Chicano or Chicana is a chosen identity of some Mexican Americans in the United States. The term Chicano is sometimes used interchangeably with Mexican-American. Both names are chosen identities within the Mexican-American community in the United States; the term became used during the Chicano Movement by Mexican Americans to express pride in a shared cultural and community identity. The term Chicano had negative connotations before the Chicano Movement, still is viewed negatively and archaic by more conservative members of this community. Over time, it has gained some acceptance as an identity of pride within the Mexican-American community in the United States; the pro-indigenous/Mestizo nature of Chicano nationalism is cemented in the idea of mestizaje. It was the experience of Mexican Americans in the United States which culminated in the creation of a Chicano identity; the Chicano poet and writer Tino Villanueva traced the first documented use of the term as an ethnonym to 1911, as referenced in a then-unpublished essay by University of Texas anthropologist José Limón.
Linguists Edward R. Simmen and Richard F. Bauerle report the use of the term in an essay by Mexican-American writer, Mario Suárez, published in the Arizona Quarterly in 1947. In 1857, a gunboat, the Chicana, was sold to Jose Maria Carvajal to ship arms on the Rio Grande; the King and Kenedy firm submitted a voucher to the Joint Claims Commission of the United States in 1870 to cover the costs of this gunboat's conversion from a passenger steamer. No particular explanation of the boat's name is known; the origin of the word "chicano" is disputed. Some claim; the name Mexica as spoken in its original Nahuatl, Mexico by the Spaniards at the time of the Conquistadors, was pronounced with a and was transcribed with an x during this time period. According to this etymological hypothesis, the difference between the pronunciation and spelling of chicano and mexicano stems from the fact that the modern-day Spanish language experienced a change in pronunciation regarding a majority of words containing the x.
In most cases the has been a change of spelling. The word Chicano would have been affected by this change. Many Chicanos replace the ch with the letter x, forming Xicano, due to the original spelling of the Mexica Empire. In the United States, some Mexican-Americans choose the Xicano spelling to emphasize their indigenous ancestry. In Mexico's indigenous regions and Westernized natives are referred to as mexicanos, referring to the modern nation, rather than the pueblo identification of the speaker, be it Mayan, Mixtec, Huasteco, or any of hundreds of other indigenous groups. Thus, a newly emigrated Nahuatl speaker in an urban center might referred to his cultural relatives in this country, different from himself, as mexicanos, shortened to chicanos; the Handbook of Texas combines the two ideas: According to one explanation, the pre-Columbian tribes in Mexico called themselves Meshicas, the Spaniards, employing the letter x, spelled it Mexicas. The Indians referred to themselves as Meshicanos and as Shicanos, thus giving birth to the term Chicano.
Some believe that the early 20th-century Hispanic Texan epithet chicamo shifted into chicano to reflect the grammatical conventions of Spanish-language ethno- and demonyms, such as americano and peruano. However, Chicanos do not agree that chicamo was a word used within the culture, as its assertion is thus far unsubstantiated. Therefore, most self-identifying Chicanos do not agree that Chicano was derived from the word chicamo. Another hypothesis is that chicano derives from the indigenous population of Guanajuato, the Chichimecas, combined with the word Mexicano. An alternative idea is that it is an altered form of Chilango, meaning someone from Mexico City or Central Mexico. A similar notion is that the word derives from Chichen Itza, the Mayan temple ruin and its associated culture in Mexico's Yucatán Peninsula. Chicano would thus be a Hispanized word for Chichen and Mayans, rather than the Aztec or Nahua people. Chicanos, like many Mexicans, are Mestizos who have heritage of both indigenous American cultures and European Spanish, through colonization and immigration.
