Music journalism is media criticism and reporting about music topics, including popular music, classical music and traditional music. Journalists began writing about music in the eighteenth century, providing commentary on what is now regarded as classical music. In the 1960s, music journalism began more prominently covering popular music like rock and pop after the breakthrough of The Beatles. With the rise of the internet in the 2000s, music criticism developed an large online presence with music bloggers, aspiring music critics, established critics supplementing print media online. Music journalism today includes reviews of songs and live concerts, profiles of recording artists, reporting of artist news and music events. Music journalism has its roots in classical music criticism, which has traditionally comprised the study, discussion and interpretation of music, composed and notated in a score and the evaluation of the performance of classical songs and pieces, such as symphonies and concertos.
Before about the 1840s, reporting on music was either done by musical journals, such as the Allgemeine musikalische Zeitung and the Neue Zeitschrift für Musik, in London journals such as The Musical Times. An influential English 19th-century music critic, for example, was James William Davison of The Times; the composer Hector Berlioz wrote reviews and criticisms for the Paris press of the 1830s and 1840s. Modern art music journalism is informed by music theory consideration of the many diverse elements of a musical piece or performance, including its form and style, for performance, standards of technique and expression; these standards were expressed, for example, in journals such as Neue Zeitschrift für Musik founded by Robert Schumann, are continued today in the columns of serious newspapers and journals such as The Musical Times. Several factors—including growth of education, the influence of the Romantic movement and in music, among others—led to an increasing interest in music among non-specialist journals, an increase in the number of critics by profession of varying degrees of competence and integrity.
The 1840s could be considered a turning point, in that music critics after the 1840s were not practicing musicians. However, counterexamples include Alfred Brendel, Charles Rosen, Paul Hindemith, Ernst Krenek. In the early 1980s, a decline in the quantity of classical criticism began occurring "when classical-music criticism visibly started to disappear" from the media. At that time, magazines such as Time and Vanity Fair employed classical music critics, but by the early 1990s, classical critics were dropped in many magazines, in part due to "a decline of interest in classical music among younger people". Of concern in classical music journalism was how American reviewers can write about ethnic and folk music from cultures other than their own, such as Indian ragas and traditional Japanese works. In 1990, the World Music Institute interviewed four New York Times music critics who came up with the following criteria on how to approach ethnic music: A review should relate the music to other kinds of music that readers know, to help them understand better what the program was about.
"The performers be treated as human beings and their music be treated as human activity rather than a mystical or mysterious phenomenon." The review should show an understanding of the music's cultural intentions. A key finding in a 2005 study of arts journalism in America was that the profile of the "average classical music critic is a white, 52-year old male, with a graduate degree". Demographics indicated that the group was 74% male, 92% white, 64% had earned a graduate degree. One critic of the study pointed out that because all newspapers were included, including low-circulation regional papers, the female representation of 26% misrepresented the actual scarcity, in that the "large US papers, which are the ones that influence public opinion, have no women classical music critics", with the notable exceptions of Anne Midgette in the New York Times and Wynne Delacoma in the Chicago Sun-Times. In 2007, The New York Times wrote that classical music criticism, which it characterized as "a high-minded endeavor, around at least as long as newspapers", had undergone "a series of hits in recent months" with the elimination, downgrading, or redefinition of critics' jobs at newspapers in Atlanta and elsewhere, citing New York magazine's Peter G. Davis, "one of the most respected voices of the craft, said he had been forced out after 26 years".
Viewing "robust analysis and reportage as vital to the health of the art form", The New York Times stated in 2007 that it continued to maintain "a staff of three full-time classical music critics and three freelancers", noting that classical music criticism had become available on blogs, that a number of other major newspapers "still have full-time classical music critics", including the Los Angeles Times, The Washington Post, The Baltimore Sun, The Philadelphia Inquirer, The Boston Globe. Music writers only started "treating pop and rock music seriously" in 1964 "after the breakthrough of the Beatles". In their
A jukebox is a automated music-playing device a coin-operated machine, that will play a patron's selection from self-contained media. The classic jukebox has buttons with letters and numbers on them that, when entered in combination, are used to play a specific selection. Coin-operated music boxes and player pianos were the first forms of automated coin-operated musical devices; these instruments used paper rolls, metal disks, or metal cylinders to play a musical selection on the instrument, or instruments, enclosed within the device. In the 1890s these devices were joined by machines which used actual recordings instead of physical instruments. In 1890, Louis Glass and William S. Arnold invented the nickel-in-the-slot phonograph, the first of, an Edison Class M Electric Phonograph retrofitted with a device patented under the name of Coin Actuated Attachment for Phonograph; the music was heard via one of four listening tubes. Early designs, upon receiving a coin, unlocked the mechanism, allowing the listener to turn a crank that wound the spring motor and placed the reproducer's stylus in the starting groove.
