1) In the late 1970s in New York City, a movement called No Wave emerged out of the economic decay and poverty in the city. Artists could live cheaply in run-down areas and created experimental music influenced by their gritty surroundings.
2) No Wave bands sought to reject existing punk and new wave styles and create a new sound entirely, shortening songs and making improvisational, raw music that reflected the pain of living in New York City at that time.
3) The No Wave scene encouraged participation from anyone, regardless of musical training or background, and helped foster a creative community in NYC's Lower East Side before fading out by the early 1980s though leaving a lasting influence.
This document discusses the Mystic Artists, a group of artists in the 1960s who exhibited psychedelic and mystical works at Mystic Arts World in Laguna Beach, California. It provides background on Mystic Arts World and how it emerged from the burgeoning psychedelic culture in Laguna Beach in the 1960s, which was influenced by the legal use of LSD at the time. The exhibition, Transformation and the Mystic Artists, 1967-1970, is the first to showcase works by these artists, including paintings ranging from Beat assemblage to visionary works. It aims to provide insight into this experimental cultural period in Southern California history through the art exhibited at Mystic Arts World.
The document discusses the sociology of music and censorship of popular music in Britain. It provides context on how certain genres of music like progressive rock emerged from middle-class audiences in southern England and analyzes whether these genres truly challenged social norms. It also details the long history of censorship attempts in Britain dating back to the 1400s and examines specific instances of songs being banned by the BBC for containing obscene, drug-related, political or sexually explicit content from the 1960s to 1990s.
Indie music originated in the 1950s-60s as a rebellion against the domination of major music labels. It was a low-budget, DIY movement that encouraged experimentation. Key early artists included The Velvet Underground and Captain Beefheart. No genre is harder to define, as Indie has incorporated elements of many styles over time. In the 2000s, the popularity of bands like Arctic Monkeys and Franz Ferdinand introduced Indie to a new generation of mainstream listeners. However, some argue this commercial success dilutes Indie's rebellious spirit. Dubstep is now seen by some as a new underground genre carrying the torch of innovation and exclusivity once held by Indie.
- Contemporary R&B originated in the late 1970s and was popularized by artists like Michael Jackson, Whitney Houston, and Mariah Carey.
- Throughout the 1990s and 2000s, R&B incorporated more influences from hip hop and became more mainstream and modernized. Artists like Janet Jackson, Beyoncé, Usher, and Alicia Keys influenced the genre during this period.
- Today's R&B fuses electronic elements and machine-made sounds while still retaining elements of R&B's soulful roots. Miguel, Frank Ocean, The Weeknd, and Beyoncé are among the influential contemporary R&B artists.
Echosmith cites their musical influences as 1980s new wave bands like The Smiths, Joy Division, and early U2 as well as more recent bands like Coldplay and The Killers. The document then provides background on alternative rock, noting it emerged from underground music in the 1980s and grew popular in the 1990s, consisting of genres like grunge, Britpop, and indie pop that were influenced by punk rock. While some alternative rock bands achieved mainstream success in the 1980s, many remained cult acts until the popularity of Nirvana and grunge in the early 1990s brought alternative rock into the musical mainstream.
Rock music originated from African American blues and gospel music in the 1940s-1950s. Early rock artists struggled due to racism and segregation. Record companies eventually started promoting white artists in the rock style to appeal to mainstream audiences. It was not until Elvis Presley that they found a white artist who could authentically perform rock music. The success of Elvis helped make rock more acceptable to the public and allowed early artists like Little Richard to find success. Rock has since evolved into many genres and spread worldwide, still providing an escape for many listeners today.
African Americans have significantly contributed to the development of music genres like blues, gospel, and rock and roll. However, they have long faced under representation and disempowerment in the music industry. Their musical styles and songs were often stolen or copied by white artists and record labels. This led to African American artists receiving little credit or profit despite originating popular musical trends. Motown Records helped increase representation of African American artists but widespread copying and covering of their songs remained an issue impacting careers and recognition.
This document discusses the Mystic Artists, a group of artists in the 1960s who exhibited psychedelic and mystical works at Mystic Arts World in Laguna Beach, California. It provides background on Mystic Arts World and how it emerged from the burgeoning psychedelic culture in Laguna Beach in the 1960s, which was influenced by the legal use of LSD at the time. The exhibition, Transformation and the Mystic Artists, 1967-1970, is the first to showcase works by these artists, including paintings ranging from Beat assemblage to visionary works. It aims to provide insight into this experimental cultural period in Southern California history through the art exhibited at Mystic Arts World.
The document discusses the sociology of music and censorship of popular music in Britain. It provides context on how certain genres of music like progressive rock emerged from middle-class audiences in southern England and analyzes whether these genres truly challenged social norms. It also details the long history of censorship attempts in Britain dating back to the 1400s and examines specific instances of songs being banned by the BBC for containing obscene, drug-related, political or sexually explicit content from the 1960s to 1990s.
Indie music originated in the 1950s-60s as a rebellion against the domination of major music labels. It was a low-budget, DIY movement that encouraged experimentation. Key early artists included The Velvet Underground and Captain Beefheart. No genre is harder to define, as Indie has incorporated elements of many styles over time. In the 2000s, the popularity of bands like Arctic Monkeys and Franz Ferdinand introduced Indie to a new generation of mainstream listeners. However, some argue this commercial success dilutes Indie's rebellious spirit. Dubstep is now seen by some as a new underground genre carrying the torch of innovation and exclusivity once held by Indie.
- Contemporary R&B originated in the late 1970s and was popularized by artists like Michael Jackson, Whitney Houston, and Mariah Carey.
- Throughout the 1990s and 2000s, R&B incorporated more influences from hip hop and became more mainstream and modernized. Artists like Janet Jackson, Beyoncé, Usher, and Alicia Keys influenced the genre during this period.
- Today's R&B fuses electronic elements and machine-made sounds while still retaining elements of R&B's soulful roots. Miguel, Frank Ocean, The Weeknd, and Beyoncé are among the influential contemporary R&B artists.
Echosmith cites their musical influences as 1980s new wave bands like The Smiths, Joy Division, and early U2 as well as more recent bands like Coldplay and The Killers. The document then provides background on alternative rock, noting it emerged from underground music in the 1980s and grew popular in the 1990s, consisting of genres like grunge, Britpop, and indie pop that were influenced by punk rock. While some alternative rock bands achieved mainstream success in the 1980s, many remained cult acts until the popularity of Nirvana and grunge in the early 1990s brought alternative rock into the musical mainstream.
