Steffen Brandt is a Danish singer-songwriter and composer. Since 1981 he has been lead singer of rock group TV-2, as he wrote both text and music to all the group's songs. In 2003 he received the Modersmål language award for his contribution to music in the Danish language. Steffen Brandt discography at Discogs
Folk rock is a hybrid music genre combining elements of folk music and rock music, which arose in the United States and the United Kingdom in the mid-1960s. In the U. S. folk rock emerged from the folk music revival and the influence that the Beatles and other British Invasion bands had on members of that movement. Performers such as Bob Dylan and the Byrds—several of whose members had earlier played in folk ensembles—attempted to blend the sounds of rock with their preexisting folk repertoire, adopting the use of electric instrumentation and drums in a way discouraged in the U. S. folk community. The term "folk rock" was used in the U. S. music press in June 1965 to describe the Byrds' music. The commercial success of the Byrds' cover version of Dylan's "Mr. Tambourine Man" and their debut album of the same name, along with Dylan's own recordings with rock instrumentation—on the albums Bringing It All Back Home, Highway 61 Revisited, Blonde on Blonde —encouraged other folk acts, such as Simon & Garfunkel, to use electric backing on their records and new groups, such as Buffalo Springfield, to form.
Dylan's controversial appearance at the Newport Folk Festival on 25 July 1965, where he was backed by an electric band, was a pivotal moment in the development of the genre. During the late 1960s in Britain and Europe, a distinct, eclectic British folk rock style was created by Pentangle, Fairport Convention and Alan Stivell. Inspired by British psychedelic folk and the North American style of folk rock, British folk rock bands began to incorporate elements of traditional British folk music into their repertoire, leading to other variants, including the overtly English folk rock of the Albion Band and Celtic rock. In its earliest and narrowest sense, the term "folk rock" refers to the blending of elements of folk music and rock music, which arose in the U. S. and UK in the mid-1960s. The genre was pioneered by the Byrds, who began playing traditional folk music and songs by Bob Dylan with rock instrumentation, in a style influenced by the Beatles and other British Invasion bands; the term "folk rock" was coined by the U.
S. music press to describe the Byrds' music in June 1965, the month in which the band's debut album was issued. Dylan contributed to the creation of the genre, with his recordings utilizing rock instrumentation on the albums Bringing It All Back Home, Highway 61 Revisited, Blonde on Blonde. In a broader sense, folk rock encompasses inspired musical genres and movements in different regions of the world. Folk rock may lean more towards either folk or rock in instrumentation and vocal style, choice of material. While the original genre draws on music of Europe and North America, there is no clear delineation of which other culture's music might be included as influences; the term is not associated with blues-based rock music, African American music, Cajun-based rock music, nor music with non-European folk roots. There are some exceptions; the American folk-music revival began during the 1940s. In 1948, Seeger formed the Weavers, whose mainstream popularity set the stage for the folk revival of the 1950s and early 1960s and served to bridge the gap between folk, popular music, topical song.
The Weavers' sound and repertoire of traditional folk material and topical songs directly inspired the Kingston Trio, a three-piece folk group who came to prominence in 1958 with their hit recording of "Tom Dooley". The Kingston Trio provided the template for a flood of "collegiate folk" groups between 1958 and 1962. At the same time as these "collegiate folk" vocal groups came to national prominence, a second group of urban folk revivalists, influenced by the music and guitar picking styles of folk and blues artist such as Woody Guthrie, Lead Belly, Brownie McGhee, Josh White came to the fore. Many of these urban revivalists were influenced by recordings of traditional American music from the 1920s and 1930s, reissued by Folkways Records. While this urban folk revival flourished in many cities, New York City, with its burgeoning Greenwich Village coffeehouse scene and population of topical folk singers, was regarded as the centre of the movement. Out of this fertile environment came such folk-protest luminaries as Bob Dylan, Tom Paxton, Phil Ochs, Peter and Mary, many of whom would transition into folk rock performers as the 1960s progressed.
