Melody Maker was a British weekly music magazine, one of the world's earliest music weeklies, and—according to its publisher IPC Media—the earliest. It was founded in 1926 as a magazine for dance band musicians, by Leicester-born composer, publisher Lawrence Wright. In 2000 it was merged into "long-standing rival" New Musical Express; the Melody Maker concentrated on jazz, had Max Jones, one of the leading British proselytizers for that music, on its staff for many years. It was slow to cover rock and roll and lost ground to the New Musical Express, which had begun in 1952. MM launched its own weekly singles chart on 7 April 1956, an LPs charts in November 1958, two years after the Record Mirror had published the first UK Albums Chart. From 1964, the paper led its rival publications in terms of approaching music and musicians as a subject for serious study rather than entertainment. Staff reporters such as Chris Welch and Ray Coleman applied a perspective reserved for jazz artists to the rise of American-influenced local rock and pop groups, anticipating the advent of music criticism.
On 6 March 1965, MM called for the Beatles to be honoured by the British state. This duly happened on 12 June that year, when all four members of the group were appointed as members of the Order of the British Empire. By the late 1960s, MM had recovered, targeting an older market than the teen-oriented NME. MM had more specialised advertising, it ran pages devoted to "minority" interests like folk and jazz, as well as detailed reviews of musical instruments. A 1968 Melody Maker poll named John Peel best radio DJ, attention which John Walters said may have helped Peel keep his job despite concerns at BBC Radio 1 about Peel's style and record selection. Starting from the mid-Sixties, critics such as Welch, Richard Williams, Michael Watts, Steve Lake were among the first British journalists to write about popular music, shedding an intellectual light on such artists as Steely Dan, Cat Stevens, Led Zeppelin. Pink Floyd and Henry Cow. By the early 1970s, Melody Maker was considered "the musos' journal" and associated with progressive rock.
But Melody Maker reported on teenybopper pop sensations like The Osmonds, the Jackson 5, David Cassidy. The music weekly gave early and sympathetic coverage to glam rock. Richard Williams wrote the first pieces about Roxy Music, while Roy Hollingworth wrote the first article celebrating New York Dolls in proto-punk terms while serving as the Melody Maker's New York correspondent. In January 1972, Michael "Mick" Watts, a prominent writer for the paper, wrote a profile of David Bowie that singlehandedly ignited the singer's dormant career. During the interview Bowie claimed, "I'm gay, always have been when I was David Jones." "OH YOU PRETTY THING" ran the headline, swiftly became part of pop mythology. Bowie attributed his success to this interview, stating that, "Yeah, it was Melody Maker that made me, it was that piece by Mick Watts." During his tenure at the paper, Watts toured with and interviewed artists including Syd Barrett, Waylon Jennings, Pink Floyd, Bob Dylan and Bruce Springsteen. Caroline Coon was headhunted by Melody Maker editor Ray Coleman in the mid-1970s and promptly made it her mission to get women musicians taken and between 1974 and 1976 she interviewed Maggie Bell, Joan Armatrading, Lynsey de Paul and Twiggy.
She went on to make it her mission to promote punk rock. In 1978, Richard Williams returned - after a stint working at Island Records - to the paper as the new editor and attempted to take Melody Maker in a new direction, influenced by what Paul Morley and Ian Penman were doing at NME, he recruited Jon Savage, Chris Bohn and Mary Harron to provide intellectual coverage of post-punk bands like Gang of Four, Pere Ubu and Joy Division and of new wave in general. Vivien Goldman at NME and Sounds, gave the paper much improved coverage of reggae and soul music, restoring the superior coverage of those genres that the paper had in the early 1970s. Despite this promise of a new direction for the paper, internal tension developed, principally between Williams and Coleman, by this time editor-in-chief, who wanted the paper to stick to the more "conservative rock" music it had continued to support during the punk era. Coleman had been insistent that the paper should "look like The Daily Telegraph", but Williams wanted the paper to look more contemporary.