Exhibitors would equip many of these machines with listening tubes and array them in "phonograph parlors", allowing the patron to select between multiple records, each played on its own machine. Some machines contained carousels and other mechanisms for playing multiple records. Most machines were capable of holding only one musical selection, the automation coming from the ability to play that one selection at will. In 1918 Hobart C. Niblack patented an apparatus that automatically changed records, leading to one of the first selective jukeboxes being introduced in 1927 by the Automated Musical Instrument Company known as AMI. In 1928, Justus P. Seeburg, manufacturing player pianos, combined an electrostatic loudspeaker with a record player, coin-operated, gave the listener a choice of eight records; this Audiophone machine was wide and bulky, had eight separate turntables mounted on a rotating Ferris wheel-like device, allowing patrons to select from eight different records. Versions of the jukebox included Seeburg's Selectophone, with 10 turntables mounted vertically on a spindle.
By maneuvering the tone arm up and down, the customer could select from 10 different records. Greater levels of automation were introduced; as electrical recording and amplification improved there was increased demand for coin-operated phonographs. The word "jukebox" came into use in the United States beginning in 1940 derived from the familiar usage "juke joint", derived from the Gullah word "juke" or "joog", meaning disorderly, rowdy, or wicked; as it applies to the'use of a jukebox', the terms juking and juker are the correct expressions. Song-popularity counters told the owner of the machine the number of times each record was played, with the result that popular records remained, while lesser-played songs could be replaced. Wallboxes were an important, profitable, part of any jukebox installation. Serving as a remote control, they enabled patrons to select tunes from their booth. One example is the Seeburg 3W1, introduced in 1949 as companion to the 100-selection Model M100A jukebox. Stereo sound became popular in the early 1960s, wallboxes of the era were designed with built-in speakers to provide patrons a sample of this latest technology.
Playing music recorded on wax cylinders, the shellac 78 rpm record dominated jukeboxes in the early part of the 20th century. The Seeburg Corporation introduced an all 45 rpm vinyl record jukebox in 1950. 33⅓ RPM, CDs, videos on DVDs were all introduced and used in the last decades of the century. MP3 downloads, Internet-connected media players came in at the start of the 21st century; the jukebox's history has followed the wave of technological improvements in music reproduction and distribution. With its large speaker size, facilitating low-frequency reproduction, large amplifier, the jukebox played sound with higher quality and volume than the listener could in his or her home, sometimes music with a "beat". Jukeboxes were most popular from the 1940s through the mid-1960s during the 1950s. By the middle of the 1940s, three-quarters of the records produced in America went into jukeboxes. While associated with early rock and roll music, their popularity extends back much earlier, including classical music and the swing music era.
In 1977, The Kinks recorded. Styling progressed from the plain wooden boxes in the early thirties to beautiful light shows with marbleized plastic and color animation in the Wurlitzer 850 Peacock of 1941, but after the United States entered the war and plastic were needed for the war effort. Jukeboxes were considered "nonessential", none were produced until 1946; the 1942 Wurlitzer 950 featured wooden coin chutes to save on metal. At the end of the war, in 1946, jukebox production resumed and several "new" companies joined the fray. Jukeboxes started to offer visual attractions: bubbles, circles of changing color which came on when a sound was played. Models designed and produced in the late 20th century needed more panel space for the increased number of record titles they needed to present for selection, reducing the space available for decoration, leading to less ornate styling in favor of functionality and less maintenance. Many manufacturers produced jukeboxes, including 1890s Wurlitzer, 1920s Seebur
An extended play record referred to as an EP, is a musical recording that contains more tracks than a single, but is unqualified as an album or LP. Contemporary EPs contain a minimum of three tracks and maximum of six tracks, are considered "less expensive and time-consuming" for an artist to produce than an album. An EP referred to specific types of vinyl records other than 78 rpm standard play and LP, but it is now applied to mid-length CDs and downloads as well. Ricardo Baca of The Denver Post said, "EPs—originally extended-play'single' releases that are shorter than traditional albums—have long been popular with punk and indie bands." In the United Kingdom, the Official Chart Company defines a boundary between EP and album classification at 25 minutes of maximum length and no more than four tracks. EPs were released in various sizes in different eras; the earliest multi-track records, issued around 1919 by Grey Gull Records, were vertically cut 78 rpm discs known as "2-in-1" records. These had finer than usual grooves, like Edison Disc Records.