The term Latino refers to a native or inhabitant of Latin America or a person of Latin American origin living in the U. S. Hispanic refers to Spain, but, in effect, to those of Spanish-speaking descent; the term was first brought up in the 1970s but it was not until the 1990s that the term was used on the U. S. Census. Since it has been used by politicians and the media; the correct amalgamation is Latin American or Latin Americans, as coined by the Portuguese in the 17th century. The term's meanings are debatable, but self-described Chicanos view the term as a positive, self-identifying social construction. Outside of Mexican-American communities, within them, Chicano has sometimes been considered pejorative by those who do not prefer the term. Regardless, its implications are subjective, but usually
Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particularly in the United Kingdom and in the United States. It has its roots in 1940s and 1950s rock and roll, a style which drew on the genres of blues and blues, from country music. Rock music drew on a number of other genres such as electric blues and folk, incorporated influences from jazz and other musical styles. Musically, rock has centered on the electric guitar as part of a rock group with electric bass and one or more singers. Rock is song-based music with a 4/4 time signature using a verse–chorus form, but the genre has become diverse. Like pop music, lyrics stress romantic love but address a wide variety of other themes that are social or political. By the late 1960s "classic rock" period, a number of distinct rock music subgenres had emerged, including hybrids like blues rock, folk rock, country rock, southern rock, raga rock, jazz-rock, many of which contributed to the development of psychedelic rock, influenced by the countercultural psychedelic and hippie scene.
New genres that emerged included progressive rock. In the second half of the 1970s, punk rock reacted by producing stripped-down, energetic social and political critiques. Punk was an influence in the 1980s on new wave, post-punk and alternative rock. From the 1990s alternative rock began to dominate rock music and break into the mainstream in the form of grunge and indie rock. Further fusion subgenres have since emerged, including pop punk, electronic rock, rap rock, rap metal, as well as conscious attempts to revisit rock's history, including the garage rock/post-punk and techno-pop revivals at the beginning of the 2000s. Rock music has embodied and served as the vehicle for cultural and social movements, leading to major subcultures including mods and rockers in the UK and the hippie counterculture that spread out from San Francisco in the US in the 1960s. 1970s punk culture spawned the goth and emo subcultures. Inheriting the folk tradition of the protest song, rock music has been associated with political activism as well as changes in social attitudes to race and drug use, is seen as an expression of youth revolt against adult consumerism and conformity.
The sound of rock is traditionally centered on the amplified electric guitar, which emerged in its modern form in the 1950s with the popularity of rock and roll. It was influenced by the sounds of electric blues guitarists; the sound of an electric guitar in rock music is supported by an electric bass guitar, which pioneered in jazz music in the same era, percussion produced from a drum kit that combines drums and cymbals. This trio of instruments has been complemented by the inclusion of other instruments keyboards such as the piano, the Hammond organ, the synthesizer; the basic rock instrumentation was derived from the basic blues band instrumentation. A group of musicians performing rock music is termed as a rock group. Furthermore, it consists of between three and five members. Classically, a rock band takes the form of a quartet whose members cover one or more roles, including vocalist, lead guitarist, rhythm guitarist, bass guitarist and keyboard player or other instrumentalist. Rock music is traditionally built on a foundation of simple unsyncopated rhythms in a 4/4 meter, with a repetitive snare drum back beat on beats two and four.
Melodies originate from older musical modes such as the Dorian and Mixolydian, as well as major and minor modes. Harmonies range from the common triad to parallel perfect fourths and fifths and dissonant harmonic progressions. Since the late 1950s and from the mid 1960s onwards, rock music used the verse-chorus structure derived from blues and folk music, but there has been considerable variation from this model. Critics have stressed the eclecticism and stylistic diversity of rock; because of its complex history and its tendency to borrow from other musical and cultural forms, it has been argued that "it is impossible to bind rock music to a rigidly delineated musical definition." Unlike many earlier styles of popular music, rock lyrics have dealt with a wide range of themes, including romantic love, rebellion against "The Establishment", social concerns, life styles. These themes were inherited from a variety of sources such as the Tin Pan Alley pop tradition, folk music, rhythm and blues.
Music journalist Robert Christgau characterizes rock lyrics as a "cool medium" with simple diction and repeated refrains, asserts that rock's primary "function" "pertains to music, or, more noise." The predominance of white and middle class musicians in rock music has been noted, rock has been seen as an appropriation of black musical forms for a young and male audience. As a result, it has been seen to articulate the concerns of this group in both style and lyrics. Christgau, writing in 1972, said in spite of some exceptions, "rock and roll implies an identification of male sexuality and aggression". Since the term "rock" started being used in preference to "rock and roll" from the late-1960s, it has been contrasted with pop music, with which it has shared many characteristics, but from wh
Los Angeles the City of Los Angeles and known by its initials L. A. is the most populous city in California, the second most populous city in the United States, after New York City, the third most populous city in North America. With an estimated population of four million, Los Angeles is the cultural and commercial center of Southern California; the city is known for its Mediterranean climate, ethnic diversity and the entertainment industry, its sprawling metropolis. Los Angeles is the largest city on the West Coast of North America. Los Angeles is in a large basin bounded by the Pacific Ocean on one side and by mountains as high as 10,000 feet on the other; the city proper, which covers about 469 square miles, is the seat of Los Angeles County, the most populated county in the country. Los Angeles is the principal city of the Los Angeles metropolitan area, the second largest in the United States after that of New York City, with a population of 13.1 million. It is part of the Los Angeles-Long Beach combined statistical area the nation's second most populous area with a 2015 estimated population of 18.7 million.
