ABOUT ME

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BIODATA

Nama : Sharon Rose Evania Kristianto

Tempat, tanggal lahir : Tasikmalaya, 1 mei 1999

Umur : 17 Tahun

Hobi : menulis dan nonton

 

Nama saya Sharon, umur 17 tahun, tinggal sendiri tanpa orang tua di kosan. Hidup itu susah tanpa orang tua. Ga ada yang bangunin pas pagi, makan harus cari sendiri, kalo temen – temen ngajak main harus berani nolak demi hemat duit, ga bisa pergi kemana – mana karena ga ada transportasi.

Keluarga saya tinggal di cilegon, banten (deket Serang). Saya punya 2 adik, 1 cewe dan 1 cowo. Yang cowo namanya Evan, dia sekarang kelas 1 smp, dan yang cewe namanya Audrey dia sekarang kelas 5 sd. Saya pindah ke Serpong karena di cilegon tidak ada sekolah swasta SMA yang bagus.

Saya sekolah di Tunas Bangsa, saya punya teman – teman sekelas yang baik. Saya hanya dekat dengan teman sekelas, saya tidak dekat dengan orang lain di luar kelas karena saya introvert, susah bergaul, tetapi untung aja teman – teman di kelas saya mau menerima saya dan mau jadi teman saya.

Hobi saya adalah nyanyi, main musik, dan futsal. Saya pasti tiap hari nyanyi, walaupun lagi sakit parah atau demam pasti nyanyi. Ya walaupun suara ga bagus, tetep aja suka nyanyi hehe. Nah, karena suka nyanyi, saya jadi belajar gitar. Saya belajar gitar dari kelas 3 sd, tapi ampe sekarang masih cupu haha. Dulu sih belajar gitar diajarin guru/orang. Sekarang karena males les gitar, sekarang saya belajar gitar dari youtube. Mungkin orang – orang kira susah kalo belajar dari youtube karena kita ga ketemu sama yang ngajarin, tapi saya malah merasa lebih cepat belajar dari youtube daripada diajar orang langsung. Nah, kalo futsal saya suka dari sejak sd, dulu suka banget makanya sekarang juga eskul di sekolah pilihnya futsal.

 

Arctic Monkeys

Arctic Monkeys

From Wikipedia, the free encyclopedia
Arctic Monkeys
Arctic Monkeys - Orange Stage - Roskilde Festival 2014.jpg

Arctic Monkeys performing at Roskilde Festival on 5 July 2014
Background information
Also known as Death Ramps
Origin Sheffield, England
Genres
Years active 2002–2014 (Hiatus)
Labels Domino
Associated acts
Website arcticmonkeys.com
Members Alex Turner
Matt Helders
Jamie Cook
Nick O’Malley
Past members Andy Nicholson

Arctic Monkeys are an English rock band formed in 2002 in High Green, a suburb of Sheffield. The band consists of Alex Turner (lead vocals, lead and rhythm guitar), Matt Helders (drums, vocals), Jamie Cook (lead and rhythm guitar) and Nick O’Malley (bass, backing vocals). Former band member Andy Nicholson (bass guitar, backing vocals) left the band in 2006 shortly after their debut album was released.

They have released five studio albums: Whatever People Say I Am, That’s What I’m Not (2006), Favourite Worst Nightmare (2007), Humbug (2009), Suck It and See (2011) and AM (2013), as well as one live album, At the Apollo (2008). Their debut album is the fastest-selling debut album by a band in British chart history, and in 2013, Rolling Stone ranked it the 30th-greatest debut album of all time.[1][2]

The band has won seven Brit Awards—winning both Best British Group and Best British Album three times, and have been nominated for three Grammy Awards.[3][4] They also won the Mercury Prize in 2006 for their debut album, in addition to receiving nominations in 2007 and 2013.[5] The band have headlined at the Glastonbury Festival twice, in 2007 and again in 2013.

