Green Day is an American rock band formed in 1986 by lead vocalist and guitarist Billie Joe Armstrong and bassist Mike Dirnt. For much of the band's career, they have been a trio with drummer Tré Cool, who replaced John Kiffmeyer in 1990 prior to the recording of the band's second studio album, Kerplunk. Green Day was part of the punk scene at the DIY 924 Gilman Street club in Berkeley, California; the band's early releases were with the independent record label Lookout! Records. In 1994, their major label debut Dookie, released through Reprise Records, became a breakout success and shipped over 10 million copies in the U. S. Green Day is credited alongside fellow California punk bands including Sublime, Bad Religion, The Offspring and Rancid with popularizing mainstream interest in punk rock in the United States. Though Insomniac and Warning, did not match the success of Dookie and Nimrod reached double platinum and Warning achieved gold status. Green Day's seventh album, American Idiot, a rock opera, found popularity with a younger generation, selling six million copies in the U.
S. 21st Century Breakdown was achieved the band's best chart performance. It was followed by a trilogy of albums, ¡Uno!, ¡Dos! and ¡Tré!, released in September and December 2012 respectively. Green Day's twelfth studio album, Revolution Radio, was released on October 7, 2016 and became their third to debut at number one on the Billboard 200. Green Day has sold more than 85 million records worldwide; the group has won five Grammy Awards: Best Alternative Album for Dookie, Best Rock Album for American Idiot, Record of the Year for "Boulevard of Broken Dreams", Best Rock Album for the second time for 21st Century Breakdown and Best Musical Show Album for American Idiot: The Original Broadway Cast Recording. In 2010, a stage adaptation of American Idiot debuted on Broadway; the musical was nominated for three Tony Awards: Best Musical, Best Scenic Design and Best Lighting Design, losing only the first. In the same year, VH1 ranked Green Day 91st in its list of the "100 Greatest Artists of All Time".
The band was inducted into the Rock and Roll Hall of Fame in their first year of eligibility. In 1986, friends Billie Joe Armstrong and Mike Dirnt, 14 years old at the time, formed a band called Sweet Children; the group's first live performance took place on October 17, 1987, at Rod's Hickory Pit in Vallejo, California. In 1988, Armstrong and Dirnt began working with former Isocracy drummer John Kiffmeyer known as "Al Sobrante". Armstrong cites the band Operation Ivy as a major influence, a group that inspired him to form a band. In 1988, Larry Livermore, owner of Lookout! Records, saw the band signed the group to his label. In 1989, the band recorded its debut extended 1,000 Hours. Before 1,000 Hours was released, the group dropped the name Sweet Children; the band adopted the name Green Day, due to the members' fondness for cannabis. Lookout! Released Green Day's debut studio album, 39/Smooth in early 1990. Green Day recorded two extended plays that year and Sweet Children, the latter of which included older songs that the band had recorded for the Minneapolis independent record label Skene!
Records. In 1991, Lookout! Records re-released 39/Smooth under the name 1,039/Smoothed Out Slappy Hours, added the songs from the band's first two EPs, 1,000 Hours. In late 1990, shortly after the band's first nationwide tour, Kiffmeyer left the East Bay area to attend Humboldt State University in Arcata, California; the Lookouts drummer Tré Cool began filling in as a temporary replacement and Cool's position as Green Day's drummer became permanent, which Kiffmeyer "graciously accepted". The band went on tour for most of 1992 and 1993, played a number of shows overseas in Europe; the band's second studio album Kerplunk sold 50,000 copies in the U. S. Kerplunk's underground success led to a number of major record labels being interested in signing Green Day, the band left Lookout! and signed to Reprise Records after attracting the attention of producer Rob Cavallo. The group was impressed by his work with fellow Californian band The Muffs, remarked that Cavallo "was the only person we could talk to and connect with".