By 1949, when the 45 rpm single and 331⁄3 rpm LP were competing formats, seven-inch 45 rpm singles had a maximum playing time of only about four minutes per side. As an attempt to compete with the LP introduced in 1948 by rival Columbia, RCA Victor introduced "Extended Play" 45s during 1952, their narrower grooves, achieved by lowering the cutting levels and sound compression optionally, enabled them to hold up to 7.5 minutes per side—but still be played by a standard 45 rpm phonograph. These were 10-inch LPs split onto two seven-inch EPs or 12-inch LPs split onto three seven-inch EPs, either sold separately or together in gatefold covers; this practice became much less common with the advent of triple-speed-available phonographs. Some classical music albums released at the beginning of the LP era were distributed as EP albums—notably, the seven operas that Arturo Toscanini conducted on radio between 1944 and 1954; these opera EPs broadcast on the NBC Radio network and manufactured by RCA, which owned the NBC network were made available both in 45 rpm and 331⁄3 rpm.
In the 1990s, they began appearing on compact discs. RCA had success in the format with their top money earner, Elvis Presley, issuing 28 Elvis EPs between 1956 and 1967, many of which topped the separate Billboard EP chart during its brief existence. During the 1950s, RCA published several EP albums of Walt Disney movies, containing both the story and the songs; these featured the original casts of actors and actresses. Each album contained two seven-inch records, plus a illustrated booklet containing the text of the recording so that children could follow along by reading; some of the titles included Snow White and the Seven Dwarfs and what was a recent release, the movie version of 20,000 Leagues Under the Sea, presented in 1954. The recording and publishing of 20,000 was unusual: it did not employ the movie's cast, years a 12 in 33⅓ rpm album, with a nearly identical script, but another different cast, was sold by Disneyland Records in conjunction with the re-release of the movie in 1963.
Because of the popularity of 7" and other formats, SP records became less popular and the production of SPs in Japan was suspended in 1963. In the 1950s and 1960s, EPs were compilations of singles or album samplers and were played at 45 rpm on seven-inch discs, with two songs on each side. Other than those published by RCA, EPs were uncommon in the United States and Canada, but they were sold in the United Kingdom, in some other European countries, during the 1950s and 1960s. Record Retailer printed the first EP chart in 1960; the New Musical Express, Melody Maker and Music Echo and the Record Mirror continued to list EPs on their respective singles charts. The Beatles' Twist and Shout outsold most singles for some weeks in 1963; when the BBC and Record Retailer commissioned the British Market Research Bureau to compile a chart it was restricted to singles and EPs disappeared from the listings. In the Philippines, seven-inch EPs marketed as "mini-LPs" were introduced in 1970, with tracks selected from an album and packaging resembling the album they were taken from.
This mini-LP format became popular in America in the early 1970s for promotional releases, for use in jukeboxes. Stevie Wonder included a bonus four-song EP with his double LP Songs in the Key of Life in 1976. During the 1970s and 1980s, there was less standardization and EPs were made on seven-inch, 10-inch or 12-inch discs running either 331⁄3 or 45 rpm; some novelty EPs used odd shapes and colors, a few of them were picture discs. Alice in Chains was the first band to have an EP reach number one on the Billboard album chart, its EP, Jar of Flies, was released on January 25, 1994. In 2004, Linkin Park and Jay-Z's collaboration EP, Collision Course, was the next to reach the number one spot after Alice in Chains. In 2010, the cast of the television series Glee became the first artist to have two EPs reach number one, with Glee: The Music, The Power of Madonna on the week of May 8, 2010, Glee: The Music, Journey to Regionals on the week of June 26, 2010. In 2010, Warner Bros. Records revived the format with their "Six-Pak" offering of six songs on a compact disc.
