonial war and a continuation of the First Indochina War against forces from France and later on the United States. The U. S. government viewed its involvement in the war as a way to prevent a communist takeover of South Vietnam and this was part the domino theory of a wider containment policy, with the stated aim of stopping the spread of communism. Beginning in 1950, American military advisors arrived in what was then French Indochina, U. S. involvement escalated in the early 1960s, with troop levels tripling in 1961 and again in 1962. Regular U. S. combat units were deployed beginning in 1965, despite the Paris Peace Accord, which was signed by all parties in January 1973, the fighting continued. In the U. S. and the Western world, a large anti-Vietnam War movement developed as part of a larger counterculture, the war changed the dynamics between the Eastern and Western Blocs, and altered North–South relations. Direct U. S. military involvement ended on 15 August 1973, the capture of Saigon by the North Vietnamese Army in April 1975 marked the end of the war, and North and South Vietnam were reunified the following year. The war exacted a huge human cost in terms of fatalities, estimates of the number of Vietnamese soldiers and civilians killed vary from 966,000 to 3.8 million. Some 240, 000–300,000 Cambodians,20, 000–62,000 Laotians, and 58,220 U. S. service members died in the conflict. Various names have applied to the conflict. Vietnam War is the most commonly used name in English and it has also been called the Second Indochina War and the Vietnam Conflict. As there have been several conflicts in Indochina, this conflict is known by the names of its primary protagonists to distinguish it from others. In Vietnamese, the war is known as Kháng chiến chống Mỹ. It is also called Chiến tranh Việt Nam, France began its conquest of Indochina in the late 1850s, and completed pacification by 1893. The 1884 Treaty of Huế formed the basis for French colonial rule in Vietnam for the seven decades
35.
French New Wave
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The New Wave is a blanket term coined by critics for a group of French filmmakers of the late 1950s and 1960s. New Wave is an example of European art cinema, using portable equipment and requiring little or no set up time, the New Wave way of filmmaking presented a documentary style. The films exhibited direct sounds on film stock that required less light, filming techniques included fragmented, discontinuous editing, and long takes. The combination of realism, subjective realism, and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not answered in the end. This is why I would like to call this new age of cinema the age of the camera-stylo, Cahiers co-founder and theorist André Bazin was a prominent source of influence for the movement. By means of criticism and editorialization, they laid the groundwork for a set of concepts, revolutionary at the time, Cahiers du cinéma writers critiqued the classic Tradition of Quality style of French Cinema. Notable among these was François Truffaut in his manifesto-like article Une Certaine tendance du cinéma français, Bazin and Henri Langlois, founder and curator of the Cinémathèque Française, were the dual father figures of the movement. These men of cinema valued the expression of the personal vision in both the films style and script. The auteur theory holds that the director is the author of his movies, the beginning of the New Wave was to some extent an exercise by the Cahiers writers in applying this philosophy to the world by directing movies themselves. Apart from the role that films by Jean Rouch have played in the movement, part of their technique was to portray characters not readily labeled as protagonists in the classic sense of audience identification. The auteurs of this era owe their popularity to the support they received with their youthful audience, most of these directors were born in the 1930s and grew up in Paris, relating to how their viewers might be experiencing life. With high concentration in fashion, urban life, and all-night parties. The French New Wave was popular roughly between 1958 and 1964, although New Wave work existed as late as 1973, the socio-economic forces at play shortly after World War II strongly influenced the movement. Politically and financially drained, France tended to back on the old popular pre-war traditions. One such tradition was straight narrative cinema, specifically classical French film, the movement has its roots in rebellion against the reliance on past forms, criticizing in particular the way these forms could force the audience to submit to a dictatorial plot-line. They were especially against the French cinema of quality, the type of high-minded, literary period films held in esteem at French film festivals, New Wave critics and directors studied the work of western classics and applied new avant garde stylistic direction. The low-budget approach helped filmmakers get at the art form and find what was, to them. French New Wave is influenced by Italian Neorealism and classical Hollywood cinema, many of these directors, such as Edmond Agabra and Henri Zaphiratos, were not as successful or enduring at the well-known members of the New Wave and today would not be considered part of it
36.