He commissioned an updated design. In 1980, after a strike which had taken the paper out of publication for a period, Williams left MM. Coleman promoted Michael Oldfield from the design staff to day-to-day editor, for a while, took it back where it had been, with news of a line-up change in Jethro Tull replacing features about Andy Warhol, Gang of Four and Factory Records on the cover. Several journalists, such as Chris Bohn and Vivien Goldman, moved to NME, while Jon Savage joined the new magazine The Face. Coleman left in 1981, the paper's design was updated, but sales and prestige were at a low ebb through the early 1980s, with NME dominant. By 1983, the magazine had become more populist and pop-oriented, exemplified by its modish "MM" masthead, regular covers for the likes of Duran Duran and its choice of Eurythmics' Touch as the best album of the year. Things were to change, however. In February 1984, Allan Jones, a staff writer on the paper since 1974, was appointed editor: defying instructions to put Kajagoogoo on the cover, he led the magazine with an article
House music is a genre of electronic dance music created by club DJs and music producers in Chicago in the early 1980s. Early house music was characterized by repetitive 4/4 beats, rhythms provided by drum machines, off-beat hi-hat cymbals, synthesized basslines. While house displayed several characteristics similar to disco music, which preceded and influenced it, as both were DJ and record producer-created dance music, house was more electronic and minimalistic; the mechanical, repetitive rhythm of house was one of its main components. Many house compositions were instrumental, with no vocals. House music developed in Chicago's underground dance club culture in the early 1980s, as DJs from the subculture began altering the pop-like disco dance tracks to give them a more mechanical beat and deeper basslines; as well, these DJs began to mix synth pop, rap and jazz into their tracks. Latin music salsa clave rhythm, became a dominating riff of house music, it was pioneered by Chicago DJs such as Steve Hurley.
It was influenced by Chicago DJ and record producer Frankie Knuckles, the Chicago acid-house electronic music group Phuture, the Tennessee DJ/producer Mr. Fingers; the genre was associated with the Black American LGBT subculture but has since spread to the mainstream. From its beginnings in the Chicago club and local radio scene, the genre spread internationally to London to American cities such as New York City and Detroit, globally. Chicago house music acts from the early to mid-1980s found success on the US dance charts on various Chicago independent record labels that were more open to sign local house music artists; these same acts experienced some success in the United Kingdom, garnering hits in that country. Due to this success, by the late 1980s, Chicago house music acts found themselves being offered major label deals. House music proved to be a commercially successful genre and a more mainstream pop-based variation grew popular. Since the early to mid-1990s, house music has been infused into mainstream pop and dance music worldwide.
In the 2010s, the genre, while keeping several of its core elements, notably the prominent kick drum on most beats, varies in style and influence, ranging from soulful and atmospheric to the more minimalistic microhouse. House music has fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house. One subgenre, acid house, was based around the squelchy, deep electronic tones created by Roland's TB-303 bass synthesizer. Major acts such as Madonna, Janet Jackson, Paula Abdul, Martha Wash, CeCe Peniston, Robin S. Steps, Kylie Minogue, Björk, C+C Music Factory were influenced by House music in the 1990s and beyond. After enjoying significant success which started in the late 1980s, house music grew larger during the second wave of progressive house; the genre has remained popular and fused into other popular subgenres, notably ghetto house, deep house, future house and tech house. As of today, house music remains popular on radio and in clubs while retaining a foothold on the underground scenes across the globe.
House music is created by DJs, record producers, music artists with contributions from other performers on synthesizer and other electronic instruments. The structure of house music songs involves an intro, a chorus, various verse sections, a midsection and an outro; some songs do not have a verse, repeating the same cycle. The drum beat is one of the more important elements within the genre and is always provided by an electronic drum machine Roland's TR-808 or TR-909, rather than by a live drummer; the drum beats of house are "four on the floor", with bass drums played on every beat and they feature off-beat drum machine hi-hat sounds. House music is based on bass-heavy loops or basslines produced by a synthesizer and/or from samples of disco or funk songs. One subgenre, acid house, was based around the squelchy, deep electronic tones created by Roland's TB-303 bass synthesizer; the tempo of most house songs is between 115 BPM and 132 BPM. Various disco songs incorporated sounds produced with synthesizers and electronic drum machines, some compositions were electronic.