Reflecting on the period, Armstrong told Spin magazine in 1999, "I couldn't go back to the punk scene, whether we were the biggest success in the world or the biggest failure... The only thing I could do was get on my bike and go forward." After signing with Reprise, the band went to work on recording Dookie. Recorded in three weeks, released in February 1994, Dookie became a commercial success, helped by extensive MTV airplay for the videos of the songs "Longview", "Basket Case", "When I Come Around", all of which reached the number one position on the Modern Rock Tracks charts; the album went on to sell over 10 million copies in the US. At a performance on September 9, 1994 at Hatch Memorial Shell in Boston, mayhem broke out during the band's set and by the end of the rampage, 100 people were injured and 45 arrested; the band joined the lineups of both the Lollapalooza festival and Woodstock'94, where the group started an infamous mud fight. During the concert, a security guard mistook bassist Mike Dirnt for a stage-invading fan and punched out some of his teeth.
Viewed by millions by pay-per-view television, the Woodstock 1994 performance further aided Green Day's growing publicity and recognition, helped push its album to eventual diamond status. In 1995, Dookie won the Grammy Awa
A phonograph record is an analog sound storage medium in the form of a flat disc with an inscribed, modulated spiral groove. The groove starts near the periphery and ends near the center of the disc. At first, the discs were made from shellac. In recent decades, records have sometimes been called vinyl records, or vinyl; the phonograph disc record was the primary medium used for music reproduction throughout the 20th century. It had co-existed with the phonograph cylinder from the late 1880s and had superseded it by around 1912. Records retained the largest market share when new formats such as the compact cassette were mass-marketed. By the 1980s, digital media, in the form of the compact disc, had gained a larger market share, the vinyl record left the mainstream in 1991. Since the 1990s, records continue to be manufactured and sold on a smaller scale, are used by disc jockeys and released by artists in dance music genres, listened to by a growing niche market of audiophiles; the phonograph record has made a notable niche resurgence in the early 21st century – 9.2 million records were sold in the U.
S. in 2014, a 260% increase since 2009. In the UK sales have increased five-fold from 2009 to 2014; as of 2017, 48 record pressing facilities remain worldwide, 18 in the United States and 30 in other countries. The increased popularity of vinyl has led to the investment in new and modern record-pressing machines. Only two producers of lacquers remain: Apollo Masters in California, MDC in Japan. Phonograph records are described by their diameter in inches, the rotational speed in revolutions per minute at which they are played, their time capacity, determined by their diameter and speed. Vinyl records may be scratched or warped if stored incorrectly but if they are not exposed to high heat, carelessly handled or broken, a vinyl record has the potential to last for centuries; the large cover are valued by collectors and artists for the space given for visual expression when it comes to the long play vinyl LP. The phonautograph, patented by Léon Scott in 1857, used a vibrating diaphragm and stylus to graphically record sound waves as tracings on sheets of paper, purely for visual analysis and without any intent of playing them back.
In the 2000s, these tracings were first scanned by audio engineers and digitally converted into audible sound. Phonautograms of singing and speech made by Scott in 1860 were played back as sound for the first time in 2008. Along with a tuning fork tone and unintelligible snippets recorded as early as 1857, these are the earliest known recordings of sound. In 1877, Thomas Edison invented the phonograph. Unlike the phonautograph, it could both record and reproduce sound. Despite the similarity of name, there is no documentary evidence that Edison's phonograph was based on Scott's phonautograph. Edison first tried recording sound on a wax-impregnated paper tape, with the idea of creating a "telephone repeater" analogous to the telegraph repeater he had been working on. Although the visible results made him confident that sound could be physically recorded and reproduced, his notes do not indicate that he reproduced sound before his first experiment in which he used tinfoil as a recording medium several months later.
The tinfoil was wrapped around a grooved metal cylinder and a sound-vibrated stylus indented the tinfoil while the cylinder was rotated. The recording could be played back immediately; the Scientific American article that introduced the tinfoil phonograph to the public mentioned Marey and Barlow as well as Scott as creators of devices for recording but not reproducing sound. Edison invented variations of the phonograph that used tape and disc formats. Numerous applications for the phonograph were envisioned, but although it enjoyed a brief vogue as a startling novelty at public demonstrations, the tinfoil phonograph proved too crude to be put to any practical use. A decade Edison developed a improved phonograph that used a hollow wax cylinder instead of a foil sheet; this proved to be both a better-sounding and far more useful and durable device. The wax phonograph cylinder created the recorded sound market at the end of the 1880s and dominated it through the early years of the 20th century. Lateral-cut disc records were developed in the United States by Emile Berliner, who named his system the "gramophone", distinguishing it from Edison's wax cylinder "phonograph" and American Graphophone's wax cylinder "graphophone".