Claude Chabrol
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Claude Henri Jean Chabrol was a French film director and a member of the French New Wave group of filmmakers who first came to prominence at the end of the 1950s. Chabrols career began with Le Beau Serge, inspired by Hitchcocks Shadow of a Doubt, thrillers became something of a trademark for Chabrol, with an approach characterized by a distanced objectivity. This is especially apparent in Les Biches, La Femme infidèle, and Le Boucher – all featuring Stéphane Audran, sometimes characterized as a mainstream New Wave director, Chabrol remained prolific and popular throughout his half-century career. In 1978, he cast Isabelle Huppert as the lead in Violette Nozière, on the strength of that effort, the pair went on to others including the successful Madame Bovary and La Cérémonie. Some of his films become almost private jokes, made to amuse himself. Claude Henri Jean Chabrol was born on 24 June 1930 to Yves Chabrol and Madeleine Delarbre in Sardent, France, Chabrol said that he always thought of himself as a country person, and never as a Parisian. Both Chabrols father and grandfather had been pharmacists, and Chabrol was expected to follow in the family business, but as a child, Chabrol was seized by the demon of cinema and ran a film club in a barn in Sardent between the ages of 12 and 14. At this time, he developed his passion for the genre, detective stories. After World War II, Chabrol moved to Paris to study pharmacology and literature at the Sorbonne, Some biographies also state that he briefly studied law and political science at the École Libre des Sciences Politiques. After graduating, Chabrol served his military service in the French Medical Corps, serving in Germany. Chabrol has claimed that while in the army he worked as a film projectionist, after he was discharged from the army, he joined his friends as a staff writer for Cahiers du Cinéma, who were challenging then-contemporary French films and championing the concept of Auteur theory. He also wrote for Arts magazine during this period, among Chabrols most famous articles were Little Themes, a study of genre films, and The Evolution of Detective Films. In 1956 he helped finance Jacques Rivettes short film Le coup du berger, unlike all of his future New Wave contemporaries, Chabrol never made short film nor did he work as an assistant on other directors work before making his feature film debut. In 1957 Chabrol and Eric Rohmer co-wrote Hitchcock, a study of the films made by director Alfred Hitchcock through the film The Wrong Man. Chabrol had interviewed Hitchcock with François Truffaut in 1954 on the set of To Catch a Thief, years later, when Chabrol and Truffaut had both become successful directors themselves, Hitchcock told Truffaut that he always thought of them when he saw ice cubes in a glass of whiskey. The most prolific of the major New Wave directors, Chabrol averaged almost one film a year from 1958 until his death. In the mid-sixties it was difficult for Chabrol to obtain financing for films so he made a series of commercial potboilers and spy spoofs, Chabrol had married Agnès Goute in 1952 and in 1957 his wife inherited a large sum of money from relatives. In December of that year Chabrol used the money to make his directorial debut with Le Beau Serge. Chabrol spent three months shooting in his hometown of Sardent using a crew and little known actors
37.
Punk subculture
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The punk subculture, which centres on punk rock music, includes a diverse array of ideologies, fashions and forms of expression, including visual art, dance, literature and film. The subculture is largely characterized by anti-establishment views and the promotion of individual freedom, the punk subculture is centered on a loud, aggressive genre of rock music called punk rock. It is usually played by small bands consisting of a vocalist, Punk politics cover the entire political spectrum. Punk-related ideologies are mostly concerned with freedom and anti-establishment views. Common punk viewpoints include anti-authoritarianism, a DIY ethic, non-conformity, direct action, there is a wide range of punk fashion, in terms of clothing, hairstyles, cosmetics, tattoos, jewelery and body modification. Early punk fashion adapted everyday objects for aesthetic effect, such as T-shirts, leather jackets, hardcore punk fans adopted a dressed-down style of T-shirts, jeans, combat boots or sneakers and crewcut-style haircuts. Women in the hardcore scene typically wore masculine clothing, one part of punk was creating explicitly outward identities of sexuality. Everything that was supposed to be hidden was brought to the front. Punk aesthetics determine the type of art punks enjoy, usually underground, minimalistic, iconoclastic. Punk artwork graces album covers, flyers for concerts, and punk zines, Punk has generated a considerable amount of poetry and prose. Punk has its own press in the form of punk zines, which feature news, gossip, cultural criticism. Some zines take the form of perzines, important punk zines include Maximum RocknRoll, Punk Planet, No Cure, Cometbus, Flipside, and Search & Destroy. Many punk-themed films have made, as have punk rock music videos. Some punk films intercut stock footage with news clips and amateur videos of concerts, Punks can come from any and all walks of life and economic classes, and punk culture has aspects of gender equalist ideology. The punk subculture emerged in the United Kingdom, Australia, exactly which region originated punk has long been a major controversy within the movement. Various musical, philosophical, political, literary and artistic movements influenced the subculture. In the late 1970s, the subculture began to diversify, which led to the proliferation of such as new wave, post-punk,2 Tone, pop punk, hardcore punk, no wave, street punk. Hardcore punk, street punk and Oi. sought to do away with the frivolities introduced in the years of the original punk movement
38.