As well, the audio mixing and editing techniques earlier explored by disco, garage music and post-disco DJs, record producers, audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, Ron Hardy, M & M, others was important. These artists produced longer, more repetitive, percussive arrangements of existing disco recordings. Early house producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers and drum machines; the electronic instrumentation and minimal arrangement of Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat, an album of Indian ragas performed in a disco style, anticipated the sounds of acid house music, but it is not known to have had any influence on the genre prior to the album's rediscovery in the 21st century. Rachel Cain, co-founder of influential dance label Trax Records, was involved in the burgeoning punk scene. Ca
The New York Times
The New York Times is an American newspaper based in New York City with worldwide influence and readership. Founded in 1851, the paper has won more than any other newspaper; the Times is ranked 17th in the world by circulation and 2nd in the U. S; the paper is owned by The New York Times Company, publicly traded and is controlled by the Sulzberger family through a dual-class share structure. It has been owned by the family since 1896. G. Sulzberger, the paper's publisher, his father, Arthur Ochs Sulzberger Jr. the company's chairman, are the fourth and fifth generation of the family to helm the paper. Nicknamed "The Gray Lady", the Times has long been regarded within the industry as a national "newspaper of record"; the paper's motto, "All the News That's Fit to Print", appears in the upper left-hand corner of the front page. Since the mid-1970s, The New York Times has expanded its layout and organization, adding special weekly sections on various topics supplementing the regular news, editorials and features.
Since 2008, the Times has been organized into the following sections: News, Editorials/Opinions-Columns/Op-Ed, New York, Sports of The Times, Science, Home and other features. On Sunday, the Times is supplemented by the Sunday Review, The New York Times Book Review, The New York Times Magazine and T: The New York Times Style Magazine; the Times stayed with the broadsheet full-page set-up and an eight-column format for several years after most papers switched to six, was one of the last newspapers to adopt color photography on the front page. The New York Times was founded as the New-York Daily Times on September 18, 1851. Founded by journalist and politician Henry Jarvis Raymond and former banker George Jones, the Times was published by Raymond, Jones & Company. Early investors in the company included Edwin B. Morgan, Christopher Morgan, Edward B. Wesley. Sold for a penny, the inaugural edition attempted to address various speculations on its purpose and positions that preceded its release: We shall be Conservative, in all cases where we think Conservatism essential to the public good.
We do not believe that everything in Society is either right or wrong. In 1852, the newspaper started a western division, The Times of California, which arrived whenever a mail boat from New York docked in California. However, the effort failed. On September 14, 1857, the newspaper shortened its name to The New-York Times. On April 21, 1861, The New York Times began publishing a Sunday edition to offer daily coverage of the Civil War. One of the earliest public controversies it was involved with was the Mortara Affair, the subject of twenty editorials in the Times alone; the main office of The New York Times was attacked during the New York City Draft Riots. The riots, sparked by the beginning of drafting for the Union Army, began on July 13, 1863. On "Newspaper Row", across from City Hall, Henry Raymond stopped the rioters with Gatling guns, early machine guns, one of which he manned himself; the mob diverted, instead attacking the headquarters of abolitionist publisher Horace Greeley's New York Tribune until being forced to flee by the Brooklyn City Police, who had crossed the East River to help the Manhattan authorities.
In 1869, Henry Raymond died, George Jones took over as publisher. The newspaper's influence grew in 1870 and 1871, when it published a series of exposés on William Tweed, leader of the city's Democratic Party—popularly known as "Tammany Hall" —that led to the end of the Tweed Ring's domination of New York's City Hall. Tweed had offered The New York Times five million dollars to not publish the story. In the 1880s, The New York Times transitioned from supporting Republican Party candidates in its editorials to becoming more politically independent and analytical. In 1884, the paper supported Democrat Grover Cleveland in his first presidential campaign. While this move cost The New York Times a portion of its readership among its more progressive and Republican readers, the paper regained most of its lost ground within a few years. After George Jones died in 1891, Charles Ransom Miller and other New York Times editors raised $1 million dollars to buy the Times, printing it under the New York Times Publishing Company.