Rock music originated from African American blues and gospel music in the 1940s-1950s. Early rock artists struggled due to racism and segregation. Record companies eventually started promoting white artists in the rock style to appeal to mainstream audiences. It was not until Elvis Presley that they found a white artist who could authentically perform rock music. The success of Elvis helped make rock more acceptable to the public and allowed early artists like Little Richard to find success. Rock has since evolved into many genres and spread worldwide, still providing an escape for many listeners today.
African Americans have significantly contributed to the development of music genres like blues, gospel, and rock and roll. However, they have long faced under representation and disempowerment in the music industry. Their musical styles and songs were often stolen or copied by white artists and record labels. This led to African American artists receiving little credit or profit despite originating popular musical trends. Motown Records helped increase representation of African American artists but widespread copying and covering of their songs remained an issue impacting careers and recognition.
The document discusses various genres and styles of independent or "indie" music, including indie rock, indie pop, indie electronic, indie hip hop, and others. It provides descriptions of key characteristics and origins for different indie subgenres. For example, it notes that indie rock originated in the UK in the 1980s and was diverse, with subgenres like indie pop and lo-fi music. It also discusses visual styles associated with indie culture like DIY fashion and aesthetics.
Alternative rock emerged from the underground scene in the 1980s as a reaction against pop music. It developed as a genre consisting mainly of vocals, guitar, bass, and drums that could vary in sound from upbeat to emotional. Many iconic alternative rock bands like Nirvana, The Smiths, and R.E.M. achieved mainstream success in the 1980s-90s, though the genre's popularity declined somewhat in the late 90s. Alternative rock remains influential and some modern bands like Kasabian continue the tradition.
NYC’s very own S.C.R.D., whose old school rock star vibe and fresh new hip hop beats have been hailed as a mashup of unlikely styles that delivers a deliciously guilty pleasure worthy of heavy indulgence. They say what you wanted to say, but never did.
S.C.R.D. is named after Sweet Chuck and Ravin Dave, the two principal members of the group based in Gramercy, Manhattan. Together they infuse old skool beats, live instrumentation and witty, humorous and slightly satirically lude lyrics to take fans on a journey through heartbreaks with an ebullience for life and the thirst for adventure. Their collaboration between each other, thrives off co-collaborating with local musicians, friends and fans they lure into their musical tsunami, which helps drive their artistic creativity to new heights.
S.C.R.D. is privately funded and releases content under the record label and licensing company, Trip Digital Inc.
S.C.R.D. on iTunes: https://itunes.apple.com/us/artist/s.c.r.d./id1014316942
Charles Rouse Sr. (1924-1988) was an American jazz tenor saxophonist known for his time with Thelonious Monk's quartet from 1959 to 1970. He studied clarinet before focusing on tenor saxophone and played in several big bands in the 1940s-1950s before joining Monk's group, where he adapted his style to Monk's music by improvising with deliberation and often restating melodies. He was later a founding member of the group Sphere, which paid tribute to Monk. Rouse had a distinctive solo style with Monk that alternated reiterations of themes with bop runs.
This module examines popular music cultures through several lenses. Students will critically analyze the relationships between musical, cultural, social, economic and technological factors in popular music history. Various theories of popular culture will be developed and applied to the production, consumption and enjoyment of popular music, and how these have related to socio-political changes in society. Specific musical genres and performers will then be examined using these conceptual and theoretical frameworks. Students will complete two case studies and a final essay to demonstrate their understanding.
In the 1960s, music was heavily influenced by the counterculture movement and anti-establishment sentiments of the time. This gave rise to several influential bands from the UK like the Beatles, Rolling Stones, Who, and Animals during the British Invasion. These bands embodied rebellion and defiance through their music and style. The counterculture movement embraced rock music and promoted ideals of peace, love, and freedom. A defining moment was the 1969 Woodstock festival, which gathered over 400,000 people to experience the psychedelic rock music of the era.
The document provides descriptions of various music genres including:
- Bangra, a dance music originating in Punjab that celebrates the harvest season.
- Hip hop, developing in the 1970s Bronx from elements like rapping, DJing, sampling, and beatboxing.
- Emo, originating from 1980s hardcore punk and incorporating melodic musicianship and confessional lyrics.
- Pop, rock, and R&B music, covering their origins and evolution over time.
- Additional genres discussed include grime, indie, gothic metal, gothic rock, and rock and roll. Each genre overview includes 1-2 defining characteristics and an example song.
Juanes is a Colombian rock artist who has sold over 15 million albums worldwide. He was interviewed prior to a London performance on his "Loco De Amor" tour, which is one of Billboard's biggest tours of the summer. During the interview, Juanes discusses the importance of performing in New York City for its large Latino population and global audience. He also talks about how he respects the talented young artist Ximena Sariñana, who is joining him on tour. Juanes highlights performing the song "Juntos" at the 2015 Grammys as a career highlight, calling it a huge opportunity. He enjoys touring internationally and being able to learn from different cultures through music.
Rooby Man was crowned Best Reggae Entertainer of the Year at the 31st Annual Chicago Music Awards. He dedicated the award to his native country of Haiti. In 2011, Rooby Man performed over 80 shows globally, including opening for artists like R. Kelly. He was also nominated for Best Reggae Entertainer and performed at the 31st Annual Chicago Music Awards where he accepted his award for Best Reggae Entertainer of the Year.
