Nu metal is a subgenre of alternative metal that combines elements of heavy metal music with elements of other music genres such as hip hop, alternative rock, funk and grunge. Nu metal bands have drawn elements and influences from a variety of musical styles, including multiple genres of heavy metal. Nu metal features guitar solos. Many nu metal guitarists use seven-string guitars. DJs are featured in nu metal to provide instrumentation such as sampling, turntable scratching and electronic backgrounds. Vocal styles in nu metal include singing, rapping and growling. Nu metal is one of the key genres of the new wave of American heavy metal. Nu metal became popular in the late 1990s with bands and artists such as Korn, Limp Bizkit, Kid Rock all releasing albums that sold millions of copies. Nu metal's popularity continued during the early 2000s, with bands such as Papa Roach, P. O. D. all selling multi-platinum albums, came to a peak with Linkin Park's diamond-selling album Hybrid Theory. However, by the mid-2000s, the oversaturation of bands combined with the under-performance of a number of high-profile releases led to nu metal's decline, leading to the rise of metalcore and many nu metal bands disbanding or abandoning their established sound in favor of other genres.

During the 2010s, there was a nu metal revival. Bands like Staind, Linkin Park and Papa Roach went back to making nu metal songs after abandoning the genre. Bands like Of Mice & Men, Issues and My Ticket Home would combine nu metal with metalcore or deathcore. In the 2010s, nu metal bands like From Ashes to New and Ded emerged. Nu metal received criticism from a lot of fans of heavy metal and nu metal was labelled with pejorative words like "mallcore"; some nu metal musicians did not view their own music as heavy metal and some nu metal musicians rejected the nu metal label. Nu metal is known as nü-metal and aggro-metal, it is a subgenre of alternative metal. MTV states that the early nu metal group Korn "arrived in 1993 into the burgeoning alternative metal scene, which would morph into nü-metal the way college rock became alternative rock." Stereogum has claimed that nu metal was a "weird outgrowth of the Lollapalooza-era alt-metal scene". Nu metal merges elements of heavy metal music with elements of other music genres such as grunge, hip hop, alternative rock.

Nu metal bands have been influenced by and have used elements of a variety of musical genres, including electronic music, gothic rock, hardcore punk, punk rock, dance music, new wave, post-punk, symphonic rock and synth-pop. Nu metal bands are influenced by and use elements of genres of heavy metal music such as death metal, rap metal, groove metal, funk metal, thrash metal; some nu metal bands, such as Static-X and Dope, made nu metal music with elements of industrial metal. In contrast with other heavy metal subgenres, nu metal tends to use the same structure of verses and bridges as those in pop music. Nu metal is syncopated and is based on guitar riffs. Mid-song bridges and a general lack of guitar solos contrasts it with other genres of heavy metal. Kory Grow of Revolver wrote, "... N its efforts to tune down and simplify riffs, nu-metal drove a stake through the heart of the guitar solo". Another contrast with other heavy metal genres is nu metal's emphasis on rhythm, rather than on complexity or mood its rhythm sounds like that of groove metal.

The wah pedal is featured in nu metal music. Nu metal guitar riffs are similar to those of death metal. Nu metal bassists and drummers are influenced by funk and hip hop adding to nu metal's rhythmic nature. Blast beats, which are common in heavy metal subgenres such as black metal and death metal, are rare in nu metal. Nu metal's similarities with many heavy metal subgenres include its use of common time, distorted guitars, power chords and note structures revolving around Dorian, Aeolian or Phrygian modes. While loud and distorted electric guitars are a core feature of all metal genres, nu metal guitarists took the sounds of "violence and destruction" to new levels with their overdriven guitar tone, which music journalists Kitts and Tolinski compared to the "...sound a Mack truck being crushed by a collapsing skyscraper."Some nu metal bands use seven-string guitars that are down-tuned, rather than traditional six-string guitars. Some bass guitarists use five-string and six-string instruments.

Bass guitar-playing in nu metal features an emphasis on funk elements. In nu metal music, DJs are sometimes featured to provide instrumentation such as sampling, turntable scratching and electronic backgrounds. Nu metal tends to have hip hop rhythms. Vocal styles used in nu metal music include singing, rapping and growling. Vocals in nu metal are rhythmic and influenced by hip hop. While some nu metal bands, such as Limp Bizkit and Linkin Park have rapping in their music, other nu metal bands, such as Godsmack and Staind, do not. Nu metal bands feature hip hop musicians as guests in their songs; the hip hop musician Nas was featured on Korn's song "Play Me", on the band's album Take a Look in the Mirror. Limp Bizkit has recorded with multiple hip hop musicians including Metho

The 2011–12 season was Burton Albion's third consecutive season in League Two. Last updated 17 September 2012. Source: Includes staff registered with club on 5 May 2012. Following Burton's victory over Northampton Town on 26 December 2011, the club went 14 consecutive games without a victory; this prompted chairman Ben Robinson to sack Paul Peschisolido on 17 March 2012. Gary Rowett and Kevin Poole were put in temporary charge. Rowett was subsequently put in charge of the club on a permanent basis on 11 May 2012 in time for the new season; as of 5 May 2012. Source: Burton Albion, Soccerbase Ordered by position squad number. Appearances and goals include those in competitive matches in The Football League, The Football Conference, FA Cup, League Cup, Football League Trophy, FA Trophy and Conference League Cup. 1Player/Goalkeeping coach. Oldest registered player in The Football League.2Club Captain.3Undisclosed fee reported by the Burton Mail to be £20K.4Appearances include previous spell with club in 2010–11 Supplier: TAG LeisureSponsor: Mr. Cropper Last updated: 17 September 2012.