However, the newspaper was financially crippled by the Panic of 1893, by 1896, the newspaper had a circulation of less than 9,000, was losing $1,000 a day. That year, Adolph Ochs, the publisher of the Chattanooga Times, gained a controlling interest in the company for $75,000. Shortly after assuming control of the paper, Ochs coined the paper's slogan, "All The News That's Fit To Print"; the slogan has appeared in the paper since September 1896, has been printed in a box in the upper left hand corner of the front page since early 1897. The slogan was a jab at competing papers, such as Joseph Pulitzer's New York World and William Randolph Hearst's New York Journal, which were known for a lurid and inaccurate reporting of facts and opinions, described by the end of the century as "yellow journalism". Under Ochs' guidance, aided by Carr
A social class is a set of subjectively defined concepts in the social sciences and political theory centered on models of social stratification in which people are grouped into a set of hierarchical social categories, the most common being the upper and lower classes. "Class" is a subject of analysis for sociologists, political scientists and social historians. However, there is not a consensus on a definition of "class" and the term has a wide range of sometimes conflicting meanings. In common parlance, the term "social class" is synonymous with "socio-economic class", defined as "people having the same social, cultural, political or educational status", e.g. "the working class". However, academics distinguish social class and socioeconomic status, with the former referring to one's stable sociocultural background and the latter referring to one's current social and economic situation and being more changeable over time; the precise measurements of what determines social class in society has varied over time.
Karl Marx thought. His simple understanding of classes in modern capitalist society are the proletariat, those who work but do not own the means of production; this contrasts with the view of the sociologist Max Weber, who argued "class" is determined by economic position, in contrast to "social status" or "Stand", determined by social prestige rather than just relations of production. The term "class" is etymologically derived from the Latin classis, used by census takers to categorize citizens by wealth in order to determine military service obligations. In the late 18th century, the term "class" began to replace classifications such as estates and orders as the primary means of organizing society into hierarchical divisions; this corresponded to a general decrease in significance ascribed to hereditary characteristics and increase in the significance of wealth and income as indicators of position in the social hierarchy. Social class and behavior were sometimes laid down in law. For example, permitted mode of dress in sometimes and places was regulated, with sumptuous dressing only for the high ranks of society and aristocracy, whereas sumptuary laws stipulated the dress and jewelry appropriate for a person's social rank and station.
Definitions of social classes reflect a number of sociological perspectives, informed by anthropology, economics and sociology. The major perspectives have been Marxism and structural functionalism; the common stratum model of class divides society into a simple hierarchy of working class, middle class and upper class. Within academia, two broad schools of definitions emerge: those aligned with 20th-century sociological stratum models of class society and those aligned with the 19th-century historical materialist economic models of the Marxists and anarchists. Another distinction can be drawn between analytical concepts of social class, such as the Marxist and Weberian traditions, as well as the more empirical traditions such as socio-economic status approach, which notes the correlation of income and wealth with social outcomes without implying a particular theory of social structure. For Marx, class is a combination of subjective factors. Objectively, a class shares a common relationship to the means of production.
Subjectively, the members will have some perception of their similarity and common interest. Class consciousness is not an awareness of one's own class interest but is a set of shared views regarding how society should be organized culturally and politically; these class relations are reproduced through time. In Marxist theory, the class structure of the capitalist mode of production is characterized by the conflict between two main classes: the bourgeoisie, the capitalists who own the means of production and the much larger proletariat who must sell their own labour power; this is the fundamental economic structure of work and property, a state of inequality, normalized and reproduced through cultural ideology. Marxists explain the history of "civilized" societies in terms of a war of classes between those who control production and those who produce the goods or services in society. In the Marxist view of capitalism, this is a conflict between wage-workers. For Marxists, class antagonism is rooted in the situation that control over social production entails control over the class which produces goods—in capitalism this is the exploitation of workers by the bourgeoisie.
Furthermore, "in countries where modern civilisation has become developed, a new class of petty bourgeois has been formed". "An industrial army of workmen, under the command of a capitalist, like a real army and sergeants who, while the work is being done, command in the name of the capitalist". Marx makes the argument that, as the bourgeoisie reach a point of wealth accumulation, they hold enough power as the dominant class to shape political institutions and society according to their own interests. Marx goes on to claim that the non-elite class, owing to their large numbers, have the power to overthrow the elite and create an equal society. In The Communist Manifesto, Marx himself argued that it was the goal of the proletariat itself to displace the capitalist system with socialism, changing the so
Philosophy is the study of general and fundamental questions about existence, values, reason and language. Such questions are posed as problems to be studied or resolved; the term was coined by Pythagoras. Philosophical methods include questioning, critical discussion, rational argument, systematic presentation. Classic philosophical questions include: Is it possible to know anything and to prove it? What is most real? Philosophers pose more practical and concrete questions such as: Is there a best way to live? Is it better to be just or unjust? Do humans have free will? "philosophy" encompassed any body of knowledge. From the time of Ancient Greek philosopher Aristotle to the 19th century, "natural philosophy" encompassed astronomy and physics. For example, Newton's 1687 Mathematical Principles of Natural Philosophy became classified as a book of physics. In the 19th century, the growth of modern research universities led academic philosophy and other disciplines to professionalize and specialize.