Los Angeles is one of the most substantial economic engines within the United States, with a diverse economy in a broad range of professional and cultural fields. Los Angeles is famous as the home of Hollywood, a major center of the world entertainment industry. A global city, it has been ranked 6th in the Global Cities Index and 9th in the Global Economic Power Index; the Los Angeles metropolitan area has a gross metropolitan product of $1.044 trillion, making it the third-largest in the world, after the Tokyo and New York metropolitan areas. Los Angeles hosted the 1932 and 1984 Summer Olympics and will host the event for a third time in 2028; the city hosted the Miss Universe pageant twice, in 1990 and 2006, was one of 9 American cities to host the 1994 FIFA men's soccer World Cup and one of 8 to host the 1999 FIFA women's soccer World Cup, hosting the final match for both tournaments. Home to the Chumash and Tongva, Los Angeles was claimed by Juan Rodríguez Cabrillo for Spain in 1542 along with the rest of what would become Alta California.
The city was founded on September 4, 1781, by Spanish governor Felipe de Neve. It became a part of Mexico in 1821 following the Mexican War of Independence. In 1848, at the end of the Mexican–American War, Los Angeles and the rest of California were purchased as part of the Treaty of Guadalupe Hidalgo, becoming part of the United States. Los Angeles was incorporated as a municipality on April 4, 1850, five months before California achieved statehood; the discovery of oil in the 1890s brought rapid growth to the city. The completion of the Los Angeles Aqueduct in 1913, delivering water from Eastern California assured the city's continued rapid growth; the Los Angeles coastal area was settled by the Chumash tribes. A Gabrieleño settlement in the area was called iyáangẚ, meaning "poison oak place". Maritime explorer Juan Rodríguez Cabrillo claimed the area of southern California for the Spanish Empire in 1542 while on an official military exploring expedition moving north along the Pacific coast from earlier colonizing bases of New Spain in Central and South America.
Gaspar de Portolà and Franciscan missionary Juan Crespí, reached the present site of Los Angeles on August 2, 1769. In 1771, Franciscan friar Junípero Serra directed the building of the Mission San Gabriel Arcángel, the first mission in the area. On September 4, 1781, a group of forty-four settlers known as "Los Pobladores" founded the pueblo they called El Pueblo de Nuestra Señora la Reina de los Ángeles,'The Town of Our Lady the Queen of the Angels'; the present-day city has the largest Roman Catholic Archdiocese in the United States. Two-thirds of the Mexican or settlers were mestizo or mulatto, a mixture of African and European ancestry; the settlement remained a small ranch town for decades, but by 1820, the population had increased to about 650 residents. Today, the pueblo is commemorated in the historic district of Los Angeles Pueblo Plaza and Olvera Street, the oldest part of Los Angeles. New Spain achieved its independence from the Spanish Empire in 1821, the pueblo continued as a part of Mexico.
During Mexican rule, Governor Pío Pico made Los Angeles Alta California's regional capital. Mexican rule ended during the Mexican–American War: Americans took control from the Californios after a series of battles, culminating with the signing of the Treaty of Cahuenga on January 13, 1847. Railroads arrived with the completion of the transcontinental Southern Pacific line to Los Angeles in 1876 and the Santa Fe Railroad in 1885. Petroleum was discovered in the city and surrounding area in 1892, by 1923, the discoveries had helped California become the country's largest oil producer, accounting for about one-quarter of the world's petroleum output. By 1900, the population had grown to more than 102,000; the completion of the Los Angeles Aqueduct in 1913, under the supervision of William Mulholland, assured the continued growth of the city. Due to clauses in the city's charter that prevented the City of Los Angeles from selling or providing water from the aqueduct to any area outside its borders, many adjacent city and communities became compelled to annex themselves into Los Angeles.