The vast majority of the urban folk revivalists shared a disdain for the values of mainstream American mass culture and led many folk singers to begin composing their own "protest" material. The influence of this folk-protest movement would manifest itself in the sociopolitical lyrics and mildly anti-establishment sentiments of many folk rock songs, including hit singles such as "Eve of Destruction", "Like a Rolling Stone", "For What It's Worth", "Let's Live for Today". During the 1950s and early 1960s in the UK, a parallel folk revival referred to as the second British folk revival, was led by folk singers Ewan MacColl and Bert Lloyd. Both viewed British folk music as a vehicle for leftist political concepts and an antidote to the American-dominated popular music of the time. However, it wasn't until 1956 and the advent of the skiffle craze that the British folk revival crossed over into the mainstream and connected with British youth culture. Skiffle renewed popularity of folk music forms in Britain and led directly to the progressive folk movement and the attendant B
Aarhus is the second-largest city in Denmark and the seat of Aarhus municipality. It is located on the east coast of the Jutland peninsula, in the geographical centre of Denmark, 187 kilometres northwest of Copenhagen and 289 kilometres north of Hamburg, Germany; the inner urban area contains 273,077 inhabitants and the municipal population is 340,421. Aarhus is the central city in Business Region Aarhus and in the East Jutland metropolitan area, which had a total population of 1.378 million in 2016. The history of Aarhus began as a fortified Viking settlement founded in the 8th century and with the first written records stemming from the bishopric seated here from at least 948; the city was founded on the northern shores of a fjord at a natural harbour and the primary driver of growth was for centuries seaborne trade in agricultural products. Market town privileges were granted in 1441, but growth stagnated in the 17th century as the city suffered blockades and bombardments during the Swedish Wars.
In the 19th century it was occupied twice by German troops during the Schleswig Wars but avoided destruction. As the industrial revolution took hold, the city grew to become the second-largest in the country by the 20th century. Today, Aarhus is at the cultural and economic core of the region and the largest centre for trade and industry in Jutland; the city ranks as the 92nd largest city in the European Union, as number 234 among world cities. It is a top 100 conference city in the world. Aarhus is the principal industrial port of the country in terms of container handling and an important trade hub in Kattegat. Major Danish companies have based their headquarters here and people commute for work and leisure from a wide area in Region Midtjylland, it is a centre for research and education in the Nordic countries and home to Aarhus University, Scandinavia's largest university, including Aarhus University Hospital and INCUBA Science Park. Being the Danish city with the youngest demographics, with 48,482 inhabitants aged under 18, Aarhus is the second fastest growing Danish city, with an average growth of 4,500 people per annum since 2008.
Aarhus is known for its musical history. In the 1950s, many jazz clubs sprang up around the city, fuelled by the young population. By the 1960s, the music scene diversified into rock and other genres. In the 1970s and 1980s, Aarhus became the centre for Denmark's rock music, fostering many iconic bands such as Kliché, TV-2 and Gnags. Aarhus is home to the annual eight-day Aarhus International Jazz Festival, the SPoT Festival, the NorthSide Festival. In 2017, Aarhus was European Capital of Culture along with Paphos in Cyprus. In Valdemar's Census Book the city was called Arus, in Icelandic it was known as Aros written as Aars, it is a compound of the two words ár, genitive of á, oss. The name originates from the city's location around the mouth of Aarhus Å; the spelling "Aarhus" is first found in 1406 and became the norm in the 17th century. With the Danish spelling reform of 1948, "Aa" was changed to "Å"; some Danish cities resisted the new spelling of their names, notably Aabenraa. Århus city council explicitly embraced the new spelling, as it was thought to enhance an image of progressiveness.
In 2010, the city council voted to change the name from Århus to Aarhus to strengthen the international profile of the city. The renaming came into effect on 1 January 2011. Certain geographically affiliated names have been updated to reflect the name of the city, such as the Aarhus River, changed from Århus Å to Aarhus Å, it is still grammatically correct to write geographical names with the letter Å and local councils are allowed to use the Aa spelling as an alternative. Whichever spelling local authorities choose, most newspapers and public institutions will accept it; some official authorities such as the Danish Language Committee, publisher of the Danish Orthographic Dictionary, still retain Århus as the main name, providing Aarhus as a new, second option, in brackets and some institutions are still using Århus explicitly in their official name, such as the local newsmedia Århus Stiftstidende and the schools Århus Kunstakademi and Århus Statsgymnasium for example. It is notable. "Aa" was used by some major institutions between 1948-2011 as well, such as Aarhus university or the largest local sports club, Aarhus Gymnastikforening, who have never used the "Å"-spelling.