Berliner's earliest discs, first marketed in 1889, only in Europe, were 12.5 cm in diameter, were played with a small hand-propelled machine. Both the records and the machine were adequate only for use as a toy or curiosity, due to the limited sound quality. In the United States in 1894, under the Berliner Gramophone trademark, Berliner started marketing records of 7 inches diameter with somewhat more substantial entertainment value, along with somewhat more substantial gramophones to play them. Berliner's records had poor sound quality compared to wax cylinders, but his manufacturing associate Eldridge R. Johnson improved it. Abandoning Berliner's "Gramophone" tradem
A-side and B-side
The terms A-side and B-side refer to the two sides of 78, 45, 331⁄3 rpm phonograph records, or cassettes, whether singles, extended plays, or long-playing records. The A-side featured the recording that the artist, record producer, or the record company intended to receive the initial promotional effort and receive radio airplay to become a "hit" record; the B-side is a secondary recording that has a history of its own: some artists released B-sides that were considered as strong as the A-side and became hits in their own right. Others took the opposite approach: producer Phil Spector was in the habit of filling B-sides with on-the-spot instrumentals that no one would confuse with the A-side. With this practice, Spector was assured that airplay was focused on the side he wanted to be the hit side. Music recordings have moved away from records onto other formats such as CDs and digital downloads, which do not have "sides", but the terms are still used to describe the type of content, with B-side sometimes standing for "bonus" track.
The first sound recordings at the end of the 19th century were made on cylinder records, which had a single round surface capable of holding two minutes of sound. Early shellac disc records records only had recordings on one side of the disc, with a similar capacity. Double-sided recordings, with one selection on each side, were introduced in Europe by Columbia Records in 1908, by 1910 most record labels had adopted the format in both Europe and the United States. There were no record charts until the 1930s, radio stations did not play recorded music until the 1950s. In this time, A-sides and B-sides existed. In June 1948, Columbia Records introduced the modern 331⁄3 rpm long-playing microgroove vinyl record for commercial sales, its rival RCA Victor, responded the next year with the seven-inch 45 rpm vinylite record, which would replace the 78 for single record releases; the term "single" came into popular use with the advent of vinyl records in the early 1950s. At first, most record labels would randomly assign which song would be an A-side and which would be a B-side.
Under this random system, many artists had so-called "double-sided hits", where both songs on a record made one of the national sales charts, or would be featured on jukeboxes in public places. As time wore on, the convention for assigning songs to sides of the record changed. By the early sixties, the song on the A-side was the song that the record company wanted radio stations to play, as 45 rpm single records dominated the market in terms of cash sales, it was not until 1968, for example, that the total production of albums on a unit basis surpassed that of singles in the United Kingdom. In the late 1960s, stereo versions of pop and rock songs began to appear on 45s; the majority of the 45s were played on AM radio stations, which were not equipped for stereo broadcast at the time, so stereo was not a priority. However, the FM rock stations did not like to play monaural content, so the record companies adopted a protocol for DJ versions with the mono version of the song on one side, stereo version of the same song on the other.
By the early 1970s, double-sided hits had become rare. Album sales had increased, B-sides had become the side of the record where non-album, non-radio-friendly, instrumental versions or inferior recordings were placed. In order to further ensure that radio stations played the side that the record companies had chosen, it was common for the promotional copies of a single to have the "plug side" on both sides of the disc. With the decline of 45 rpm vinyl records, after the introduction of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. At first, cassette singles would have one song on each side of the cassette, matching the arrangement of vinyl records, but cassette maxi-singles, containing more than two songs, became more popular. Cassette singles were phased out beginning in the late 1990s, the A-side/B-side dichotomy became extinct, as the remaining dominant medium, the compact disc, lacked an equivalent physical distinction.