Los Angeles created the first municipal zoning ordinance in the United States. On September 14, 1908, the Los Angeles City Council promulgated residential and industrial land use zones; the new ordinance established three residential zones of a single type, where industrial uses were
La Bamba (song)
"La Bamba" is a Mexican folk song from the state of Veracruz, best known from a 1958 adaptation by Ritchie Valens, a top 40 hit in the U. S. charts and one of early rock and roll's best-known songs. Valens' version of "La Bamba" is included in Robert Christgau's "Basic Record Library" of 1950s and 1960s recordings—published in Christgau's Record Guide: Rock Albums of the Seventies —and ranked number 345 on Rolling Stone magazine′s list of the 500 Greatest Songs of All Time, it is the only song on the list sung in a language other than English. "La Bamba" has been covered by numerous artists, most notably by Los Lobos, whose version was the title track of the 1987 film La Bamba and reached No. 1 in the U. S. and UK singles charts in the same year. The Los Lobos version remained No. 1 for three weeks in the summer of 1987. The music video for Los Lobos' version, directed by Sherman Halsey, won the 1988 MTV Video Music Award for Best Video from a Film. "La Bamba" is a classic example of the son jarocho musical style, which originated in the Mexican state of Veracruz and combines Spanish and African musical elements.
The song is played on one or two arpas jarochas along with guitar relatives the jarana jarocha and the requinto jarocho. Lyrics to the song vary as performers improvise verses while performing. However, versions such as those by musical groups Mariachi Vargas de Tecalitlan and Los Pregoneros del Puerto have survived because of the artists' popularity; the traditional aspect of "La Bamba" lies in the tune, which remains the same through most versions. The name of the dance, which has no direct English translation, is connected with the Spanish verb bambolear, meaning "to shake" or "to stomp". Or the name may be derived from the kimbundu word "mbamba" meaning "master" as in someone who does something adeptly or skillfully. A traditional huapango song, "La Bamba" is played during weddings in Veracruz, where the bride and groom perform the accompanying dance. Today this wedding tradition is observed less than in the past, but the dance is still popular through the popularity of ballet folklórico.
The dance is performed displaying the newly wed couple's unity through the performance of complicated, delicate steps in unison as well as through creation of a bow from a listón, a long red ribbon, using only their feet. The "arriba00" part of the song suggests the nature of the dance, in which the footwork, called "zapateado", is done faster and faster as the music tempo accelerates. A repeated lyric is "Yo no soy marinero, soy capitán", meaning "I am not a sailor, I am the captain". Although an obscure and non-existent 1908 Mexican recording has been cited, the earliest certain recording of the song is that by Alvaro Hernández Ortiz, credited as El Jarocho, released on the Victor label in Mexico in about 1939; this recording was reissued on a 1997 compilation by Yazoo Records, The Secret Museum Of Mankind Vol. 4. According to a 1945 article in Life magazine, the song and associated dance were brought "out of the jungle" at Veracruz by American bandleader Everett Hoagland, who introduced it at Ciro's nightclub in Mexico City.
It became popular, the song was adopted by Mexican presidential candidate Miguel Alemán Valdés who used it in his successful campaign. In 1945, the music and dance were introduced at the Stork Club in New York City by Arthur Murray. A popular version by Andrés Huesca and his brother Victor, billed as Hermanos Huesca, was issued on Peerless Records in Mexico in about 1945–46. Huesca re-recorded the song for RCA Victor in 1947, the same year the song featured as a production number in the MGM musical film Fiesta, performed by a group called Los Bocheros and with the songwriting credited to Luis Martinez Serrano; the Swedish-American folk singer William Clauson recorded the song in several languages in the early and mid 1950s. He claimed to have heard the song in Veracruz, in performance slowed down the tempo to encourage audience participation. Another version, "somewhat bowdlerized", was recorded by Cynthia Gooding on her 1953 Elektra album, Mexican Folk Songs; the song was recorded for the French market in 1956 by Juanita Linda and her backing group Los Mont-Real.