Founded in the early Viking Age, Aarhus is one of the oldest cities in Denmark, along with Ribe and Hedeby. Archaeological evidence under the Aros settlement's defences indicate the site was a town as early as the last quarter of the 8th century earlier than had been supposed. Discoveries after a 2003 archaeological dig unearthed half-buried longhouses, glass pearls and a road dated to the late 700s. Archaeologists have conducted several excavations in the inner city since the 1960s revealing wells, streets and workshops. In the buildings and adjoining archaeological layers, everyday utensils like combs and basic multi-purpose tools from the year 900 have been found; the centre of Aarhus was once a pagan burial site until Aarhus's first church, Holy Trinity Church, a timber structure, was built upon it during the reign of Frode, King of Jutland, around 900. In the 900s an earth rampart for the defence of the early city was constructed, encircling the settlement, much like the defence structures found at Viking ring fortresses elsewhere.
The rampart was
Danish Culture Canon
The Danish Culture Canon consists of 108 works of cultural excellence in eight categories: architecture, visual arts and crafts, literature, performing arts, children's culture. An initiative of Brian Mikkelsen in 2004, it was developed by a series of committees under the auspices of the Danish Ministry of Culture in 2006–2007 as "a collection and presentation of the greatest, most important works of Denmark's cultural heritage." Each category contains 12 works although music contains 12 works of score music and 12 of popular music and the literature section's 12th item is an anthology of 24 works. The committee for architecture was asked to choose 12 works covering landscaping, it was decided that works could either be in Denmark designed by one or more Danes or abroad designed by Danish architects. The committee consisted of: Lone Wiggers, Carsten Juel-Christiansen, Malene Hauxner, Lars Juel Thiis and Kent Martinussen; the committee for visual arts decided that only works of artists who had completed their oeuvre could be included.
They decided that members of the committee could each select a work they appreciated. In this way the committee first selected; the committee consisted of Hein Heinsen, Hans Edvard Nørregård-Nielsen, Bente Scavenius, Bjørn Nørgaard and Sophia Kalkau. The committee for design and crafts decided that selection should be based on works with a useful function which were relevant at the time they were created while remaining recognizable today, they should fall into an international perspective. The committee consisted of Merete Ahnfeldt-Mollerup, Erik Magnussen, Astrid Krogh, Ursula Munch-Petersen and Louise Campbell. In their selection, the committee for film focused on films reflecting Danish life with Danish actors; the included the film Sult which takes place in Oslo and has Swedish actors. The committee consisted of Susanne Bier, Vinca Wiedemann, Tivi Magnusson, Ole Michelsen and Jacob Neiiendam; the committee for literature found it important to select works with a quality, appreciated over time.
The selected works were considered to have made an important contribution both to Danish literature and to Danish culture in the widest sense. They reflect an bold artistic approach to works of value, they are worthy of being preserved for posterity as they serve as reference points in a modern global context. The committee consisted of Finn Hauberg Mortensen, Erik A. Nielsen, Mette Winge, Claes Kastholm Hansen and Jens Christian Grøndahl; the 12th item is an Anthology of lyrics consisting of the following 24 works: The committee for music explained that, taking account of the wide range of Danish music, they gave focus to individual works rather than a composer's oeuvre. They presented two lists: one for what they called score music, the other for popular music, although the two should be considered as a whole; the committee consisted of Per Erik Veng, Jørgen I. Jensen, Torben Bille, Inger Sørensen and Henrik Marstal; the 12th item titled Højskolesange consists of the following 12 songs: The 12th item Evergreens is an anthology consisting of the following works: The committee for performing arts explained that their selection was based on works of unique creativity representing something new for their time while still remaining meaningful today.
The committee consisted of Flemming Enevold, Karen-Maria Bille, Jokum Rohde, Sonja Richter and Erik Aschengreen. The committee was formed spontaneously, it is therefore not an independent selection. According to press reports, the canon has had limited impact and has been ineffective in its stated goal of fostering integration between the Danes and the immigrant communities. Berlingske pointed out that the canon will remain a milestone as a non-socialist government had dared to "simply state that some works are better than others" and assert in that "this country may well be a modern society in a globalised world but that does not mean we have no merit as a nation or no right to national pride." Erik A. Nielsen, a member of the canon's literature committee, is not surprised the literature canon has had such limited effect, faced as it is with a "tsunami of international commercial cultural interests." He points out that the only reason his students take an interest in Danish culture is that "they have to take exams in it.