Rock music originated in the late 1940s and has since evolved into numerous subgenres. It began as rock and roll, a hybrid of rhythm and blues, country, and other genres. Rock and roll later splintered into rockabilly and doo wop. In the 1960s, surf music and the British Invasion emerged. Garage rock and pop rock also developed during this time. Subgenres continued to diversify with blues rock, folk rock, and punk emerging in the 1970s. Alternative rock encompasses many subgenres that differ from mainstream music like grunge, Britpop, and emo. Riot grrrl focused on empowering women through punk music. Rock music remains defined by its many subgenres
Hip-hop originated in the Bronx, New York in the early 1970s among African Americans. It grew to prominence through DJ Kool Herc and became the most popular music genre worldwide by 2010. Hip-hop encompasses four elements - rap music, DJing, breakdancing, and graffiti art. Influential artists today like Drake, Kendrick Lamar, J. Cole, and Kanye West have helped grow hip-hop's impact through their emotional lyrics addressing social issues and upbringings. Major record labels in hip-hop include Def Jam, Roc-A-Fella, Columbia, and Young Money. Some criticize hip-hop's portrayal of women and gangs, though supporters see it
Crunk is a subgenre of hip hop that emerged in the early 1990s, known for its up-tempo beats combining hip hop and electronic dance music. Key artists include Lil Jon & The Eastside Boyz, Ying Yang Twins, and Lil Scrappy. Deathcore is an extreme metal fusion genre combining the characteristics of death metal and metalcore, including death metal riffs and blast beats. It originated in the mid-1990s and bands like Suicide Silence from Riverside, California helped popularize the genre. Roots reggae originated in Jamaica in the 1970s and deals with everyday lives and spiritual themes, becoming popular in Europe. Artists include Bob Marley, Peter Tosh, and The A
Crunk emerged in the early 1990s as a subgenre of hip hop music originating in the Southern United States. It combines hip hop music with electronic dance music and is characterized by up-tempo beats. Popular Crunk artists include Lil Jon & The Eastside Boyz and Ying Yang Twins. Deathcore is an extreme metal genre that combines the heavy riffs and vocals of death metal with the growling vocals and breakdowns of metalcore. It originated in the mid-1990s and bands in the genre like Suicide Silence have faced criticism from fans of other metal subgenres. Roots reggae developed in the 1970s and deals with everyday life and spirituality through artists like Bob Marley, Peter Tosh
Crunk is a subgenre of hip hop that emerged in the 1990s and gained mainstream success in the 2000s. It combines hip hop and electronic dance music and is often up-tempo with southern influences. Key artists include Lil Jon & The Eastside Boyz and Ying Yang Twins. Deathcore is an extreme metal fusion genre that combines characteristics of death metal and metalcore, including death metal riffs and blast beats. It originated in the mid-1990s and has been criticized by some metal fans. Suicide Silence is a prominent American deathcore band formed in 2002 in Riverside, California.
The document discusses different music genres including hip hop, rock, pop, gothic, indie, R&B, and emo. It provides brief descriptions of the origins and characteristics of each genre. Hip hop began in the 1970s in the Bronx and focuses on lyrics and personal identity. Rock music emerged in the 1960s and includes various guitar and drum sounds. Pop music developed in the mid-1950s and targets youth with short love songs. Gothic rock combines dark, keyboard-heavy music with depressing lyrics. Indie rock from the 1980s maintains artist control and relies on independent promotion. R&B was created by African Americans in the 1940s-1950s and had an instant beat. Emo originated in 1980s
The document discusses different music genres including hip hop, rock, pop, gothic, indie, R&B, and emo. It provides brief descriptions of the origins and characteristics of each genre. Hip hop began in the 1970s in the Bronx and focuses on lyrics and personal identification. Rock music emerged in the 1960s and includes various guitar and drum sounds. Pop music developed in the mid-1950s and targets youth with short love songs. Gothic rock combines dark, keyboard-heavy music with depressing lyrics. Indie rock from the 1980s maintains artist control and relies on independent promotion. R&B was created by African Americans in the 1940s-1950s and was marketed to urban audiences. Emo originated in 1980
The document summarizes important aspects of the 1970s, including music, fashion, technology, and social movements. It describes the rise of hard rock bands like AC/DC and Aerosmith. Fashion featured bell bottoms, bright colors, and platform shoes. Technological advancements included the floppy disk, Pong video game, and the first mobile phone call. Social movements grew for feminism, gay rights, and environmentalism. The economy struggled due to two oil crises, and petroleum prices sharply increased. Overall, the 1970s saw significant cultural, technological, and social changes around the world.
The document summarizes a touring exhibition called "A NICE SET" featuring sets of slip mats designed by 33 1/3 artists from around the world representing different genres of DJ culture. The slip mats on display reflect the diversity of styles within DJ music and culture, ranging from hip hop street art to clean graphic designs to rock-inspired works. The exhibition aims to showcase the wide variety of artistic influences within international DJ culture.
El documento describe la potestad tributaria como el poder del estado para crear tributos y exigir su pago con el fin de financiar las necesidades públicas. Explica que la potestad tributaria puede ser originaria o derivada, y está limitada por principios como legalidad y capacidad contributiva. También define la competencia tributaria residual y concurrente, los ingresos estadales y municipales, y las limitaciones a la potestad tributaria municipal.
Social media, especially Twitter, played a major role in how information was shared about the 2013 Boston Marathon bombings. Twitter allowed eyewitnesses like Globe reporters at the scene to live tweet updates. The number of tweets from the Globe and its followers increased dramatically that day. Hashtags like #PrayForBoston and #BostonMarathon were widely used on over 180 million tweets from 95 cities expressing fear, sympathy and support. However, 29% of tweets contained rumors and fake information, showing the downside of misinformation on social media.
The document discusses various genres and styles of independent or "indie" music, including indie rock, indie pop, indie electronic, indie hip hop, and others. It provides descriptions of key characteristics and origins for different indie subgenres. For example, it notes that indie rock originated in the UK in the 1980s and was diverse, with subgenres like indie pop and lo-fi music. It also discusses visual styles associated with indie culture like DIY fashion and aesthetics.
Alternative rock emerged from the underground scene in the 1980s as a reaction against pop music. It developed as a genre consisting mainly of vocals, guitar, bass, and drums that could vary in sound from upbeat to emotional. Many iconic alternative rock bands like Nirvana, The Smiths, and R.E.M. achieved mainstream success in the 1980s-90s, though the genre's popularity declined somewhat in the late 90s. Alternative rock remains influential and some modern bands like Kasabian continue the tradition.
NYC’s very own S.C.R.D., whose old school rock star vibe and fresh new hip hop beats have been hailed as a mashup of unlikely styles that delivers a deliciously guilty pleasure worthy of heavy indulgence. They say what you wanted to say, but never did.