In the modern era, some investigations that were traditionally part of philosophy became separate academic disciplines, including psychology, sociology and economics. Other investigations related to art, politics, or other pursuits remained part of philosophy. For example, is beauty objective or subjective? Are there many scientific methods or just one? Is political utopia a hopeful dream or hopeless fantasy? Major sub-fields of academic philosophy include metaphysics, ethics, political philosophy and philosophy of science. Traditionally, the term "philosophy" referred to any body of knowledge. In this sense, philosophy is related to religion, natural science and politics. Newton's 1687 Mathematical Principles of Natural Philosophy is classified in the 2000s as a book of physics. In the first part of the first book of his Academics, Cicero introduced the division of philosophy into logic and ethics. Metaphysical philosophy was the study of existence, God, logic and other abstract objects; this division has changed.
Natural philosophy has split into the various natural sciences astronomy, chemistry and cosmology. Moral philosophy still includes value theory. Metaphysical philosophy has birthed formal sciences such as logic and philosophy of science, but still includes epistemology and others. Many philosophical debates that began in ancient times are still debated today. Colin McGinn and others claim. Chalmers and others, by contrast, see progress in philosophy similar to that in science, while Talbot Brewer argued that "progress" is the wrong standard by which to judge philosophical activity. In one general sense, philosophy is associated with wisdom, intellectual culture and a search for knowledge. In that sense, all cultures and literate societies ask philosophical questions such as "how are we to live" and "what is the nature of reality". A broad and impartial conception of philosophy finds a reasoned inquiry into such matters as reality and life in all world civilizations. Western philosophy is the philosophical tradition of the Western world and dates to Pre-Socratic thinkers who were active in Ancient Greece in the 6th century BCE such as Thales and Pythagoras who practiced a "love of wisdom" and were termed physiologoi.
Socrates was a influential philosopher, who insisted that he possessed no wisdom but was a pursuer of wisdom. Western philosophy can be divided into three eras: Ancient, Medieval philosophy, Modern philosophy; the Ancient era was dominated by Greek philosophical schools which arose out of the various pupils of Socrates, such as Plato, who founded the Platonic Academy and his student Aristotle, founding the Peripatetic school, who were both influential in Western tradition. Other traditions include Cynicism, Greek Skepticism and Epicureanism. Important topics covered by the Greeks included metaphysics, the nature of the well-lived life, the possibility of knowledge and the nature of reason. With the rise of the Roman empire, Greek philosophy was increasingly discussed in Latin by Romans such as Cicero and Seneca. Medieval philosophy is the period following the fall of the Western Roman Empire and was dominated by the ris
Spin is an American music magazine founded in 1985 by publisher Bob Guccione, Jr. The magazine stopped running in print in 2012 and runs as a webzine, owned by the Billboard-Hollywood Reporter Media Group division of Valence Media. Spin was established in 1985. In its early years, the magazine was known for its broad music coverage with an emphasis on college rock, indie rock, the ongoing emergence of hip-hop; the magazine was bold, if sometimes haphazard. It pointedly provided a national alternative to Rolling Stone's more establishment-oriented style. Spin prominently placed newer artists such as R. E. M. Prince, Run-D. M. C. Eurythmics, Beastie Boys, Talking Heads on its covers and did lengthy features on established figures such as Bob Dylan, Keith Richards, Miles Davis, Lou Reed, Tom Waits, John Lee Hooker—Bart Bull's article on Hooker won the magazine its first major award. On a cultural level, the magazine devoted significant coverage to punk, alternative country, electronica and world music, experimental rock, jazz of the most adventurous sort, burgeoning underground music scenes, a variety of fringe styles.