If they are free to choose culture themselves, they go for films, rock music and a whole lot more, English or American in origin. "Kulturkanon", PDF Copy of the Website from 2006 Danish Ministry of Culture: Kulturkanonen PDF
Kraftwerk is a German band formed in Düsseldorf in 1970 by Ralf Hütter and Florian Schneider. Considered to be innovators and pioneers of electronic music, they were among the first successful acts to popularize the genre; the group began as part of West Germany's experimental krautrock scene in the early 1970s before embracing electronic instrumentation, including synthesizers, drum machines and home-made experimental musical instruments. On commercially successful albums such as Autobahn, Trans-Europe Express, The Man-Machine, Kraftwerk developed a self-described "robot pop" style that combined electronic music with pop melodies, sparse arrangements, repetitive rhythms, while adopting a stylized image including matching suits; the band’s work would exert a lasting and profound influence across many genres of modern music, including synthpop, hip hop, post-punk, techno and club music, inspired a wide and diverse range of artists. According to The Observer, "no other band since the Beatles has given so much to pop culture."
Following the release of Electric Café, member Wolfgang Flür left the group in 1987. Founding member Schneider departed in 2008. In 2014, the Recording Academy honored Kraftwerk with a Grammy Lifetime Achievement Award, their latest album 3-D The Catalogue was released in 2017. As of 2019, the remaining members of the band continue to tour. Florian Schneider and Ralf Hütter met as students at the Robert Schumann Hochschule in Düsseldorf in the late 1960s, participating in the German experimental music and art scene of the time, which the Melody Maker jokingly dubbed "krautrock", they joined a quintet known as Organisation, which released one album, Tone Float in 1969, issued on RCA Records in the UK, split shortly thereafter. Schneider became interested in synthesizers deciding to acquire one in 1970. While visiting an exhibition in their hometown about visual artists Gilbert and George, they saw "two men wearing suits and ties, claiming to bring art into everyday life; the same year, Hütter and Schneider start bringing everyday life into art and form Kraftwerk".
Early Kraftwerk line-ups from 1970 to 1974 fluctuated, as Hütter and Schneider worked with around a half-dozen other musicians during the preparations for and the recording of three albums and sporadic live appearances, most notably guitarist Michael Rother and drummer Klaus Dinger, who left to form Neu! The only constant figure in these line-ups was Schneider, whose main instrument at the time was the flute. Hütter, who left the band for eight months, keyboards, their first three albums were free-form experimental rock without the pop hooks or the more disciplined song structure of work. Kraftwerk, released in 1970, Kraftwerk 2, released in 1972, were exploratory musical improvisations played on a variety of traditional instruments including guitar, drums, organ and violin. Post-production modifications to these recordings were used to distort the sound of the instruments audio-tape manipulation and multiple dubbings of one instrument on the same track. Both albums are purely instrumental. Live performances from 1972 to 1973 were made as a duo, using a simple beat-box-type electronic drum machine, with preset rhythms taken from an electric organ.
These shows were in Germany, with occasional shows in France. In 1973, Wolfgang Flür joined the group for rehearsals, the unit performed as a trio on the television show Aspekte for German television network ZDF. With Ralf und Florian, released in 1973, Kraftwerk began to move closer to its now classic sound, relying more on synthesizers and drum machines. Although entirely instrumental, the album marks Kraftwerk's first use of the vocoder, which would in time become one of its musical signatures. According to English music journalist Simon Reynolds, Kraftwerk was influenced by what he called the "adrenalized insurgency" of Detroit artists of the late'60s MC5 and the Stooges; the input and influence of producer and engineer Konrad "Conny" Plank was significant in the early years of Kraftwerk. Plank worked with many of the other leading German electronic acts of that time, including members of Can, Neu!, Harmonia. As a result of his work with Kraftwerk, Plank's studio near Cologne became one of the most sought-after studios in the late 1970s.
Plank coproduced the first four Kraftwerk albums. The release of Autobahn in 1974 saw Kraftwerk moving away from the sound of its first three albums. Hütter and Schneider had invested in newer technology such as the Minimoog and the EMS Synthi AKS, helping give Kraftwerk a newer, "disciplined" sound. Autobahn would be the last album that Conny Plank would engineer. After the commercial success of Autobahn in the US, where it peaked at number 5 in the Billboard top 200, Hütter and Schneider invested in updating their studio, thus lessening their reliance on outside producers. At this time the painter and graphic artist Emil Schult became a regular collaborator, designing artwork, cowriting lyrics, accompanying the group on tour; the year 1975 saw a turning point in Kraftwerk's live shows. With financial support from Phonogram Inc. in the US, they were able to undertake a multi-date tour to promote the Autobahn album, a tour which took them to the US, Canada and the UK for the first time. The tour saw a new, live line-up in the form of a quartet.