The same year, Harry Belafonte recorded the song, but a version by Belafonte was not commercially released until a live recording made at Carnegie Hall in 1960. The traditional song inspired Ritchie Valens' rock and roll version "La Bamba" in 1958. Valens' "La Bamba" infused the traditional tune with a rock drive, in part provided by session musicians Earl Palmer and Carol Kaye, making the song popular with a much wider record audience and earning it a place in rock history; the musicians on that session were Buddy Clark: string bass, Ernie Freeman: piano, Carol Kaye: acoustic rhythm guitar, Rene Hall: Danelectro guitar, Earl Palmer: drums and claves, Ritchie Valens: vocals, lead guitar. The song features a simple verse-chorus form. Valens, proud of his Mexican heritage, was hesitant at first to merge "La Bamba" with rock and roll but agreed; the song ranked No. 98 in VH1's 100 Greatest Songs of Rock and Roll in 1999, No. 59 in VH1's 100 Greatest Dance Songs in 2000. Furthermore, Valens' recording of the song was inducted into the Latin Grammy Hall of Fame.
When the Los Lobos cover of Valens' version peaked at No. 1 on the Billboard Hot 100 chart in 1987, Valens was retroactively credited with writing a No. 1 single. In 2019, Valens' version was selected by the Library of Congress for preservation in the National
The Decline of Western Civilization
The Decline of Western Civilization is a 1981 American documentary filmed through 1979 and 1980. The movie was directed by Penelope Spheeris. In 1981, the LAPD Chief of Police Daryl Gates wrote a letter demanding the film not be shown again in the city; the film's title is a reference to music critic Lester Bangs' 1970 two-part review of the Stooges' album Fun House, for Creem magazine, where Bangs quotes a friend who had said the popularity of the Stooges signaled "the decline of Western civilization". Another possibility is that the title refers to Darby Crash's reading of Oswald Spengler's Der Untergang des Abendlandes. In We Got the Neutron Bomb, an oral history of the L. A. punk rock scene collected by Marc Spitz, Claude Bessy claims. The film is the opening act of a trilogy by Spheeris, depicting music scenes in Los Angeles during the late 20th century; the second film, The Decline of Western Civilization Part II: The Metal Years, covers the Los Angeles heavy metal scene of 1986–1988. The third film, The Decline of Western Civilization III, chronicles the gutter punk lifestyle of homeless teenagers in the late 1990s.
In 2016, the film was selected by the Library of Congress for preservation in the United States National Film Registry, as it was deemed "culturally or aesthetically significant". Featuring concert footage of Los Angeles punk bands and interviews both with band members, the publishers of Slash fanzine, with the punks who made up their audience, the film offers a look into a subculture, ignored by the rock music press of the time; the promotional poster for The Decline featured a close-up frame of Germs singer Darby Crash supine on stage with his eyes closed. Crash died from a heroin-induced suicide shortly. Bands included are Black Flag, the Germs, X, Alice Bag Band, the Circle Jerks, Catholic Discipline, Fear; the Germs' performance was replicated in the 2007 Darby Crash biopic. Alice Bag Band "Gluttony" "Prowlers in the Night" Black Flag "Depression" "Revenge" "White Minority" Circle Jerks "Back Against the Wall" "Beverly Hills" "I Just Want Some Skank" "Red Tape" "Wasted" Catholic Discipline "Barbee Doll Lust" "Underground Babylon" Fear "Beef Bologna" "I Don't Care About You" "I Love Living in the City" "Let's Have a War" "Fear Anthem" Germs "Manimal" "Shutdown" X "Beyond and Back" "Johnny Hit and Run Paulene" "Nausea" "Unheard Music" "We're Desperate" The soundtrack was released in December 1980 by Slash Records on LP.
In the late 1990s it was released on CD as well. It is out of print. Germs singer Darby Crash appears on the soundtrack album cover, he died shortly before the film was released, though the promotional images for the film and album release had been designed before his death. Noticeably missing from the soundtrack is "Nausea" by X, prominently featured in the film over its opening credits. Repo Man soundtrack Official website of the series The Decline of Western Civilization on IMDb The Decline of Western Civilization at AllMovie
The saxophone is a family of woodwind instruments. Saxophones are made of brass and played with a single-reed mouthpiece similar to that of the clarinet. Although most saxophones are made from brass, they are categorized as woodwind instruments, because sound is produced by an oscillating reed, traditionally made out of woody cane, rather than lips vibrating in a mouthpiece cup as with the brass instrument family; as with the other woodwinds, the pitch of the note being played is controlled by covering holes in the body tube to control the resonant frequency of the air column by changing the effective length of the tube. The saxophone is used in classical music, military bands, marching bands and contemporary music; the saxophone is used as a solo and melody instrument or as a member of a horn section in some styles of rock and roll and popular music. Saxophone players are called saxophonists. Since the first saxophone was invented by the Belgian instrument maker Adolphe Sax in the early 1840s, saxophones have been produced in a variety of series distinguished by transpositions within instrument sets and tuning standard.