Artists such as the Ramones, Patti Smith, Blondie, X, Black Flag, the former members of the Sex Pistols, The Clash, the early punk and New Wave movements were featured in Spin's editorial mix. Spin's extensive coverage of hip-hop music and culture that of contributing editor John Leland, was notable at the time. Editorial contributions by musical and cultural figures included Lydia Lunch, Henry Rollins, David Lee Roth and Dwight Yoakam; the magazine reported on cities such as Austin, Texas, or Glasgow, Scotland, as cultural incubators in the independent music scene. A 1990 article on the contemporary country blues scene brought R. L. Burnside to national attention for the first time. Coverage of American cartoonists, Japanese manga, monster trucks, the AIDS crisis, outsider artists, Twin Peaks, other non-mainstream cultural phenomena distinguished the magazine's dynamic early years. In late 1987, publisher Bob Guccione Jr.'s father, Bob Guccione Sr. abruptly shut the magazine down despite the fact that the two-year-old magazine was considered a success, with a newsstand circulation of 150,000.
Guccione Jr. was able to rally much of his staff, partner with former MTV president and David H. Horowitz, locate additional new investors and offices and after missing a month's publication, returned with a combined November–December issue. During this time, it was published by Camouflage Associates. In 1997, Guccione sold Spin to Miller Publishing. In 1994, two journalists working for the magazine were killed by a landmine while reporting on the Bosnian War in Bosnia and Herzegovina. A third, William T. Vollmann, was injured. In February 2006, Miller Publishing sold the magazine to a San Francisco-based company called the McEvoy Group LLC, the owner of Chronicle Books; that company formed Spin Media LLC as a holding company. The new owners replaced editor-in-chief Sia Michel with a former editor at Blender; the first issue to be published under his brief command was the July 2006 issue—sent to the printer in May 2006—which featured Beyoncé on the cover. Pemberton and Spin parted ways the next month, in June 2006.
The following editor, Doug Brod, was executive editor during Michel's tenure. For Spin's 20th anniversary, it published a book chronicling the prior two decades in music; the book has essays on grunge and emo, among other genres of music, as well as pieces on musical acts including Marilyn Manson, Tupac Shakur, R. E. M. Nirvana, Nine Inch Nails, Limp Bizkit, the Smashing Pumpkins. In February 2012, Spin relaunched the magazine in a larger, bi-monthly format and expanded its online presence, which covered reviews, extended editorials and features on up-and-coming talent. In July 2012, Spin was sold to Buzzmedia, which renamed itself SpinMedia; the September/October 2012 issue of Spin was the magazine's last print edition. In December 2016, Eldridge Industries acquired SpinMedia via the Hollywood Reporter-Billboard Media Group for an undisclosed amount. In 1995, Spin produced its first book, entitled Spin Alternative Record Guide, it compiled writings by 64 music critics on recording artists and bands relevant to the alternative music movement, with each artist's entry featuring their discography and albums reviewed and rated a score between one and ten.
According to Pitchfork Media's Matthew Perpetua, the book featured "the best and brightest writers of the 80s and 90s, many of whom started off in zines but have since become major figures in music criticism," including Rob Sheffield, Byron Coley, Ann Powers, Simon Reynolds, Alex Ross. Although the book was not a sales success, "it inspired a disproportionate number of young readers to pursue music criticism." After the book was published, its entry on 1960s folk artist John Fahey, written by Byron Coley, helped renew interest in Fahey's music, leading to interest from record labels and the alternative music scene. Contributors to Spin have included: SPIN began compiling year-end lists in 1990. Note: The 2000 album of the year was awarded to "your hard drive", acknowledging the impact that filesharing had on the music listening experience in 2000. Kid A was listed as the highest ranking given to an actual album. 1994 roadside attack on Spin magazine journalists Anon.. "Bibliography". In Ray, Michael.
Alternative, Hip-Hop and More: Music from the 1980s to Today. Britannica Educational Publishing. ISBN 1615309101. Mazmanian, Adam. "Library Journal". In White, William. Buyer's Guide. Bowker. Johnston, Maura. "Never Mind The Anglophilia, Here's The Queens Brothers". Idolator. Retrieved Jul
Throwing Muses is an alternative rock band formed in 1981 in Newport, Rhode Island, that toured and recorded extensively until 1997, when its members began concentrating more on other projects. The group was fronted by two lead singers, Kristin Hersh, Tanya Donelly, who both wrote the group's songs. Throwing Muses are known for performing music with shifting tempos, creative chord progressions, unorthodox song structures, surreal lyrics; the group was set apart from other contemporary acts by Hersh's stark, candid writing style. Hersh's hallucinatory, feverish lyrics touch on the subject of mental illness, more drawing portraits of characters from daily life or addressing relationships. Throwing Muses were formed in 1983 by Kristin Hersh and her stepsister Tanya Donelly, who were both attending Rogers High School, they called themselves "Kristin Hersh and the Muses", in which band they were accompanied by bass player Elaine Adamedes and drummer Becca Blumen who were replaced by Leslie Langston and David Narcizo, respectively.