Hütter and Schneider continued playing keyboard synthesizers such as the Minimoog and ARP Odyssey, with Schn
Irony, in its broadest sense, is a rhetorical device, literary technique, or event in which what appears, on the surface, to be the case, differs radically from what is the case. Irony can be categorized into different types, including: verbal irony, dramatic irony, situational irony. Verbal and situational irony are used for emphasis in the assertion of a truth; the ironic form of simile, used in sarcasm, some forms of litotes can emphasize one's meaning by the deliberate use of language which states the opposite of the truth, denies the contrary of the truth, or drastically and understates a factual connection. Other forms, as identified by historian Connop Thirlwall, include practical irony. Henry Watson Fowler, in The King's English, says, "any definition of irony—though hundreds might be given, few of them would be accepted—must include this, that the surface meaning and the underlying meaning of what is said are not the same." Eric Partridge, in Usage and Abusage, writes that "Irony consists in stating the contrary of what is meant."
The use of irony may require the concept of a double audience. Fowler's A Dictionary of Modern English Usage says: Irony is a form of utterance that postulates a double audience, consisting of one party that hearing shall hear & shall not understand, & another party that, when more is meant than meets the ear, is aware both of that more & of the outsiders' incomprehension; the term is sometimes used as a synonym for incongruous and applied to "every trivial oddity" in situations where there is no double audience. An example of such usage is: Sullivan, whose real interest was serious music, which he composed with varying degrees of success, achieved fame for his comic opera scores rather than for his more earnest efforts; the American Heritage Dictionary's secondary meaning for irony: "incongruity between what might be expected and what occurs". This sense, however, is not synonymous with "incongruous" but a definition of dramatic or situational irony, it is included in definitions of irony not only that incongruity is present but that the incongruity must reveal some aspect of human vanity or folly.
Thus the majority of American Heritage Dictionary's usage panel found it unacceptable to use the word ironic to describe mere unfortunate coincidences or surprising disappointments that "suggest no particular lessons about human vanity or folly."On this aspect, The Oxford English Dictionary has also: A condition of affairs or events of a character opposite to what was, or might be, expected. According to Encyclopædia Britannica:The term irony has its roots in the Greek comic character Eiron, a clever underdog who by his wit triumphs over the boastful character Alazon; the Socratic irony of the Platonic dialogues derives from this comic origin. According to Richard Whately: Aristotle mentions Eironeia, which in his time was employed to signify, not according to the modern use of'Irony, saying the contrary to what is meant', what writers express by Litotes, i.e.'saying less than is meant'. The word came into English as a figure of speech in the 16th century as similar to the French ironie, it derives from the Latin ironia and from the Greek εἰρωνεία eirōneía, meaning dissimulation, ignorance purposely affected.
The New Princeton Encyclopedia of Poetry and Poetics distinguishes between the following types of irony: Classical irony: Referring to the origins of irony in Ancient Greek comedy, the way classical and medieval rhetoricians delineated the term. Romantic irony: A self-aware and self-critical form of fiction. Cosmic irony: A contrast between the absolute and the relative, the general and the individual, which Hegel expressed by the phrase, "general of the world." Verbal irony: A contradiction between a statement's stated and intended meaning Situational irony: The disparity of intention and result. Dramatic irony and tragic irony: A disparity of awareness between an actor and an observer: when words and actions possess significance that the listener or audience understands, but the speaker or character does not, it is most used when the author causes a character to speak or act erroneously, out of ignorance of some portion of the truth of which the audience is aware. In tragic irony, the audience knows the character is making a mistake as the character is making it.
