Pop music is a genre of popular music that originated in its modern forms in the US and the UK during the mid-1950s. The terms "popular music" and "pop music" are used interchangeably, although the former describes all music, popular and includes many diverse styles. "Pop" and "rock" were synonymous terms until the late 1960s, when they became quite separated from each other. Although much of the music that appears on record charts is seen as pop music, the genre is distinguished from chart music. Pop music borrows elements from other styles such as urban, rock and country. Identifying factors include short to medium-length songs written in a basic format known as perrypoetry, as well as common use of repeated choruses, melodic tunes and hooks. David Hatch and Stephen Millward define pop music as "a body of music, distinguishable from popular and folk musics". According to Pete Seeger, pop music is "professional music which draws upon both folk music and fine arts music". Although pop music is seen as just the singles charts, it is not the sum of all chart music.
The music charts contain songs from a variety of sources, including classical, jazz and novelty songs. As a genre, pop music is seen to develop separately. Therefore, the term "pop music" may be used to describe a distinct genre, designed to appeal to all characterized as "instant singles-based music aimed at teenagers" in contrast to rock music as "album-based music for adults". Pop music continuously evolves along with the term's definition. According to music writer Bill Lamb, popular music is defined as "the music since industrialization in the 1800s, most in line with the tastes and interests of the urban middle class." The term "pop song" was first used in 1926, in the sense of a piece of music "having popular appeal". Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country and hillbilly music. According to the website of The New Grove Dictionary of Music and Musicians, the term "pop music" "originated in Britain in the mid-1950s as a description for rock and roll and the new youth music styles that it influenced".
The Oxford Dictionary of Music states that while pop's "earlier meaning meant concerts appealing to a wide audience since the late 1950s, pop has had the special meaning of non-classical mus in the form of songs, performed by such artists as the Beatles, the Rolling Stones, ABBA, etc." Grove Music Online states that " in the early 1960s,'pop music' competed terminologically with beat music, while in the US its coverage overlapped with that of'rock and roll'". From about 1967, the term “pop music” was used in opposition to the term rock music, a division that gave generic significance to both terms. While rock aspired to authenticity and an expansion of the possibilities of popular music, pop was more commercial and accessible. According to British musicologist Simon Frith, pop music is produced "as a matter of enterprise not art", is "designed to appeal to everyone" but "doesn't come from any particular place or mark off any particular taste". Frith adds that it is "not driven by any significant ambition except profit and commercial reward and, in musical terms, it is conservative".
It is, "provided from on high rather than being made from below... Pop is not a do-it-yourself music but is professionally produced and packaged". According to Frith, characteristics of pop music include an aim of appealing to a general audience, rather than to a particular sub-culture or ideology, an emphasis on craftsmanship rather than formal "artistic" qualities. Music scholar Timothy Warner said it has an emphasis on recording and technology, rather than live performance; the main medium of pop music is the song between two and a half and three and a half minutes in length marked by a consistent and noticeable rhythmic element, a mainstream style and a simple traditional structure. Common variants include the verse-chorus form and the thirty-two-bar form, with a focus on melodies and catchy hooks, a chorus that contrasts melodically and harmonically with the verse; the beat and the melodies tend to be simple, with limited harmonic accompaniment. The lyrics of modern pop songs focus on simple themes – love and romantic relationships – although there are notable exceptions.
Harmony and chord progressions in pop music are "that of classical European tonality, only more simple-minded." Clichés include the barbershop quartet-style blues scale-influenced harmony. There was a lessening of the influence of traditional views of the circle of fifths between the mid-1950s and the late 1970s, including less predominance for the dominant function. In the 1940s improved microphone design allowed a more intimate singing style and ten or twenty years inexpensive and more durable 45 rpm records for singles "revolutionized the manner in which pop has been disseminated", which helped to move pop music to "a record/radio/film star system". Another technological change was the widespread availability of television in the 1950s. In the 1960s, the introduction of inexpensive, portable transistor radios meant that teenagers
You Will Eventually Be Forgotten is the second and final LP by Fenton, Michigan emo band Empire! Empire!, released on August 19, 2014 on Count Your Lucky Stars Records and Topshelf Records. Pre-orders began on July 22, 2014 through the Count Your Lucky Stars store and the Topshelf Records store; the band has made "A Keepsake" and "If It's Bad News, It Can Wait" available for streaming ahead of the release date. Mineral's Chris Simpson and Braid's Bob Nanna have made guest appearances on the LP. "Ribbon" - 2:04 "I Was Somewhere Cold, Dark... and Lonely" - 3:33 "We Are People Here. We Are Not Numbers" - 2:47 "A Keepsake" - 3:47 "You Have to Be So Much Better than You Ever Thought" - 4:58 "Stay Divided" - 3:10 "Foxfire" - 2:16 "Things Not Worth Fixing" - 4:25 "If It's Bad News, It Can Wait" - 3:17 "It's So Much Darker When a Light Goes Out than It Would Have Been If It Had Never Shone" - 4:37 "The Promise That Life Can Go on No Matter How Bad Our Losses" - 2:48
Siren, known as Forbidden Siren in the PAL region, is a survival horror stealth game developed by SCE Japan Studio and Project Siren, published by Sony Computer Entertainment for the PlayStation 2 in 2003. The game's plot revolves around an interconnected cast of characters that possess a power which enables them to see and hear what a nearby character sees, it was followed by a loose film adaption. On June 14, 2016 it was re-released for the PlayStation 4, part of the PS2 on PS4 library with added trophy support and at a higher resolution. Siren is divided into stages, each taking place in one of ten areas in the village of Hanuda, organized chronologically in a table called the "Link Navigator". In order to complete a stage, the player must accomplish a primary objective that involves reaching an exit point, subduing undead enemies called shibito, or finding an item. Objectives in different stages are interconnected via a butterfly effect, a character's actions in one stage can trigger a secondary objective in another stage.