Narcizo did not know how to play the drums but when Hersh told him that Becca Blumen had left the band and he could join, Narcizo said on the subject "I had never played a drum kit before – all I'd played was marching drums and concert drums. We found somebody whose kit we could borrow, but it arrived without cymbals. I learned to play on it without cymbals which became my trademark early on." Throwing Muses released their debut self-titled EP in 1984 on their own Blowing Fuses label. In 1985 they released a set of demos known as The Doghouse Cassette, garnering a number-one college radio hit, "Sinkhole" and extensive coverage in the local music press. Demo producer Gary Smith of Fort Apache Studios led them to sign with 4AD, where they became the label's first American band. Kristin recalls, "I signed with them because Ivo was funny and goofy, and, about it." In 1986 they released their self-titled debut album produced by Gil Norton. Hersh has written the memoir Rat Girl about the year the band moved to Boston, was signed, recorded their first album.
In 1987, Throwing Muses released two EPs, Chains Changed and The Fat Skier, released 6 July. These were followed in 1988 by their second studio album, House Tornado, produced by Gary Smith and engineered by Paul Kolderie; the album was released internationally on the 4AD label, except in the United States, where it was released by Sire Records. Sire used a different album cover for its release, as the label was putting a strong promotional push behind the band, label executives favored a picture of the band over the collage featured on the 4AD release. Both House Tornado and the Fat Skier were combined on a single CD in a release; the band embarked on a tour of the UK, supported by the Pixies, to support House Tornado. In 1989, the band released their third album, produced by Gary Smith and engineered by Steve Haigler; the album saw Hersh experimenting with more conventional melodic structures, although the fractious lyrics remained. The song “Dizzy” was released as a single. In 1990, bassist Leslie Langston left and was replaced by Fred Abong.
Throwing Muses recorded their fourth album, The Real Ramona during the same year. The Real Ramona is considered to have a more poppy sound than their previous records; the song "Counting Backwards" from the album was released a single. Shortly after the album's release in 1991, Tanya Donelly left the Muses to form Belly, taking Abong with her. With Donnelly not being replaced, Throwing Muses opted to continue as a trio, with Bernard Georges replacing Abong on bass. In 1992 the band made a fresh start recording their fifth album Red Heaven at The Power Station and Fort Apache Studios; the album was produced by Throwing Muses and Steve Boyer, featured guest appearances by Leslie Langston and by Hüsker Dü frontman Bob Mould. In 1993, they recorded their sixth album, University. Hersh recorded her debut album and Makers after recording finished on University. Hips and Makers was released first, in 1994, which delayed the release of University until 1995. University gave the band their first national U.
S. hit, "Bright Yellow Gun". The album was favorably reviewed but it did not sell well, which resulted in them being dropped from Sire. Throwing Muses released their seventh album, followed by a tour. However, the band disbanded in 1997 as Kristin Hersh went on to continue her solo career. In March 2003 Throwing Muses came back with their eighth album, Throwing Muses, which saw the return of Tanya Donelly who provided backing vocals on the album. A greatest hits compilation titled Anthology was released in 2011; the band's ninth album, Purgatory / Paradise was released on October 29, 2013 in the UK and November 11 in the US. In early 2014, the band toured a few U. S. cities, with Donelly opening for the East Coast dates. Long-term core lineupBernard Georges: bass Kristin Hersh: vocals, guitar David Narcizo: drums Other membersFred Abong: bass Elaine Adamedes: bass, vocals Becca Blumen: drums, vocals Tanya Donelly: vocals, guitar Leslie Langston: bass Throwing Muses House Tornado Hunkpapa The Real Ramona Red Heaven University (#10, UK Albums Chart.