Noise (music)
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Noise music is a category of music that is characterised by the expressive use of noise within a musical context. This type of music tends to challenge the distinction that is made in conventional musical practices between musical and non-musical sound, Noise music includes a wide range of musical styles and sound-based creative practices that feature noise as a primary aspect. Some of the music can feature acoustically or electronically generated noise, there may also be emphasis on high volume levels and lengthy, continuous pieces. More generally noise music may contain aspects such as improvisation, extended technique, cacophony, in many instances, conventional use of melody, harmony, rhythm or pulse is dispensed with. Contemporary noise music is associated with extreme volume and distortion. In the domain of experimental rock, examples include Jimi Hendrixs use of feedback, Lou Reeds Metal Machine Music, genres such as industrial, industrial techno, lo-fi music, black metal, sludge metal, and glitch music employ noise-based materials. According to Danish noise and music theorist Torben Sangild, one definition of noise in music is not possible. According to Murray Schafer there are four types of noise, unwanted noise, unmusical sound, any sound. Definitions regarding what is considered noise, relative to music, have changed over time, ben Watson, in his article Noise as Permanent Revolution, points out that Ludwig van Beethovens Grosse Fuge sounded like noise to his audience at the time. Indeed, Beethovens publishers persuaded him to remove it from its setting as the last movement of a string quartet. He did so, replacing it with a sparkling Allegro and he defines noise at different times as intrusive, unwanted, lacking skill, not being appropriate and a threatening emptiness. He traces these trends starting with 18th-century concert hall music, Hegarty contends that it is John Cages composition 433, in which an audience sits through four and a half minutes of silence, that represents the beginning of noise music proper. Writing about Japanese noise music, Hegarty suggests that it is not a genre, but it is also a genre that is multiple, Japanese noise music can come in all styles, referring to all other genres. But crucially asks the question of genre—what does it mean to be categorized, in Noise, The Political Economy of Music, Jacques Attali explores the relationship between noise music and the future of society. He indicates that noise in music is a predictor of social change, like much of modern and contemporary art, noise music takes characteristics of the perceived negative traits of noise mentioned below and uses them in aesthetic and imaginative ways. In common use, the word noise means unwanted sound or noise pollution, Noise can block, distort, or change the meaning of a message in both human and electronic communication. White noise is a signal with a flat power spectral density. In other words, the signal contains equal power within a fixed bandwidth at any center frequency, White noise is considered analogous to white light which contains all frequencies
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James Chance and the Contortions
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James Chance and the Contortions is a musical group led by saxophonist and vocalist James Chance. They were one of the groups of the New York no wave music scene. Their first recording, credited solely as Contortions, was on the 1978 compilation, No New York, the following year, two albums were issued almost simultaneously on ZE Records, Buy and Off White under the moniker James White and the Blacks. The same musicians recorded both records, though none are credited on the album cover, in 2016, Chance released his first single with his original Contortions band in nearly 30 years, entitled Melt Yourself Down. Original Contortions guitarist Pat Place went on to found the group Bush Tetras, georges Scott played with Lydia Lunch and Michael Paumgarten in 8-Eyed Spy. Shortly thereafter, guitarist Jody Harris formed Raybeats with Don Christensen, George Scott III, keyboardist Adele Bertei formed the Bloods, after which she released a solo record, Little Lives, in 1988. In 1979 George Scott toured with John Cale, as documented on the album Sabotage Live, Scott died of a heroin overdose on August 5,1980. Some of the members of James White and the Blacks - notably Joseph Bowie, later separated from Chance and formed the band Defunkt. On November 30,2010 James Chance, Pat Place, Don Christensen, Jody Harris, Adele Bertei, and Robert Aaron reunited as James Chance, Robert Aaron wasnt an original member, but frequently collaborated with Chance
40.
Teenage Jesus and the Jerks
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Teenage Jesus and the Jerks were an influential American no wave band, based in New York City, who formed part of the citys no wave movement. Lydia Lunch met saxophonist James Chance at CBGB and moved into his two-room apartment and she started to combine her poetry with acoustic guitar and was spurred to start a band after seeing one of Mars earlier performances. Lunch found guitarist Reck at CBGB and recruited him as a drummer, later moving him to bass and they formed a band called the Scabs and briefly added Jody Harris to their lineup. Lunch knew Bradley Field through Miriam Linna and convinced him to join in early 1977, the band put together a ten-minute set of very short songs. It released only a handful of singles, featured on the seminal No New York LP, a showcase of the early no wave scene, compiled and produced by Brian Eno, the group left behind little more than a dozen complete recorded songs. Most of the titles were collected on the eighteen-minute career retrospective compilation Everything. However, other versions of several songs exist, alongside a few live recordings. The group disbanded at the end of 1979, curiously, the no wave groups staged their revolt against rock tradition by using the standard rock format of guitars, bass and drums. It was as if they felt the electronic route to making post-rock noise was too easy. Instead, they used rocks tools against itself, which is why no wave music irresistibly invites metaphors of dismemberment, desecration, defiling rocks corpse. Lydia Lunch has voiced her disdain for rock, claiming in Rip It Up. I dont think that no wave had anything to do with it, who wanted chords, all these progressions that had been used to death in rock. To play slide guitar Id use a knife, a beer bottle, to this day I still dont know a single chord on the guitar. Rip It Up and Start Again, Postpunk 1978–1984, teenage Jesus and the Jerks discography, forum, and marketplace at Discogs