The first EPs were seven-inch vinyl records with more tracks than a normal single. Although they shared size and speed with singles, they were a recognizably different format than the seven-inch single. Alth
Okeh Records is an American record label founded by the Otto Heinemann Phonograph Corporation, a phonograph supplier established in 1916, which branched out into phonograph records in 1918. The name was spelled "OkeH", formed from the initials of Otto K. E. Heinemann, but changed to "OKeh". Since 1926, Okeh has been a subsidiary of Columbia Records, now itself a subsidiary of Sony Music. Today, Okeh is an imprint of a specialty label of Columbia. Okeh was founded by Otto K. E. Heinemann, a German-American manager for the U. S. branch of Odeon Records, owned by Carl Lindstrom. In 1916, Heinemann incorporated the Otto Heinemann Phonograph Corporation, set up a recording studio and pressing plant in New York City, started the label in 1918; the first discs were vertical cut, but the more common lateral-cut method was used. The label's parent company was renamed the General Phonograph Corporation, the name on its record labels was changed to OKeh; the common 10-inch discs retailed for 75 cents each, the 12-inch discs for $1.25.
The company's musical director was Fred Hager, credited under the pseudonym Milo Rega. Okeh issued popular songs, dance numbers, vaudeville skits similar to other labels, but Heinemann wanted to provide music for audiences neglected by the larger record companies. Okeh produced lines of recordings in German, Polish and Yiddish for immigrant communities in the United States; some were pressed from masters leased from European labels, while others were recorded by Okeh in New York. Okeh's early releases included music by the New Orleans Jazz Band. In 1920, Perry Bradford encouraged Fred Hager, the director of artists and repertoire, to record blues singer Mamie Smith; the records were popular, the label issued a series of race records directed by Clarence Williams in New York City and Richard M. Jones in Chicago. From 1921–1932, this series included music by Williams, Lonnie Johnson, King Oliver, Louis Armstrong. Recording for the label were Bix Beiderbecke, Bennie Moten, Frankie Trumbauer, Eddie Lang.
As part of the Carl Lindström Company, Okeh's recordings were distributed by other labels owned by Lindstrom, including Parlophone in the UK. In 1926, Okeh was sold to Columbia Records. Ownership changed to the American Record Corporation in 1934, the race records series from the 1920s ended. CBS bought the company in 1938. OkeH was a label for rhythm and blues during the 1950s, but jazz albums continued to be released, as in the work of Wild Bill Davis and Red Saunders. General Phonograph Corporation used Mamie Smith's popular song "Crazy Blues" to cultivate a new market. Portraits of Smith and lists of her records were printed in advertisements in newspapers such as the Chicago Defender, the Atlanta Independent, New York Colored News, others popular with African-Americans. Okeh had further prominence in the demographic, as African-American musicians Sara Martin, Eva Taylor, Shelton Brooks, Esther Bigeou, Handy's Orchestra recorded for the label. Okeh issued the 8000 series for race records; the success of this series led Okeh to start recording music where it was being performed, known as remote recording or location recording.
Starting in 1923, Okeh sent mobile recording equipment to tour the country and record performers not heard in New York or Chicago. Regular trips were made once or twice a year to New Orleans, San Antonio, St. Louis, Kansas City, Detroit. Okeh releases grew infrequent after 1932, although the label continued into 1935. In 1940, after Columbia lost the rights to the Vocalion name by dropping the Brunswick label, the Okeh name was revived to replace it; the script logo design still in use today was introduced on a demonstration record announcing that event. The label was again discontinued in 1946 and revived yet again in 1951. In 1953, Okeh became an exclusive R&B label when its parent Columbia Records transferred Okeh's pop music artists to the newly formed Epic Records. In 1963, Carl Davis boosted Okeh's fortunes for a couple of years. Epic Records took over management of Okeh in 1965. Among the artists during Okeh's pop phase of the 50s and 60s were Johnnie Ray and Little Joe & the Thrillers. With soul music becoming popular in the 1960s, Okeh signed Major Lance, who gave the label two big successes with "The Monkey Time" and "Um, Um, Um, Um, Um, Um".
Fifties rocker Larry Williams found a musical home for a period of time in the 60s, recording and producing funky soul with a band that included Johnny "Guitar" Watson. He was paired with Little Richard, persuaded to return to secular music, he produced two Little Richard albums for Okeh Records in 1966 and 1967, which returned Little Richard to the Billboard album chart for the first time in ten years and produced the hit single "Poor Dog". He acted as the music director for Little Richard's live performances at the Okeh Club in Los Angeles. Bookings for Little Richard during this period skyrocketed. Williams recorded and released material of his own and with Watson, with some moderate chart success; this period produced some of Williams's best and most original work. Much of the success of Okeh in the 1960s was dependent on producer Carl Davis and songwriter Curtis Mayfield. After they left the label, Okeh slipped in sales and was retired by Columbia in 1970. In 1993, Sony Music reactivated the Okeh label as a new-age blues label.