Arctic Monkeys were heralded as one of the first bands to come to public attention via the Internet, with commentators suggesting they represented the possibility of a change in the way in which new bands are promoted and marketed.[6]

Contents

History

Early years and record deal (2003–05)

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This is a recording of an early unreleased track, “Ravey Ravey Ravey Club”, from Arctic Monkeys’ first gig at The Grapes pub in Sheffield, in June 2003.

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The band began rehearsing at Yellow Arch Studios in Neepsend,[7] and played its first gig on 13 June 2003 at The Grapes in Sheffield city centre.[8] After a few performances in 2003, the band began to record demos at 2fly studios[9] in Sheffield. 18 songs were demoed in all and the collection, now known as Beneath the Boardwalk, was burned on to CDs to give away at gigs, which were promptly file-shared amongst fans. The name Beneath the Boardwalk originated when the first batch of demos were sent around. The first sender, wanting to classify the demos, named them after where he received them, the Boardwalk. Slowly, as more demos were spread, they were all classified under this name. This has led to many people falsely believing that Beneath the Boardwalk was an early album, or that the early demos were all released under this title. The group did not mind the distribution, saying “we never made those demos to make money or anything. We were giving them away free anyway – that was a better way for people to hear them.”[10]

When asked about the popularity of the band’s MySpace site in an interview with Prefix Magazine, the band said that they were unaware what it was, and that the site had originally been created by their fans.[10]

The band began to grow in popularity across the north of England,[11] receiving attention from BBC Radio and the British tabloid press. A local amateur photographer, Mark Bull, filmed the band’s performances and made the music video “Fake Tales of San Francisco“, releasing it on his website,[10] alongside the contents of Beneath the Boardwalk – a collection of the band’s songs which he named after a local music venue. In May 2005, Arctic Monkeys released their first single, Five Minutes with Arctic Monkeys on their own ‘Bang Bang’ label, featuring the songs “Fake Tales of San Francisco” and “From the Ritz to the Rubble”. This release was limited to 500 CDs and 1,000 7″ records, but was also available to download from the iTunes Music Store. Soon after, the band played at the Carling Stage of the Reading and Leeds Festivals, reserved for less known or unsigned bands. Their appearance was hyped by much of the music press and the band was watched by an unusually large crowd.


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Eventually, they were signed to Domino in June 2005. The band said they were attracted to the DIY ethic of Domino owner Laurence Bell, who ran the label from his flat and only signed bands that he liked personally.[12] The UK’s Daily Star reported that this was followed in October by a £1 million publishing deal with EMI and a £725,000 contract with Epic Records for the United States.[13] Arctic Monkeys denied this on their website, dubbing the newspaper “The Daily Stir”. However, Domino had licensed the Australian and New Zealand publishing rights to EMI and the Japanese rights to independent label Hostess.[11] Their first single with Domino, “I Bet You Look Good on the Dancefloor“, which was recorded at Chapel Studios in Lincolnshire, was released on 17 October 2005 and went straight to No. 1 on the UK Singles Chart, beating Sugababes and Robbie Williams. Two weeks previous to this, it made its first appearance on the cover of NME. Their second single, “When the Sun Goes Down” (previously titled “Scummy”), released on 16 January 2006, also went straight to No. 1 on the UK Singles Chart, selling 38,922 copies and taking over that position from Shayne Ward. The band’s success with little marketing or advertising led some to suggest that it could signal a change in how new bands achieve recognition.[6]

Whatever People Say I Am, That’s What I’m Not (2006)