S.C.R.D. is named after Sweet Chuck and Ravin Dave, the two principal members of the group based in Gramercy, Manhattan. Together they infuse old skool beats, live instrumentation and witty, humorous and slightly satirically lude lyrics to take fans on a journey through heartbreaks with an ebullience for life and the thirst for adventure. Their collaboration between each other, thrives off co-collaborating with local musicians, friends and fans they lure into their musical tsunami, which helps drive their artistic creativity to new heights.
S.C.R.D. is privately funded and releases content under the record label and licensing company, Trip Digital Inc.
S.C.R.D. on iTunes: https://itunes.apple.com/us/artist/s.c.r.d./id1014316942
Charles Rouse Sr. (1924-1988) was an American jazz tenor saxophonist known for his time with Thelonious Monk's quartet from 1959 to 1970. He studied clarinet before focusing on tenor saxophone and played in several big bands in the 1940s-1950s before joining Monk's group, where he adapted his style to Monk's music by improvising with deliberation and often restating melodies. He was later a founding member of the group Sphere, which paid tribute to Monk. Rouse had a distinctive solo style with Monk that alternated reiterations of themes with bop runs.
This module examines popular music cultures through several lenses. Students will critically analyze the relationships between musical, cultural, social, economic and technological factors in popular music history. Various theories of popular culture will be developed and applied to the production, consumption and enjoyment of popular music, and how these have related to socio-political changes in society. Specific musical genres and performers will then be examined using these conceptual and theoretical frameworks. Students will complete two case studies and a final essay to demonstrate their understanding.
In the 1960s, music was heavily influenced by the counterculture movement and anti-establishment sentiments of the time. This gave rise to several influential bands from the UK like the Beatles, Rolling Stones, Who, and Animals during the British Invasion. These bands embodied rebellion and defiance through their music and style. The counterculture movement embraced rock music and promoted ideals of peace, love, and freedom. A defining moment was the 1969 Woodstock festival, which gathered over 400,000 people to experience the psychedelic rock music of the era.
The document provides descriptions of various music genres including:
- Bangra, a dance music originating in Punjab that celebrates the harvest season.
- Hip hop, developing in the 1970s Bronx from elements like rapping, DJing, sampling, and beatboxing.
- Emo, originating from 1980s hardcore punk and incorporating melodic musicianship and confessional lyrics.
- Pop, rock, and R&B music, covering their origins and evolution over time.
- Additional genres discussed include grime, indie, gothic metal, gothic rock, and rock and roll. Each genre overview includes 1-2 defining characteristics and an example song.
Juanes is a Colombian rock artist who has sold over 15 million albums worldwide. He was interviewed prior to a London performance on his "Loco De Amor" tour, which is one of Billboard's biggest tours of the summer. During the interview, Juanes discusses the importance of performing in New York City for its large Latino population and global audience. He also talks about how he respects the talented young artist Ximena Sariñana, who is joining him on tour. Juanes highlights performing the song "Juntos" at the 2015 Grammys as a career highlight, calling it a huge opportunity. He enjoys touring internationally and being able to learn from different cultures through music.
Rooby Man was crowned Best Reggae Entertainer of the Year at the 31st Annual Chicago Music Awards. He dedicated the award to his native country of Haiti. In 2011, Rooby Man performed over 80 shows globally, including opening for artists like R. Kelly. He was also nominated for Best Reggae Entertainer and performed at the 31st Annual Chicago Music Awards where he accepted his award for Best Reggae Entertainer of the Year.
Rock music originated in the late 1940s and has since evolved into numerous subgenres. It began as rock and roll, a hybrid of rhythm and blues, country, and other genres. Rock and roll later splintered into rockabilly and doo wop. In the 1960s, surf music and the British Invasion emerged. Garage rock and pop rock also developed during this time. Subgenres continued to diversify with blues rock, folk rock, and punk emerging in the 1970s. Alternative rock encompasses many subgenres that differ from mainstream music like grunge, Britpop, and emo. Riot grrrl focused on empowering women through punk music. Rock music remains defined by its many subgenres
Hip-hop originated in the Bronx, New York in the early 1970s among African Americans. It grew to prominence through DJ Kool Herc and became the most popular music genre worldwide by 2010. Hip-hop encompasses four elements - rap music, DJing, breakdancing, and graffiti art. Influential artists today like Drake, Kendrick Lamar, J. Cole, and Kanye West have helped grow hip-hop's impact through their emotional lyrics addressing social issues and upbringings. Major record labels in hip-hop include Def Jam, Roc-A-Fella, Columbia, and Young Money. Some criticize hip-hop's portrayal of women and gangs, though supporters see it
Crunk is a subgenre of hip hop that emerged in the early 1990s, known for its up-tempo beats combining hip hop and electronic dance music. Key artists include Lil Jon & The Eastside Boyz, Ying Yang Twins, and Lil Scrappy. Deathcore is an extreme metal fusion genre combining the characteristics of death metal and metalcore, including death metal riffs and blast beats. It originated in the mid-1990s and bands like Suicide Silence from Riverside, California helped popularize the genre. Roots reggae originated in Jamaica in the 1970s and deals with everyday lives and spiritual themes, becoming popular in Europe. Artists include Bob Marley, Peter Tosh, and The A
Crunk emerged in the early 1990s as a subgenre of hip hop music originating in the Southern United States. It combines hip hop music with electronic dance music and is characterized by up-tempo beats. Popular Crunk artists include Lil Jon & The Eastside Boyz and Ying Yang Twins. Deathcore is an extreme metal genre that combines the heavy riffs and vocals of death metal with the growling vocals and breakdowns of metalcore. It originated in the mid-1990s and bands in the genre like Suicide Silence have faced criticism from fans of other metal subgenres. Roots reggae developed in the 1970s and deals with everyday life and spirituality through artists like Bob Marley, Peter Tosh
Crunk is a subgenre of hip hop that emerged in the 1990s and gained mainstream success in the 2000s. It combines hip hop and electronic dance music and is often up-tempo with southern influences. Key artists include Lil Jon & The Eastside Boyz and Ying Yang Twins. Deathcore is an extreme metal fusion genre that combines characteristics of death metal and metalcore, including death metal riffs and blast beats. It originated in the mid-1990s and has been criticized by some metal fans. Suicide Silence is a prominent American deathcore band formed in 2002 in Riverside, California.