Okeh's first new signings included G. Love & Special Sauce, Keb' Mo, Popa Chubby, Little Axe. Throughout the first year, in celeb
Pop music is a genre of popular music that originated in its modern form in the United States and United Kingdom 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 differentiated 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 is eclectic, borrows elements from other styles such as urban, rock and country. Identifying factors include short to medium-length songs written in a basic format, as well as common use of repeated choruses, melodic tunes, 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. Throughout its development, pop music has absorbed influences from other genres of popular music. Early pop music drew on the sentimental ballad for its form, gained its use of vocal harmonies from gospel and soul music, instrumentation from jazz and rock music, orchestration from classical music, tempo from dance music, backing from electronic music, rhythmic elements from hip-hop music, spoken passages from rap. In the 1960s, the majority of mainstream pop music fell in two categories: guitar and bass groups or singers
Blues is a music genre and musical form, originated in the Deep South of the United States around the 1870s by African Americans from roots in African musical traditions, African-American work songs and the folk music of white Americans of European heritage. Blues incorporated spirituals, work songs, field hollers, shouts and rhymed simple narrative ballads; the blues form, ubiquitous in jazz and blues and rock and roll, is characterized by the call-and-response pattern, the blues scale and specific chord progressions, of which the twelve-bar blues is the most common. Blue notes thirds or fifths flattened in pitch, are an essential part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect known as the groove. Blues as a genre is characterized by its lyrics, bass lines, instrumentation. Early traditional blues verses consisted of a single line repeated four times, it was only in the first decades of the 20th century that the most common current structure became standard: the AAB pattern, consisting of a line sung over the four first bars, its repetition over the next four, a longer concluding line over the last bars.
Early blues took the form of a loose narrative relating the racial discrimination and other challenges experienced by African-Americans. Many elements, such as the call-and-response format and the use of blue notes, can be traced back to the music of Africa; the origins of the blues are closely related to the religious music of the Afro-American community, the spirituals. The first appearance of the blues is dated to after the ending of slavery and the development of juke joints, it is associated with the newly acquired freedom of the former slaves. Chroniclers began to report about blues music at the dawn of the 20th century; the first publication of blues sheet music was in 1908. Blues has since evolved from unaccompanied vocal music and oral traditions of slaves into a wide variety of styles and subgenres. Blues subgenres include country blues, such as Delta blues and Piedmont blues, as well as urban blues styles such as Chicago blues and West Coast blues. World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience white listeners.
In the 1960s and 1970s, a hybrid form called blues rock developed, which blended blues styles with rock music. The term Blues may have come from "blue devils", meaning sadness; the phrase blue devils may have been derived from Britain in the 1600s, when the term referred to the "intense visual hallucinations that can accompany severe alcohol withdrawal". As time went on, the phrase lost the reference to devils, "it came to mean a state of agitation or depression." By the 1800s in the United States, the term blues was associated with drinking alcohol, a meaning which survives in the phrase blue law, which prohibits the sale of alcohol on Sunday. Though the use of the phrase in African-American music may be older, it has been attested to in print since 1912, when Hart Wand's "Dallas Blues" became the first copyrighted blues composition. In lyrics the phrase is used to describe a depressed mood, it is in this sense of a sad state of mind that one of the earliest recorded references to "the blues" was written by Charlotte Forten aged 25, in her diary on December 14, 1862.
She was a free-born black from Pennsylvania, working as a schoolteacher in South Carolina, instructing both slaves and freedmen, wrote that she "came home with the blues" because she felt lonesome and pitied herself. She overcame her depression and noted a number of songs, such as Poor Rosy, that were popular among the slaves. Although she admitted being unable to describe the manner of singing she heard, Forten wrote that the songs "can't be sung without a full heart and a troubled spirit", conditions that have inspired countless blues songs; the lyrics of early traditional blues verses often consisted of a single line repeated four times. It was only in the first decades of the 20th century that the most common current structure became standard: the so-called "AAB" pattern, consisting of a line sung over the four first bars, its repetition over the next four, a longer concluding line over the last bars. Two of the first published blues songs, "Dallas Blues" and "Saint Louis Blues", were 12-bar blues with the AAB lyric structure.