However, the term "B-side" is still used to refer to the "bonus" tracks or "coupling" tracks on a CD single. With the advent of downloading music via the Internet, sales of CD singles and other physical media have declined, the term "B-side" is now less used. Songs that were not part of an artist's collection of albums are made available through the same downloadable catalogs as tracks from their albums, are referred to as "unreleased", "bonus", "non-album", "rare", "outtakes" or "exclusive" tracks, the latter in the case of a song being available from a certain provider of music. B-side songs may be released on the same record as a single to provide extra "value for money". There are several types of material released in this way, including a different version, or, in a concept record, a song that does not fit into the story lin
Billboard is an American entertainment media brand owned by the Billboard-Hollywood Reporter Media Group, a division of Eldridge Industries. It publishes pieces involving news, opinion, reviews and style, is known for its music charts, including the Hot 100 and Billboard 200, tracking the most popular songs and albums in different genres, it hosts events, owns a publishing firm, operates several TV shows. Billboard was founded in 1894 by William Donaldson and James Hennegan as a trade publication for bill posters. Donaldson acquired Hennegen's interest in 1900 for $500. In the early years of the 20th century, it covered the entertainment industry, such as circuses and burlesque shows, created a mail service for travelling entertainers. Billboard began focusing more on the music industry as the jukebox and radio became commonplace. Many topics it covered were spun-off into different magazines, including Amusement Business in 1961 to cover outdoor entertainment, so that it could focus on music.
After Donaldson died in 1925, Billboard was passed down to his children and Hennegan's children, until it was sold to private investors in 1985, has since been owned by various parties. The first issue of Billboard was published in Cincinnati, Ohio by William Donaldson and James Hennegan on November 1, 1894, it covered the advertising and bill posting industry, was known as Billboard Advertising. At the time, billboards and paper advertisements placed in public spaces were the primary means of advertising. Donaldson handled editorial and advertising, while Hennegan, who owned Hennegan Printing Co. managed magazine production. The first issues were just eight pages long; the paper had columns like "The Bill Room Gossip" and "The Indefatigable and Tireless Industry of the Bill Poster". A department for agricultural fairs was established in 1896; the title was changed to The Billboard in 1897. After a brief departure over editorial differences, Donaldson purchased Hennegan's interest in the business in 1900 for $500 to save it from bankruptcy.
That May, Donaldson changed it from a monthly to a weekly paper with a greater emphasis on breaking news. He improved editorial quality and opened new offices in New York, San Francisco and Paris, re-focused the magazine on outdoor entertainment such as fairs, circuses and burlesque shows. A section devoted to circuses was introduced in 1900, followed by more prominent coverage of outdoor events in 1901. Billboard covered topics including regulation, a lack of professionalism and new shows, it had a "stage gossip" column covering the private lives of entertainers, a "tent show" section covering traveling shows, a sub-section called "Freaks to order". According to The Seattle Times, Donaldson published news articles "attacking censorship, praising productions exhibiting'good taste' and fighting yellow journalism"; as railroads became more developed, Billboard set up a mail forwarding system for traveling entertainers. The location of an entertainer was tracked in the paper's Routes Ahead column Billboard would receive mail on the star's behalf and publish a notice in its "Letter-Box" column that it has mail for them.
This service was first introduced in 1904, became one of Billboard's largest sources of profit and celebrity connections. By 1914, there were 42,000 people using the service, it was used as the official address of traveling entertainers for draft letters during World War I. In the 1960s, when it was discontinued, Billboard was still processing 1,500 letters per week. In 1920, Donaldson made a controversial move by hiring African-American journalist James Albert Jackson to write a weekly column devoted to African-American performers. According to The Business of Culture: Strategic Perspectives on Entertainment and Media, the column identified discrimination against black performers and helped validate their careers. Jackson was the first black critic at a national magazine with a predominantly white audience. According to his grandson, Donaldson established a policy against identifying performers by their race. Donaldson died in 1925. Billboard's editorial changed focus as technology in recording and playback developed, covering "marvels of modern technology" such as the phonograph, record players, wireless radios.
It began covering coin-operated entertainment machines in 1899, created a dedicated section for them called "Amusement Machines" in March 1932. Billboard began covering the motion picture industry in 1907, but ended up focusing on music due to competition from Variety, it created a radio broadcasting station in the 1920s. The jukebox industry continued to grow through the Great Depression, was advertised in Billboard, which led to more editorial focus on music; the proliferation of the phonograph and radio contributed to its growing music emphasis. Billboard published the first music hit parade on January 4, 1936, introduced a "Record Buying Guide" in January 1939. In 1940, it introduced "Chart Line", which tracked the best-selling records, was followed by a chart for jukebox records in 1944 called Music Box Machine charts. By the 1940s, Billboard was more of a music industry specialist publication; the number of charts it published grew after World War II, due to a growing variety of music interests and genres.