The document discusses different music genres including hip hop, rock, pop, gothic, indie, R&B, and emo. It provides brief descriptions of the origins and characteristics of each genre. Hip hop began in the 1970s in the Bronx and focuses on lyrics and personal identity. Rock music emerged in the 1960s and includes various guitar and drum sounds. Pop music developed in the mid-1950s and targets youth with short love songs. Gothic rock combines dark, keyboard-heavy music with depressing lyrics. Indie rock from the 1980s maintains artist control and relies on independent promotion. R&B was created by African Americans in the 1940s-1950s and had an instant beat. Emo originated in 1980s
The document discusses different music genres including hip hop, rock, pop, gothic, indie, R&B, and emo. It provides brief descriptions of the origins and characteristics of each genre. Hip hop began in the 1970s in the Bronx and focuses on lyrics and personal identification. Rock music emerged in the 1960s and includes various guitar and drum sounds. Pop music developed in the mid-1950s and targets youth with short love songs. Gothic rock combines dark, keyboard-heavy music with depressing lyrics. Indie rock from the 1980s maintains artist control and relies on independent promotion. R&B was created by African Americans in the 1940s-1950s and was marketed to urban audiences. Emo originated in 1980
The document summarizes important aspects of the 1970s, including music, fashion, technology, and social movements. It describes the rise of hard rock bands like AC/DC and Aerosmith. Fashion featured bell bottoms, bright colors, and platform shoes. Technological advancements included the floppy disk, Pong video game, and the first mobile phone call. Social movements grew for feminism, gay rights, and environmentalism. The economy struggled due to two oil crises, and petroleum prices sharply increased. Overall, the 1970s saw significant cultural, technological, and social changes around the world.
The document summarizes a touring exhibition called "A NICE SET" featuring sets of slip mats designed by 33 1/3 artists from around the world representing different genres of DJ culture. The slip mats on display reflect the diversity of styles within DJ music and culture, ranging from hip hop street art to clean graphic designs to rock-inspired works. The exhibition aims to showcase the wide variety of artistic influences within international DJ culture.
El documento describe la potestad tributaria como el poder del estado para crear tributos y exigir su pago con el fin de financiar las necesidades públicas. Explica que la potestad tributaria puede ser originaria o derivada, y está limitada por principios como legalidad y capacidad contributiva. También define la competencia tributaria residual y concurrente, los ingresos estadales y municipales, y las limitaciones a la potestad tributaria municipal.
Social media, especially Twitter, played a major role in how information was shared about the 2013 Boston Marathon bombings. Twitter allowed eyewitnesses like Globe reporters at the scene to live tweet updates. The number of tweets from the Globe and its followers increased dramatically that day. Hashtags like #PrayForBoston and #BostonMarathon were widely used on over 180 million tweets from 95 cities expressing fear, sympathy and support. However, 29% of tweets contained rumors and fake information, showing the downside of misinformation on social media.
O documento discute os problemas causados pela falta de integração entre pessoas, processos e sistemas nas empresas, como desperdício de tempo e recursos. A solução proposta é a Laura, uma plataforma que integra todos esses elementos em um único ecossistema operacional para melhorar a eficiência e reduzir erros.
This document is Jeremiah Mulloy's undergraduate portfolio covering multiple architecture projects from 2014-2016. It includes summaries and documentation of 6 projects: [1] The Sioux Falls School for Performing Arts, [2] Archiving the Vasari Corridor in Florence, [3] The John Hejduk Archive in Berlin, [4] A nine square grid studio project, [5] The Kansas Street Mall in Huron, SD, and [6] A design for the Farmer of the Year celebration at South Dakota State University. For each project, Jeremiah provides background context, design approaches, drawings, models, and other documentation of the final proposals.
1. Pussy Riot is a Russian feminist punk rock band that has gained notoriety for public performances criticizing Russian President Vladimir Putin and the Russian Orthodox Church. Their lyrics address feminism, LGBTQ rights, and political issues in Russia.
2. While their brand of feminism differs from Western feminism due to Russia's political oppression, Pussy Riot draws influence from American feminist movements like Riot Grrrl. Three members were imprisoned for a protest performance in a Russian church.
3. Debate exists around whether Pussy Riot effectively promotes feminism or merely seeks attention by antagonizing Putin. However, Putin's regime has clearly restricted freedom of expression in Russia through Pussy Riot's prosecution
1) The document discusses an assignment where the author created a song using everyday sounds from their daily life and soundscape.
2) It explores concepts like soundscape, noise, and reduced listening in analyzing the sounds recorded for the song.
3) Key sounds included in the song are a microwave beeping, lawn mower, snoring, knocking, and dryer hum, which the author reflects have been influenced by technology and illustrate how unaware people can be of the sounds around them.
Neste piloto inédito, usaremos o robô Laura para monitorar o estoque do banco de sangue do Hospital Nossa Senhora das Graças em Curitiba, executando os alertas de necessidade e chamamento de doadores específicos automaticamente.
Potencializará os profissionais da área, ajudando a salvar vidas.
This short document promotes creating presentations using Haiku Deck, a tool for making slideshows. It encourages the reader to get started making their own Haiku Deck presentation and sharing it on SlideShare. In just one sentence, it pitches the idea of using Haiku Deck to easily create engaging slideshow presentations.
The TV show Two and a Half Men portrays contrasting characters of Charlie and Alan Harper. Charlie is a womanizer and alcoholic, while Alan wants meaningful relationships. Their mother Evelyn challenges traditional gender roles. The show reinforces stereotypes, including portraying homosexuality negatively. It finds humor in ridiculing the brothers' adherence to stereotypes of masculinity.
The cost of parking permits at Miami University has been steadily increasing and will continue to rise in the coming years. Students currently pay $75 per semester or $150 per year for yellow permits to park in holding lots, while blue permits for surface lots are $125 per semester or $250 per year. Faculty parking costs less at $75 per semester for red surface lot permits. While some students feel there is not enough parking, the director of parking and transportation believes Miami has adequate parking and encourages alternative transportation to reduce traffic conflicts on the pedestrian-friendly campus. However, construction projects have temporarily reduced available parking spaces at times.
I wrote and designed this style guide while studying in Centennial College's Communications-Professional Writing program. Though it is much more condensed than a style guide should be, it gives potential employers a sense of the kind of work I can do. Some of the written content was taken directly or paraphrased from existing Ontario government documents (the glossary section, in particular). Similarly, all of the images were taken from government documents.