W. C. Handy wrote; the lines are sung following a pattern closer to rhythmic talk than to a melody. Early blues took the form of a loose narrative. African-American singers voiced his or her "personal woes in a world of harsh reality: a lost love, the cruelty of police officers, oppression at the hands of white folk, hard times"; this melancholy has led to the suggestion of an Igbo origin for blues because of the reputation the Igbo had throughout plantations in the Americas for their melancholic music and outlook on life when they were enslaved. The lyrics relate troubles experienced within African American society. For instance Blind Lemon Jefferson's "Rising High Water Blues" tells of the Great Mississippi Flood of 1927: "Backwater rising, Southern peoples can't make no time I said, backwater rising, Southern peoples can't make no time And I can't get no hearing from that Memphis girl of mine."Although the blues gained an association with misery and oppression, the lyrics could be humorous and raunchy: "Rebecca, get your big legs off of me, Rebecca, get your big legs off of m
A nickname is a substitute for the proper name of a familiar person, place, or thing - used for affection. The term hypocoristic is used to refer to a nickname of affection between those in love or with a close emotional bond, compared with a term of endearment, it is a form of amusement. As a concept, it is distinct from both pseudonym and stage name, from a title, although there may be overlap in these concepts. "Moniker" means a nickname or personal name.. The compound word ekename meaning "additional name", was attested as early as 1303; this word was derived from the Old English phrase eaca "an increase", related to eacian "to increase". By the 15th century, the misdivision of the syllables of the phrase "an ekename" led to its rephrasing as "a nekename". Though the spelling has changed, the pronunciation and meaning of the word have remained stable since. To inform an audience or readership of a person's nickname without calling them by their nickname, English nicknames are represented in quotes between the bearer's first and last names.
However, it is common for the nickname to be identified after a comma following the full real name or in the body of the text, such as in an obituary. The middle name is eliminated in speech. Like English, German uses quotation marks between the last names. Other languages may use other conventions; the latter may cause confusion because it resembles an English convention sometimes used for married and maiden names. In Viking societies, many people had heiti, viðrnefni, or kenningarnöfn which were used in addition to, or instead of the first name. In some circumstances, the giving of a nickname had a special status in Viking society in that it created a relationship between the name maker and the recipient of the nickname, to the extent that the creation of a nickname often entailed a formal ceremony and an exchange of gifts known in Old Norse as nafnfestr. Slaves have used nicknames, so that the master who heard about someone doing something could not identify the slave. In capoeira, a Brazilian martial art, the slaves had nicknames to protect them from being caught, as practising capoeira was illegal for decades.
In Anglo-American culture, a nickname is based on a shortening of a person's proper name. However, in other societies, this may not be the case. For example: "my nickname is farmer Phil" In Indian society, for example people have at least one nickname and these affection names are not related to the person's proper name. Indian nicknames often are a trivial word or a diminutive. In Hispanic culture, a nickname is used for a term of endearment and family love, for example: "Papi", it is a colloquial term for “daddy” in Spanish, but in many Spanish-speaking cultures in the Caribbean, it is used as a general term of affection for any man, whether it's a relative, friend, or love. In Australian society, Australian men will give ironic nicknames. For example, a man with red hair will be given the nickname'Blue' or'Bluey'. A tall man will be called ` an obese person ` Slim' and so on. In England, some nicknames are traditionally associated with a person's surname. A man with the surname'Clark' will be nicknamed'Nobby': the surname'Miller' will have the nickname'Dusty': the surname'Adams' has the nickname'Nabby'.
There are several other nicknames linked traditionally with a person's surname, including Chalky White, Bunny Warren, Tug Wilson, Spud Baker. Other English nicknames allude to a person's origins. A Scotsman may be nicknamed'Jock', an Irishman'Paddy' or'Mick', a Welshman may be nicknamed'Taffy'; some nicknames referred to a person's physical characteristics, such as'Lofty' for a short person, or'Curly' for a bald man. Traditional English nicknaming - for men rather than women - was common through the first half of the 20th century, was used in the armed services during World War I and World War II, but has become less common since then. In Chinese culture, nicknames are used within a community among relatives and neighbors. A typical southern Chinese nickname begins with a "阿" followed by another character the last character of the person's given name. For example, Taiwanese politician Chen Shui-bian is sometimes referred as "阿扁". In many Chinese communities of Southeast Asia, nicknames may connote one's occupation or status.
For example, the landlord might be known as Towkay to his tenants or workers while a bread seller would be called "Mianbao Shu" 面包叔. Among Cantonese-speaking communities, the character "仔" may be used in a similar context of "Junior" in Western naming practices. Many writers, performing artists, actors have nicknames, which may