It had eight charts by 1987, covering different genres and formats, 28 charts by 1994. By 1943, Billboard had about 100 employees; the magazine's offices moved to Brighton, Ohio in 1946 to New York City in 1948. A five-column tabloid format was adopted in November 1950 and coated paper was first used in Billboard's print issues in January 1963, allowing for photojournalis
Library and Archives Canada
Library and Archives Canada is a federal institution tasked with acquiring and making Canada's documentary heritage accessible. It is the fourth biggest library in the world. LAC reports to Parliament through Pablo Rodríguez, the Minister of Canadian Heritage since August 28, 2018; the Dominion Archives was founded in 1872 as a division within the Department of Agriculture and was transformed into the autonomous Public Archives of Canada in 1912 and renamed the National Archives of Canada in 1987. The National Library of Canada was founded in 1953. Freda Farrell Waldon contributed to the writing of the brief which led to the founding of the National Library of Canada. In 2004, Library and Archives Canada combined the functions of the National Archives of Canada and the National Library of Canada, it was established by the Library and Archives of Canada Act, proclaimed on April 22, 2004. A subsequent Order in Council dated May 21, 2004 united the collections and personnel of the National Archives of Canada and the National Library of Canada.
Since inception LAC has reported to Parliament through the Minister of Canadian Heritage. LAC's stated mandate is: to preserve the documentary heritage of Canada for the benefit of present and future generations. LAC is expected to maintain "effective recordkeeping practices that ensure transparency and accountability". LAC's holdings include the archival records of the Government of Canada, representative private archives, 20 million books acquired through legal deposit, 24 million photographs, more than a petabyte of digital content; some of this content the book collection, university theses and census material, is available online. Many items are only available in physical form; as of May 2013 only about 1% of the collection had been digitized, representing "about 25 million of the more popular and most fragile items". The collection includes: the proclamation of the Canadian Constitution Act, which bears marks left by raindrops during a ceremony on Parliament Hill in April 1982 when Queen Elizabeth II signed it.
Genealogists account for 70% of LAC's clients. The building at 395 Wellington Street in downtown Ottawa is the main physical location where the public may access the collection in person; the building was opened on June 20, 1967. With the de-emphasis on physical visits, in-person services have been curtailed, for example since April 2012 reference services are by appointment only, the role of this building is decreasing. There are administrative offices in Gatineau and preservation and storage facilities throughout Canada for federal government records; the Preservation Centre in the city centre of Gatineau, about 10 kilometres away from the Ottawa headquarters, was designed to provide a safe environment for the long-term storage and preservation of Canada's valuable collections. It was built at a cost of CDN$107 million, the official opening took place on June 4, 1997, it is a unique building containing 48 climate-controlled preservation vaults and state-of-the-art preservation laboratories.
In 2000, the Royal Architectural Institute of Canada named it one of the top 500 buildings constructed in Canada during the last millennium. A Nitrate Film Preservation Facility on the Communications Research Centre campus in Shirleys Bay, on the outskirts of Ottawa, houses Canada's cellulose nitrate film collection; the collection contains 5,575 film reels dating back to 1912, including some of the first Canadian motion pictures and photographic negatives. The film material is sensitive and requires precise temperatures for its preservation; the state-of-the-art facility, opened on June 21, 2011, is an eco-designed building featuring an environmentally friendly roof that provides better insulation and minimizes energy expenditures. A planned key activity for 2013–14 was to rehouse analogue information resources in a new state-of-the-art high-density storage facility in Gatineau, where the national newspaper collection and records of Second World War veterans will be stored; the facility will feature a high bay metal shelving system with a suitable environment to better protect Canada's published heritage.