Sax patented the saxophone on June 1846, in two groups of seven instruments each. Each series consisted in alternating transposition; the series pitched in B♭ and E♭ soon became dominant and most saxophones encountered today are from this series. Instruments from the series pitched in C and F never gained a foothold and constituted only a small percentage of instruments made by Sax. High Pitch saxophones tuned sharper than the A = 440 Hz standard were produced into the early twentieth century for sonic qualities suited for outdoor uses, but are not playable to modern tuning and are considered obsolete. Low Pitch saxophones are equivalent in tuning to modern instruments. C soprano and C melody saxophones were produced for the casual market as parlor instruments during the early twentieth century. Saxophones in F never gained acceptance; the modern saxophone family consists of instruments in the B♭ - E♭ series and experimental instruments notwithstanding. The saxophones with widest use and availability are the sopranos, altos and baritones.
In the keyed ranges of the various saxophones, the pitch is controlled by keys with shallow cups in which are fastened leather pads that seal toneholes, controlling the resonant length, thereby frequency, of the air column within the body tube. Small holes called vents, located between the toneholes and the mouthpiece, are opened by an octave key to raise the pitch by eliminating the fundamental frequency, leaving the first harmonic as the frequency defining the pitch. Most modern saxophones are keyed to produce a low B♭ with all keys closed; the highest keyed note has traditionally been F two and a half octaves above low B♭, while the keyed range is extended to F♯ on most recent performance-class instruments. A high G key is most common on modern soprano saxophones. Notes above F are considered part of the altissimo register of any saxophone, can be produced using advanced embouchure techniques and fingering combinations. Keywork facilitating altissimo playing is a feature of modern saxophones.
Modern saxophone players have extended the range to over four octaves on alto. Music for most saxophones is notated using treble clef; because all saxophones use the same key arrangement and fingering to produce a given notated pitch, it is not difficult for a competent player to switch among the various sizes when the music has been suitably transposed, many do so. Since the baritone and alto are pitched in E♭, players can read concert pitch music notated in the bass clef by reading it as if it were treble clef and adding three sharps to the key signature; this process, referred to as clef substitution, makes it possible for the Eb instruments to play from parts written for baritone horn, euphonium, string bass, trombone, or tuba. This can be useful if a orchestra lacks one of those instruments; the straight soprano and sopranino saxophones consist of a straight conical tube with a flared bell at the end opposite the mouthpiece. The interior of the tube is called the bore. Alto and larger saxophones include a detachable curved neck above the highest tone hole, directing the mouthpiece to the player's mouth and, with rare exceptions, a U-shaped bow that directs the bell upward and a curve in the throat of the bell directing it forward.
The set of curves near the bell has become a distinctive feature of the saxophone family, to the extent that soprano and sopranino saxes are sometimes made in the curved style. The baritone and contrabass saxophones accommodate the length of the bore with extra bows and right-angle bends between the main body and the mouthpiece; the left hand operates keys from the upper part of the body tube while the right hand operates keys from the lower part. The right thumb sits under a thumb hook and left thumb is placed on a thumb rest to stabilize and balance the saxophone, while the weight of most saxophones is supported by a neckstrap attached to a strap ring on the rear of the body of the instrument; the left thumb operates the octave key. With soprano and smaller saxophones weight tends to be borne by the right thumb while a neckstrap provides security for the instrument. Keys consist of the cups, and
The bass guitar is a plucked string instrument similar in appearance and construction to an electric guitar, except with a longer neck and scale length, four to six strings or courses. The four-string bass is tuned the same as the double bass, which corresponds to pitches one octave lower than the four lowest-pitched strings of a guitar, it is played with the fingers or thumb, or striking with a pick. The electric bass guitar has pickups and must be connected to an amplifier and speaker to be loud enough to compete with other instruments. Since the 1960s, the bass guitar has replaced the double bass in popular music as the bass instrument in the rhythm section. While types of basslines vary from one style of music to another, the bassist plays a similar role: anchoring the harmonic framework and establishing the beat. Many styles of music include the bass guitar, it is a soloing instrument. According to the New Grove Dictionary of Music and Musicians, an "Electric bass guitar a Guitar with four heavy strings tuned E1'-A1'-D2-G2."