LOS DERECHOS DE LAS MUJERES SON DERECHOS HUMANOS NECESARIOS PARA LA PAZCasa de la Mujer
Hoy 10 de diciembre, Día Internacional de los Derechos Humanos, desde la Casa de la Mujer hacemos un llamado al Estado colombiano para que se tomen acciones concretas e inmediatas para garantizar que las mujeres colombianas puedan acceder al disfrute pleno de sus derechos, en un marco de dignidad y de reconocimiento de que los derechos de las mujeres son derechos humanos fundamentales para el logro de la construcción y consolidación de una paz estable y duradera en el país.
El documento describe las características del párrafo y las técnicas narrativas presentes en él, incluyendo la descripción, la narración y el diálogo. Explica que un párrafo comienza con mayúscula y termina con punto y aparte, hace una afirmación clara aunque no la agota, y tiene una idea principal lógica y coherente. Además, detalla los elementos básicos de la narración como la acción, los personajes, el tiempo y el espacio, y los componentes de la comunicación involucrados en el di
The document provides an outline for a qualitative study on teachers' use of grammatical terminology in second language classrooms. It will involve fieldwork observing lessons and interviewing teachers at English language schools in Malta. The study aims to describe teachers' practices in using terminology and understand their motivations. It discusses arguments for and against terminology use and how learner variables may influence terminology selection. Four sample classroom episodes are presented that illustrate terminology use between teachers and students.
El documento describe un mercadillo de Navidad organizado por la Fundación Dalma en el Hotel Ritz de Madrid. La Fundación trabaja con talleres de inserción para crear regalos hechos a mano, los cuales son vendidos en el mercadillo. El mercadillo ofrece una variedad de productos artesanales y genera trabajo e ingresos para personas con discapacidad.
Clinica el camino mujeres que aman demasiadoѼdalis Gaspar
Este documento proporciona información sobre la Clínica El Camino en Cuernavaca, Morelos, México. La clínica ofrece servicios de intervención en crisis las 24 horas y está dirigida por el psicólogo Luis Espinosa Velázquez y el doctor psicólogo Marco Antonio Molina Góngora. La clínica también cuenta con sitios web donde se puede encontrar más información.
This document lists quantities of various items including 2 liters, 25 liters, 400 grams, and 10 kilograms. It also lists three plant diseases: Botrytis, Fusarium pseudograminaerum, and Pineapple Disease.
The document discusses three articles about representations of gender and sexuality in media. The first article argues that while women have more sexual freedom, men are still portrayed as having entitlement over women in commercial sex. The second discusses recurring themes of innocence for females and traditional masculinity for males in teen dramas. The third examines Chaz Bono's transition and how he was represented differently on Dancing with the Stars versus his own documentaries. The discussion questions ask why women are still misrepresented in media and if this stereotyping helps teen dramas, and what factors kept Bono at the media center while on Dancing with the Stars.
Obama received approximately 3,000 fewer total votes in Butler County in 2012 compared to 2008. While Obama gained 74 more votes only in Monroe, his vote count declined in every other city and township in the county. In Oxford, typically a Democratic college town, Obama's margin of victory over his opponent decreased from nearly 2,000 votes in 2008 to around 1,200 votes in 2012. Romney received around 1,000 more votes than McCain in Butler County despite an overall decline of about 3,000 votes. The margin of victory for Obama's opponent increased from a 23% defeat by McCain in 2008 to a 26% defeat by Romney in 2012.
1) The document discusses a Rolling Stone article about an alleged gang rape at the University of Virginia. The reporter, Sabrina Erdely, failed to properly verify details of the story with additional sources and witnesses.
2) Erdely did not interview the three friends who were with the alleged victim on the night of the rape. She also included inaccurate details about the victim's appearance.
3) The editors at Rolling Stone also failed to properly fact check the story before publication. The article had to be retracted after many inconsistencies came to light.
Big changes are expected to happen at Miami University's regional campuses, but a task force has taken time to listen to students and communities about the changes. The Miami Hamilton SGA president thinks the task force has done a good job despite inevitable changes, which may include students having to transfer to Oxford after two years at regionals or stay at regionals. The SGA president wants students to be aware of proposed changes and plans to gather student feedback through a booth before and after changes are implemented.
The document describes the author's experience with the death of his grandfather, who was like a father to him. The author's grandfather had a stroke in 2006 that left him unable to walk. Though he tried to recover, he was moved to a nursing home where his health declined until he had a series of mini strokes in 2010 that led to his death. The author remembers vividly watching the life drain from his grandfather, a man who was always full of life and loved the author unconditionally. His grandfather's death has been the most traumatic life experience for the author and one he will never forget.
Michael Uslan had a lifelong passion for comic books and superheroes that he pursued despite criticism. He taught the first college course on comic books and bought the rights to Batman when others dismissed it. Though his vision for a serious Batman film was rejected for 10 years, its eventual success launched a popular franchise and proved his perseverance in fulfilling his dreams paid off.
The document summarizes a discussion at the Dayton Peace Accord 20th Anniversary Forum about different approaches the United States could take in helping countries deal with crises. A political reporter named Dejan Sajinovic sat in with the author's group and provided valuable insights. Sajinovic believed the second approach of only intervening where it is clearly in the US's interest was most logical. He also noted the importance of maintaining strong relationships with allied countries and not being perceived as worse than threats like ISIS. The author found the third approach of countries being their "brothers' and sisters' keepers" by financially helping others to make the most sense, as good favors will be returned.
1. The Year is Zero: A Critical Analysis of No Wave
In 1978, a number of musicians in New York City decided enough was enough and it was
time to hit the reset button on music. No Wave, a term derided by those in the scene, was born
out of the concrete wasteland that New York City had become. Punk and New Wave gave those
looking for an alternate musical form a chance to have their voices heard but the musicians,
poets and artists that made up the No Wave scene wanted something else that they could call
their own. No Wave burned bright and fast and only lasted from 1978 until 1982. While this
musical movement was short and fast like the songs produced by No Wave artists, it left a
lasting imprint on musical history that hasn’t been eroded with the passage of time. In my
analysis, I’mgoing to break up the various sections that I want to discuss and why each is
important in attempting to explain and examine this cultural phenomenon. In the first section,
I’m going to describe in detail this phenomenon and the history of No Wave. This particular
period of time in musical history has left an imprint that at times seems to be forgotten but is
still being felt. Since New York City was in such decay in the late 1970s and early 1980s, artists
were able to live for dirt cheap in apartments and lofts that now would command a large sum
of money. The economic struggles of New York City helped artists develop a sense of
camaraderie and this in turn led to musical creativity. In the second section, I’m going to talk
about what the goals of No Wave were and how the sound of the music was a reflection of the
poverty experienced by these musicians in New York City. In the final section, I’m going to
discuss how anyone and everyone could be a part of the No Wave scene and it encouraged
those that wouldn’t be considered musicians by popular standards to take part regardless of
class, sex and race.