In January 2019, Library and Archives Canada announced that negotiations for a new facility to be built next to the existing one in Gatineau were starting, with an opening date in 2022. LAC's online collection is accessible via its website and LAC provides ongoing information online via its blog, the Twitter and Facebook social networking services, the Flickr image-sharing site, the YouTube video-sharing site. RSS feeds provide links to news about LAC services and resources. A new modernized website is being developed and is scheduled for completion in 2013, with both new and old websites accessible during the transition period. In June 2004 LAC issued a discussion paper Creating a New Kind of Knowledge Institution, after consultation in
Alternative rock is a style of rock music that emerged from the independent music underground of the 1980s and became popular in the 1990s. In this instance, the word "alternative" refers to the genre's distinction from mainstream rock music; the term's original meaning was broader, referring to a generation of musicians unified by their collective debt to either the musical style or the independent, DIY ethos of punk rock, which in the late 1970s laid the groundwork for alternative music. At times, "alternative" has been used as a catch-all description for music from underground rock artists that receives mainstream recognition, or for any music, whether rock or not, seen to be descended from punk rock. Alternative rock broadly consists of music that differs in terms of its sound, social context and regional roots. By the end of the 1980s, magazines and zines, college radio airplay, word of mouth had increased the prominence and highlighted the diversity of alternative rock, helping to define a number of distinct styles such as noise pop, indie rock and shoegaze.
Most of these subgenres had achieved minor mainstream notice and a few bands representing them, such as Hüsker Dü and R. E. M. had signed to major labels. But most alternative bands' commercial success was limited in comparison to other genres of rock and pop music at the time, most acts remained signed to independent labels and received little attention from mainstream radio, television, or newspapers. With the breakthrough of Nirvana and the popularity of the grunge and Britpop movements in the 1990s, alternative rock entered the musical mainstream and many alternative bands became successful. In the past, popular music tastes were dictated by music executives within large entertainment corporations. Record companies signed contracts with those entertainers who were thought to become the most popular, therefore who could generate the most sales; these bands were able to record their songs in expensive studios, their works sold through record store chains that were owned by the entertainment corporations.
The record companies worked with radio and television companies to get the most exposure for their artists. The people making the decisions were business people dealing with music as a product, those bands who were not making the expected sales figures were excluded from this system. Before the term alternative rock came into common usage around 1990, the sort of music to which it refers was known by a variety of terms. In 1979, Terry Tolkin used the term Alternative Music to describe the groups. In 1979 Dallas radio station KZEW had a late night new wave show entitled "Rock and Roll Alternative". "College rock" was used in the United States to describe the music during the 1980s due to its links to the college radio circuit and the tastes of college students. In the United Kingdom, dozens of small do it yourself record labels emerged as a result of the punk subculture. According to the founder of one of these labels, Cherry Red, NME and Sounds magazines published charts based on small record stores called "Alternative Charts".
The first national chart based on distribution called the Indie Chart was published in January 1980. At the time, the term indie was used to describe independently distributed records. By 1985, indie' had come to mean a particular genre, or group of subgenres, rather than distribution status; the use of the term alternative to describe rock music originated around the mid-1980s. Individuals who worked as DJs and promoters during the 1980s claim the term originates from American FM radio of the 1970s, which served as a progressive alternative to top 40 radio formats by featuring longer songs and giving DJs more freedom in song selection. According to one former DJ and promoter, "Somehow this term'alternative' got rediscovered and heisted by college radio people during the 80s who applied it to new post-punk, indie, or underground-whatever music". At first the term referred to intentionally non–mainstream rock acts that were not influenced by "heavy metal ballads, rarefied new wave" and "high-energy dance anthems".
Usage of the term would broaden to include new wave, punk rock, post-punk, "college"/"indie" rock, all found on the American "commercial alternative" radio stations of the time such as Los Angeles' KROQ-FM. Journalist Jim Gerr wrote that Alternative encompassed variants such as "rap, trash and industrial". In December 1991, Spin magazine noted: "this year, for the first time, it became resoundingly clear that what has been considered alternative rock – a college-centered marketing group with lucrative, if limited, potential- has in fact moved into the mainstream"; the bill of the first Lollapalooza, an itinerant festival in North America conceived by Jane's Addiction frontman Perry Farrell, reunited "disparate elements of the alternative rock community" including Henry Rollins, Butthole Surfers, Ice-T, Nine Inch Nails and the Banshees and Jane's Addiction. That same year, Farrell coined the term Alternative Nation. In the late 1990s, the definition again became more specific. In 1997, Neil Strauss of The New York Times defined alternative rock as "hard-edged rock distinguished by brittle,'70s-inspired guitar riffing and singers agonizing over their problems until they take on epic proportions".
Defining music as alt