It defines bass as "Bass. A contraction of Double bass or Electric bass guitar." According to some authors the proper term is "electric bass". Common names for the instrument are "bass guitar", "electric bass guitar", "electric bass" and some authors claim that they are accurate; the bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it sounds. In the 1930s, musician and inventor Paul Tutmarc of Seattle, developed the first electric bass guitar in its modern form, a fretted instrument designed to be played horizontally; the 1935 sales catalog for Tutmarc's electronic musical instrument company, featured his "Model 736 Bass Fiddle", a four-stringed, solid-bodied, fretted electric bass guitar with a 30 1⁄2-inch scale length, a single pick up. The adoption of a guitar's body shape made the instrument easier to hold and transport than any of the existing stringed bass instruments; the addition of frets enabled bassists to play in tune more than on fretless acoustic or electric upright basses.
Around 100 of these instruments were made during this period. Audiovox sold their “Model 236” bass amplifier. Around 1947, Tutmarc's son, began marketing a similar bass under the Serenader brand name, prominently advertised in the nationally distributed L. D. Heater Music Company wholesale jobber catalogue of 1948. However, the Tutmarc family inventions did not achieve market success. In the 1950s, Leo Fender and George Fullerton developed the first mass-produced electric bass guitar; the Fender Electric Instrument Manufacturing Company began producing the Precision Bass in October 1951. The "P-bass" evolved from a simple, un-contoured "slab" body design and a single coil pickup similar to that of a Telecaster, to something more like a Fender Stratocaster, with a contoured body design, edges beveled for comfort, a split single coil pickup; the "Fender Bass" was a revolutionary new instrument for gigging musicians. In comparison with the large, heavy upright bass, the main bass instrument in popular music from the early 1900s to the 1940s, the bass guitar could be transported to shows.
When amplified, the bass guitar was less prone than acoustic basses to unwanted audio feedback. In 1953 Monk Montgomery became the first bassist to tour with the Fender bass guitar, in Lionel Hampton's postwar big band. Montgomery was possibly the first to record with the bass guitar, on July 2, 1953 with The Art Farmer Septet. Roy Johnson, Shifty Henry, were other early Fender bass pioneers. Bill Black, playing with Elvis Presley, switched from upright bass to the Fender Precision Bass around 1957; the bass guitar was intended to appeal to guitarists as well as upright bass players, many early pioneers of the instrument, such as Carol Kaye, Joe Osborn, Paul McCartney were guitarists. In 1953, following Fender's lead, Gibson released the first short-scale violin-shaped electric bass, with an extendable end pin so a bassist could play it upright or horizontally. Gibson renamed the bass the EB-1 in 1958. In 1958, Gibson released the maple arched-top EB-2 described in the Gibson catalogue as a "hollow-body electric bass that features a Bass/Baritone pushbutton for two different tonal characteristics".
In 1959 these were followed by the more conventional-looking EB-0 Bass. The EB-0 was similar to a Gibson SG in appearance. Whereas Fender basses had pickups mounted in positions in between the base of the neck and the top of the bridge, many of Gibson's early basses featured one humbucking pickup mounted directly against the neck pocket; the EB-3, introduced in 1961 had a "mini-humbucker" at the bridge position. Gibson basses tended to be smaller, sleeker instruments with a shorter scale length than the Precision. A number of other companies began manufacturing bass guitars during the 1950s: Kay in 1952, Hofner and Danelectro in 1956, Rickenbacker in 1957 and Burns/Supersound in 1958. 1956 saw the appearance at the German trade fair "Musikmesse Frankfurt" of the distinctive Höfner 500/1 violin-shaped bass made using violin construction techniques by Walter Höfner, a second-generation violin luthier. The design was known popularly as the "Beat