2. By the late 1970s, New York was a wasteland and was a very gritty and desolate place to
live. Most places that would now be quite expensive to live were dirt cheap and a lot of artists
could rent large spaces and perform music, make films and paint. Crime in New York City was
really high and there were a lot of abandoned buildings. Sometimes the buildings would catch
on fire because of the few people that were living in them and since there was so much
garbage, some buildings would be used for the sake of storing garbage in them because there
was no other place to put it. “As the municipal deficit and a string of sweltering summers took
their toll on the city’s infrastructure, frequent power-cuts threw New York into total darkness,
while at the same time fires would burn for days in an L.E.S now all but abandoned by police
and fire services as landlords torched their properties for insurance pay-outs” (Calvert 2014).
Simon Reynolds writes that “the city’s official figures listed 360 abandoned buildings and 310
vacant lots in the area, with the condition of a quarter of the buildings declared poor to critical
(Reynolds 2006).” As a result of this economic downslide, the local population dropped 20
percent between 1970 and 1980. School enrollment plummeted as families with kids moved to
better neighborhoods or the suburbs (Reynolds 2006). The cheap rents allowed musicians to
barely have to work jobs and they could rent apartments for cheap depending on the quality of
the building and the area it was located in. Lydia Lunch stated that she was able to scrape
together enough cash to pay for her rent and spent only a few dollars per day on food. “Work?
Are you nuts? Please. $75 per month-- that was my rent when I got an apartment on
12 th Street. You could eat for two or three dollars a day. You begged, borrowed, stole, sold
drugs, worked a couple of days at a titty bar if you had to. I don't know how I got by, but it
didn't take much” (Masters 2008).The No Wave bands were greatly influenced by their
3. surroundings and the sound and style of the music was a result of their living conditions and
what they had to experience while living in a city that was rampant with crime, drugs and sex.
Although Lunch was already living in poverty and in a ghetto, she decided to move to one that
was even worse. Lydia Lunch said that, “But with two hundred bucks in my pocket tucked inside
a notebook full of misanthropic screed, a baby face that belied a hustler's instinct, and a killer
urge to create in order to destroy everything that had originally inspired me, I didn't give a
flying [expletive] if the Bowery smelled like dog [expletive]” (Moore and Cooley 2008). While
punk songs by bands like The Sex Pistols and The Ramones were short, fast and to the point, No
Wave bands like Mars, Teenage Jesus & The Jerks and DNA shortened the songs even more and
the music was a lot more experimental than punk. The music reflected the pain and nihilism
that was evident in New York City in the late 1970s and No Wave was very much anti any music
that had come before it. The spontaneity of an improvisational method further dissolved the
rules of rock in particular and music in general (Traber 2007). Unlike the progressive rock from
the 1970s, this did not result in 15-minute drum solos (Traber 2007). The immediacy of the
moment—an instance’s flash of inspiration that imploded—was more their style (Traber 2007).
The word “no” is a powerful one and symbolically represents how the artists and musicians in
the No Wave scene felt in regards to what was popular or cool at the time. The key to how such
a brief moment could create a lasting impression lies in a single word: 'No.'(Masters 2008). It
could hardly be smaller, yet, like the No Wave movement itself, it is remarkably potent, a
symbol of all the possibilities in rejection and resistance (Masters 2008). While many of the
prominent No Wave bands were featured on records like No New York, a physical product of
their music wasn’t the easiest thing to find. Since the movement was so quick and
4. instantaneous, the primary place to envelop one’s self in this music was at CBGB’s or Max’s
Kansas City. Since this music was so spontaneous, it would’ve been difficult for listeners to pick
out a lot of repetition in the recorded versions of these songs. For many listeners, repetition
raises expectations, and they may normalize interpretative features of a performance or even
mistakes (Katz 2004).
The music the No Wave bands were creating wasn’t necessarily made
with the concept of preservation in mind and these artists were using their experiences from
the rough and tough streets of the Lower East Side to create music that could be given back to
the streets and populace. Poverty and a downtrodden city proved to be quite influential on the
inhabitants that flocked there and it helped to give them an infinite amount of creativity. Lydia
Lunch described this period as one where artists had complete creative control of what they
were doing. “You painted, you were in a band, you made films, you wrote songs. It was just
all so interconnected. We were all friends and freak-by-nature outsider artists. I think it
was just the freak nature of our base elements that brought us together. To be in a band, at
least according to the rules of rock in the 1970s, one must know how to play an instrument. But
rather than waste time solving that problem, No Wavers ignored it. The point was simply to
make music, not to learn how first. As Glenn O'Brien put it, "It was a 'Gong Show' for geniuses”
(Masters 2008). The sound of No Wave reminds us that sound envelops us, pouring into us
whether we want it or not, including us and involving us (Douglas 2004). This music wasn’t
meant to be listened to in order to try to keep track of it and the specifics of it were flowing out
of these musicians in such a way that made it fresh and exciting. The desire to make a new
sound is actually the problem, as “deconstructed” music must be wary of overly relying on a
5. notion of originality to conceptualize itself (Traber 2007). The deconstruction label practically
dares people to locate the previous sources, even if they only sound faintly familiar (Traber
2007). The desire of the No Wave artists was to not only sound like nobody else in the history of
music but also to not copy what other No Wave groups sounded like. The pounding drums
heard in DNA or the screeching sound of Lydia Lunch’s guitar in the recordings of Teenage Jesus
& The Jerks was something new but almost animalistic in the approach. New York City bands
like Television, Blondie and The Ramones may have been approved of by the No Wave bands to
various degrees but all of those bands sounded like something before them. Those bands may
have given rock a kick in the ass when it so desperately needed it but the goal of the No Wave
groups was to annihilate all preceding music. The Sex Pistols seemed revolutionary to
mainstream music fans but they weren’t so original after all with their recycled Chuck Berry
licks played at a faster pace. “The other aspect of Punk and New Wave ripe for destruction was
the music itself. The bands that preceded No Wave obeyed the blues-based rock model that
had prevailed since the 1950s. Granted, it was often a sped-up or strangely-skewed version of
that tradition, but it was no radical break. The No Wavers chose not to modify rock convention,
but to discard it. Noise, lack of melody, technical naïveté, and anything else not considered
"musical" became the keys to tearing rock apart” (Masters 2008). Reduced listening, listening
that focuses on the traits of the sound itself, can certainly be applied when listening to No
Wave music (Chion 1994). What may sound like a saw may be the feedback from an electric
guitar or perhaps there’s some sort of ancient tribal rhythm pattern being smashed out by a
drummer. A singer may not “sing” in a traditional way but growl out the lyrics or create
instrumental sounds with their voice. The sounds that were produced by these No Wave artists
6. broke down the barriers of what music should sound like and what one should expect from
various instruments when listening to this music. Why should music have to sound a certain
way in order to be categorized or justified in the minds of mainstream listeners? No Wave gave
the middle finger to that question and broke down many doors that others are still climbing
through.