There are miscellaneous items scattered throughout each stage that give the player further insight into the plot's background. Once obtained, these items are archived in a catalog and can be viewed at any time during the game's duration; the game's player characters possess a psychic power known as "sightjacking", which enables them to see and hear what a nearby Shibito or human sees and hears, thus pinpoint its position, as well as gain knowledge of their activities and of the position of obtainable items. The clarity of each target depends on the distance from the player character. Once a point of view is located, it can be assigned to one of certain buttons of the controller to switch between multiple points of view. However, the player character is unable to move during use of the ability and is thus vulnerable to attack; the game encourages the player to avoid Shibito rather than fight them. Characters can walk silently, avoid the use of a flashlight, crouch behind objects to elude detection.
Certain mission objectives require the player character to use items and/or the environment to distract Shibito from their activity, in order for them to achieve a goal. Others require the player to escort a non-player character. Player characters can shout at any time in order to get the attention of nearby Shibito. Within most stages, the player character can hide in certain places such as cupboards and lock doors to prevent Shibito from entering; when a Shibito hears a sound made by the player character, it will search in the direction from which they heard the sound. If a character is seen by a Shibito, the latter will pursue the character to kill them either with a melee or ranged weapon or by strangulation; the Shibito will shout to alert other nearby Shibito. Once the character has remained out of the Shibito's sight for a period of time, the Shibito will give up and resume its usual habits. Weapons are available for the player throughout the game, ranging from melee weapons to firearms.
While Shibito can be knocked out in combat, they cannot be killed and will reanimate after a short period of time. If a character is injured, they will recover after a short period of time. Characters will lose stamina during combat and while running, which will naturally refill after a short amount of time. Siren is set in a Japanese village named Hanuda. With strong religious beliefs important in the area, the locals like to keep to themselves and have sought to keep Hanuda isolated from the outside world. Following the interruption of a ritual near Hanuda, a subsequent earthquake, the village teeters between time and space, with an infinite sea of red water replacing the mountainous territory; the crux of the story focuses on the efforts of Hisako Yao, the leader of the local religion, to resurrect or re-awaken a god through a ceremony. The'Siren' of the title is the god's call, summoning Hanuda's residents to immerse themselves in the red water, thus creating an army of subordinates called shibito.
The shibito go about building a nest to house the god's corporeal form once it is summoned, as well as killing and converting any remaining humans left in Hanuda. The story is told through the perspectives of ten survivors, some of whom are natives of Hanuda, is presented out of chronological order over the three days in which the plot takes place. Rather than employ traditional facial animation methods with polygonal transformation, images of real human faces were captured from eight different angles and superimposed onto the character models, an effect similar to projecting film onto the blank face of a mannequin; the game was re-released for the PlayStation 3 on the PlayStation Store. On 14 June 2016 the game received a digital release for the PlayStation 4 in NA and PAL regions as an emulated and upscaled version of the PlayStation 2 original with added Trophy support; the game received "average" reviews according to the review aggegration website Metacritic. GameSpot's reviewer Bethany Massimilla concluded that although the game had a great story, interesting characters, it was tedious.
IGN's reviewer Jeremy Dunham praised the originality of the concept, the use of Sightjacking, the graphics and the storyline, but criticized the difficulty level and the trial and error nature of the gameplay. GameSpy's Bryan Stratton followed other reviewers in praising the storyline and atmosphere, but criticizing the nature of the gameplay. In Japan, Famitsu gave it a score of one nine, one seven, two eights for a total of 32 out of 40. Forbidden Siren 2 is the second installment in the series and was released in February 2006; the game tells the story of several characters who become trapped on Y