Source: Burton Albion Club Shop Burton's away kit was retained from the previous season, as was the Mr. Cropper sponsorship brand. TAG Leisure continue to manufacture the club's training attire; the new home kit was unveiled on 15 July before the pre-season friendly with Derby County. Following 16 years of plain yellow shirts, it marks a return to the traditional black and yellow stripes, worn by the club from its foundation through to the mid-1990s; the kit will be used for all club competitions and will remain in use until the end of the 2012–13 league season. Updated to match played 13 September 2012Source: Burton Albion F. C. Source: Burton AlbionLast updated 18 May 2012

Einstein on the Beach is an opera in four acts, composed by Philip Glass and directed by theatrical producer Robert Wilson who collaborated with Glass on the work's libretto. The opera eschews traditional narrative in favor of a formalist approach based on structured spaces laid out by Wilson in a series of storyboards; the music was written "in the spring and fall of 1975". Glass recounts the collaborative process: "I put on the piano and composed each section like a portrait of the drawing before me; the score was begun in the spring of 1975 and completed by the following November, those drawings were before me all the time." The premiere took place on July 1976, at the Avignon Festival in France. The opera contains writings by Samuel M. Johnson and Lucinda Childs, it is Glass's first and longest opera score, taking five hours in full performance without intermission. The work became the first in Glass's thematically related Portrait Trilogy, along with Satyagraha, Akhnaten; these three operas were described by Glass as portraits of people whose personal vision transformed the thinking of their times through the power of ideas rather than by military force.

Glass and Wilson first met to discuss the prospects of a collaborative work, decided on an opera of between four and five hours in length based around a historical persona. Wilson suggested Charlie Chaplin or Adolf Hitler, whom Glass outright rejected, while Glass proposed Mahatma Gandhi. Albert Einstein was the eventual compromise; the title appears to reference the post-apocalyptic novel On the Beach by Nevil Shute. Einstein on the Beach premiered on July 25, 1976, at the Avignon Festival in France, performed by the Philip Glass Ensemble and presented by the Byrd Hoffmann Foundation; the opera was staged that summer in Hamburg, Belgrade, Venice and Rotterdam. The Byrd Hoffman Foundation in cooperation With the Metropolitan Own. Metropolitan Opera House held two performances in November 1976. Lucinda Childs, Robert Wilson pupil Sheryl S. Sutton and Samuel M. Johnson filled the primary characters; the Brooklyn Academy of Music next mounted the opera in 1984. A one-hour documentary about this production appeared on public television, titled Einstein on the Beach: The Changing Image of Opera.

In 1988, opera director Achim Freyer designed and staged a reworked version in a abstract style, with new spoken texts from the early 20th century, at the Stuttgart State Opera. As with the premiere, this version was conducted by Michael Riesman. In 1992, a revival was mounted by International Production Associates that included the participation of Wilson and Childs; the production was re-staged at the McCarter Theatre at Princeton University. It subsequently toured to Frankfurt, Barcelona, Tokyo and Paris. In 2001, the opera was staged as an "opera-installation" at the former headquarters of the State Bank of the GDR in Berlin, it was conducted by Ari Benjamin Meyers, directed by Berthold Schneider, with stage design by Veronika Witte. The performance combined the concepts of opera and installation art, created by various artists for the production; the spectators were encouraged to wander through the exhibition, while the actions of the musicians could be followed on video screens. A different production by the same team, following the same principle, was staged on the Einstein anniversary in 2005 at the Berlin Parochialkirche.

In 2007, Carnegie Hall presented a concert version of Einstein in which violinist Tim Fain appeared as soloist. The New York Times wrote about his performance, "And Tim Fain, the violinist, gave the solo passages in the second and fifth'Knee Plays' and in the climactic, swirling'Spaceship Interior' scene an electrifying, virtuosic workout." Fain tours extensively with Phillip Glass in duo recitals and they always include the solo from "Knee Play 2" on their program. A revival with the participation of all the original collaborators was commissioned by the New York City Opera to open their 2009–10 season; when General Manager designate Gerard Mortier withdrew from NYCO, the revival, along with the rest of Mortier's programming, was canceled. The team that had organized the New York City Opera production put together another group to remount Einstein, under the management of Pomegranate Arts. After a month of rehearsals overseen by Glass and Childs, the first performance in 20 years took place on January 20, 2012, presented by the University Musical Society at the Power Center for the Performing Arts on the campus of the University of Michigan in Ann Arbor.

The performance featured Kate Moran and Helga Davis replacing Childs' and Sutton's roles respectively. Grammy Award-nominated violinist Jennifer Koh played the role of Einstein in the preview and alternated with Antoine Silverman for the subsequent tour; the other instrumental performers and solfege soprano for these performances are the current members of the Philip Glass Ensemble without Glass himself performing. The performers in the 2012 production included members of the Lucinda Childs Dance Company: Ty Boomershine, Matthew Pardo, Patrick O'Neill, Stuart Singer, Lonnie Poupard, Caitlin Scranton, Sharon Milanese, Katie Dorn, Katherine Helen Fisher, Anne Lewis, Shakirah Stewart, Sarah Hillmon; the chorus for this revival was composed of sopranos Michèle Eaton, Melanie Russell