While it may not be discussed to a great extent, No Wave helped to continue to destroy
the old guard of whom could play music and what could be defined as music. Rock and roll has
quite a history of excluding women and some races from its ranks and was predominantly white
dominated for a long time. While punk came along with the notion that anyone could be a
musician, the game remained largely in control by white males. No Wave helped to take this
approach a step further and the most prominent No Wave bands all featured at least one
female member. Lydia Lunch, Ikue Mori, and China Burg were all prominent women in the
various No Wave bands. Ikue Mori was hired by Arto Lindsay to be part of DNA. Mori was from
Japan and it didn’t even matter that she was a minority, female and had no prior musical
experience. This is an example of how wide open the No Wave scene was and even someone
with no prior musical experience or ability could jump right in and begin playing the guitar or
drums. Lydia Lunch had no experience playing guitar before the creation of Teenage Jesus &
The Jerks and she took out her frustrations in her playing style and no preconceptions of how
the guitar should be played. “With structure, chords, melody and story arc an absolute Jerks
taboo, that Lunch & Co. – more than any other No Wave band – made no concessions to
anything remotely rock, was an act of hatred in itself: fueled by the utter contempt Lunch had
for both the bloated rock gods of the ’70s and the hippy generation’s moral self-assurance. In
7. the end, no No Wave act more enshrined the movement’s ‘Kill Your Idols’ ethos than The Jerks”
(Calvert 2014). The musicians that were involved in the No Wave scene prominently explored
their own habitus of listening without really thinking about it. Our habitus of listening is tacit,
unexamined, seemingly completely natural (Becker 2004). We listen in a particular way without
thinking about it, and without realizing that it even is a particular way of listening (Becker
2004). The way to listen and approach No Wave is to throw out any preconceived notions of
what music should sound like and what your ears may experience. These artists wanted to
break down the barriers by disregarding prior music by changing the way it sounded and
enveloping themselves in their own habitus of listening. Even though sexismand racism
seemed to vanish as far as the No Wave musicians went, it also helped to attract black listeners
which might surprise a lot of people. Arto Lindsay said that “We had a lot of black fans, and jazz
musicians respected us. And all through this period I was listening to Al Green and Curtis
Mayfield for my own pleasure” (Reynolds 2006). No Wave helped to attract fans of all shapes
and sizes and since the barriers of racismand sexismwere seemingly destroyed, it opened up
the possibility of a more diverse audience.
No Wave helped to break down a lot of the barriers that existed before in the musical
world. It helped to dismantle the notion of a rock star and who could be a musician. Just
because someone didn’t have years of training at a particular instrument didn’t mean that they
wouldn’t be able to be a musician. No Wave only lasted from 1978-1982 but the trail that it
blazed would be felt for many years to come. It’s impossible to imagine groups like Sonic Youth
existing if it weren’t for the No Wave scene that they crawled up from. New York City was damn
near bankrupt and the sounds from the streets were picked up by the musicians and thrown
8. back at the people that attended No Wave concerts. While a significant number of people left
New York during the economic decline that crippled the city in the 1970s, many artists and
musicians flocked there to blend in with likeminded individuals. They were able to pay dirt
cheap rent for facilities that now command sky high prices. The No Wave musicians and artists
truly had the city as their playground and were in charge of the artistic endeavors in New York
City. As New York City began to recover from the financial crisis it had gone through, that New
York was replaced by one that was family friendly, cleaner and more sterile. There has recently
been a great longing for the filthy, desolate and dangerous New York City of the 1970s and
1980s and I believe it’s because people know that city may never be in that sad state again. Out
of that negative atmosphere sprang a scene and movement that has continued to inspire and
open the minds of those that come into contact with it. The musicians of the No Wave era will
never again have the freedom to run certain sections of New York City that they did in the past
and we may never see another movement like the one that took shape in the spring of 1978.
Bibliography
Calvert, John. "A Beginner’s Guide to No Wave." FACT Magazine Music News New Music. N.p., 10 Mar.
2014. Web. 18 Oct. 2015.
Masters, Marc. "Articles: NO!: The Origins of No Wave." Pitchfork. N.p., 15 Jan. 2008. Web. 18 Oct. 2015.
Moore, Thurston, and Byron Coley. No Wave: Post-punk, Underground, New York, 1976-1980. New
York: Abrams Image, 2008. Print.
Reynolds, Simon. "Chapter 4 Contort Yourself: No Wave New York." Rip It up and Start Again: Postpunk
1978-1984. New York: Penguin, 2006. N. pag. Print.
Traber, Daniel S. "Recentering the Listener in Deconstructive Music." CR: The New Centennial
Review 7.1 (2007): 168-74. Print.
Becker, Judith. "Deep Listeners: Music, Emotion, and Trancing." (2004)
9. Chion, Michel. "Audio-vision: Sound on Screen." (1994)
Katz, Mark. "Capturing Sound: How Technology Has Changed Music." (2004)
Douglas, Susan. “Listening In: Radio and the American Imagination.” (2004)