According to A glossary of literary terms by Abrams and Hartman,Verbal irony is a statement in which the meaning that a speaker employs is different from the meaning, ostensibly expressed. An ironic statement involves the explicit expression of one attitude or evaluation, but with indications in the overall speech-situation that the speaker intends a different, opposite, attitude or evaluation. Verbal irony is distinguished from situational irony and dramatic irony in that it is produced intentionally by speakers. For instance, if a man exclaims, "I'm not upset!" but reveals an upset emotional state through his voice while trying to claim he's not upset, it would not be verbal irony by virtue of its verbal manifestation. But if the same speaker said the same words and intended to communicate that he was upset by claiming he was not, the utterance would be verbal irony. Thi
Conformity is the act of matching attitudes and behaviors to group norms. Norms are implicit, specific rules, shared by a group of individuals, that guide their interactions with others. People choose to conform to society rather than to pursue personal desires because it is easier to follow the path others have made rather than creating a new one; this tendency to conform occurs in small groups and/or society as a whole, may result from subtle unconscious influences, or direct and overt social pressure. Conformity can occur in the presence of others. For example, people tend to follow social norms when eating or watching television when alone. People conform from a desire for security within a group—typically a group of a similar age, religion, or educational status; this is referred to as groupthink: a pattern of thought characterized by self-deception, forced manufacture of consent, conformity to group values and ethics, which ignores realistic appraisal of other courses of action. Unwillingness to conform carries the risk of social rejection.
Conformity is associated with adolescence and youth culture, but affects humans of all ages. Although peer pressure may manifest negatively, conformity can be regarded as either bad. Driving on the correct side of the road could be seen as beneficial conformity. With the right environmental influence, conforming, in early childhood years, allows one to learn and thus, adopt the appropriate behaviours necessary to interact and develop within one's society. Conformity influences formation and maintenance of social norms, helps societies function smoothly and predictably via the self-elimination of behaviors seen as contrary to unwritten rules. In this sense it can be perceived as a positive force that prevents acts that are perceptually disruptive or dangerous; as conformity is a group phenomenon, factors such as group size, cohesion, prior commitment and public opinion help determine the level of conformity an individual displays. Some adolescents gain recognition from their peers by conformity.
This peer moderated conformity increases from the transition of childhood to adolescence. According to Donelson Forsyth, after submitting to group pressures, individuals may find themselves facing one of several responses to conformity; these types of responses to conformity vary in their degree of public agreement versus private agreement. When an individual finds themselves in a position where they publicly agree with the group's decision yet disagrees with the group's consensus, they are experiencing compliance or acquiescence. In turn, otherwise known as private acceptance, involves both publicly and agreeing with the group's decision. Thus, this represents a true change of opinion to match the majority. Another type of social response, which does not involve conformity with the majority of the group, is called convergence. In this type of social response, the group member agrees with the group's decision from the outset and thus does not need to shift their opinion on the matter at hand.
In addition, Forsyth shows that nonconformity can fall into one of two response categories. Firstly, an individual who does not conform to the majority can display independence. Independence, or dissent, can be defined as the unwillingness to bend to group pressures. Thus, this individual stays true to his or her personal standards instead of the swaying toward group standards. Secondly, a nonconformist could be displaying anticonformity or counterconformity which involves the taking of opinions that are opposite to what the group believes; this type of nonconformity can be motivated by a need to rebel against the status quo instead of the need to be accurate in one's opinion. To conclude, social responses to conformity can be seen to vary along a continuum from conversion to anticonformity. For example, a popular experiment in conformity research, known as the Asch situation or Asch conformity experiments includes compliance and independence. Other responses to conformity can be identified in groups such as juries, sports teams and work teams.
Muzafer Sherif was interested in knowing how many people would change their opinions to bring them in line with the opinion of a group. In his experiment, participants were placed in a dark room and asked to stare at a small dot of light 15 feet away, they were asked to estimate the amount it moved. The trick was there was no movement, it was caused by a visual illusion known as the autokinetic effect. On the first day, each person perceived different amounts of movement, but from the second to the fourth day, the same estimate was agreed on and others conformed to it. Sherif suggested this was a simulation for how social norms develop in a society, providing a common frame of reference for people. Subsequent experiments were based on more realistic situations. In an eyewitness identification task, participants were shown a suspect individually and in a lineup of other suspects, they were given one second to identify him. One group was told that their input was important and would be used by the legal community.
To the other it was a trial. Being more motivated to get the right answer increased the tendency to conform; those who wanted to be more accurate conformed 51% of the time as opposed to 35% in the other group. Solomon E. Asch conducted a modification of Sherif's study, assuming that when the situation was clear, conformity would be drastically reduced, he exposed people in a group to a series of lines, the participants were asked to match one line with a standard line. All participants except one were accomplices a