Arctic Monkeys performing in 2006

The band finished recording their debut album, Whatever People Say I Am, That’s What I’m Not, at Chapel Studios in Lincolnshire in September 2005 with British record producer Jim Abbiss producing.[14] Whatever People Say I Am, That’s What I’m Not became the fastest selling debut album in UK chart history, selling 363,735 copies in the first week.[15] This smashed the previous record of 306,631 copies held by Popstars by Hear’Say, and sold more copies on its first day alone – 118,501 – than the rest of the Top 20 albums combined.[16] The cover sleeve of Whatever People Say I Am, That’s What I’m Not, showing Chris McClure, a friend of the band smoking a cigarette, was criticised by the head of the NHS in Scotland for “reinforcing the idea that smoking is OK”.[17] The image on the CD itself is a shot of an ashtray full of cigarettes. The band’s product manager denied the accusation, and suggested the opposite – “You can see from the image smoking is not doing him the world of good.”[17]

The record was released a month later in the US on 21 February 2006[18] and entered at No. 24 on the Billboard album chart after it sold 34,000 units in its first week, making it the second fastest selling for a debut indie rock album in America.[19] However, US sales for the first year did not match those of the first week in the UK for the album. US critics were more reserved about the band than their UK counterparts, and appeared unwilling to be drawn into the possibility of “yet another example of the UK’s press over-hyping new bands”.[20] However, the band’s June 2006 tour of North America received critical acclaim at each stop[21][22][23] – the hype surrounding them “proven to exist for good reason”.[24] Meanwhile, the UK’s NME magazine declared the band’s debut album the “5th greatest British album of all time”.[25] It also equalled the record of The Strokes and Oasis at the 2006 NME Awards, winning three fan-voted awards for Best British Band, Best New Band and Best Track for “I Bet You Look Good on the Dancefloor”.

Arctic Monkeys wasted no time in recording new material, and released a five-track EP on 24 April 2006, titled Who the Fuck Are Arctic Monkeys?. Due to its length, the EP was ineligible to chart as a UK single or album. Furthermore, the record’s graphic language has resulted in significantly less radio airplay than previous records, although this was not a reported concern according to an insider – “since they made their name on the Internet… they don’t care if they don’t get radio play”.[26] The release of the EP Who the Fuck Are Arctic Monkeys? just three months after their record-breaking debut album has been criticised by some, who have seen it as “money-grabbing” and “cashing in on their success”.[27] The band countered that it regularly releases new music not to make money, but to avoid the “boredom” of “spending three years touring on one album”.[28]

Soon after the release of the EP in the UK, the band announced that Andy Nicholson would not take part in the band’s forthcoming North America tour due to fatigue from “an intensive period of touring”.[29] On returning to the UK, Nicholson confirmed that he would leave Arctic Monkeys and start his own project. He also said that he couldn’t deal with the band’s fame and the success over the previous six months. In a statement on their official website, the band said: “We are sad to tell everyone that Andy is no longer with the band”, also confirmed that Nick O’Malley – former bassist with The Dodgems who had drafted in as temporary bassist for the tour – would continue as bassist for the rest of their summer tour schedule.[30] Shortly after, Nick O’Malley was confirmed as the formal replacement for Nicholson.

Arctic Monkeys’ first release without Nicholson, the single “Leave Before the Lights Come On“, came on 14 August 2006. Turner said that the song was one of the last songs he wrote before their rise to fame, and suggested that “it feels very much like it could be on the album”.[31] Peaking at No. 4 in the UK, the single became the band’s first single not to reach No. 1. The band was re-united at the Leeds Festival when Nicholson met up with his former band mates and his replacement bassist, O’Malley.[32] Only the original band members, minus Nicholson, were present at the award ceremony when Whatever People Say I Am, That’s What I’m Not won the 2006 Mercury Prize two weeks later.[33]

Favourite Worst Nightmare (2007)

The band’s second album, Favourite Worst Nightmare, was released on 23 April 2007, a week after the release of accompanying single “Brianstorm“. Like its predecessor, Favourite Worst Nightmare also quickly reached No. 1 in the album charts. Turner described the songs as “very different from last time”, adding that the sound of some tracks are “a bit full-on – a bit like “From the Ritz to the Rubble”, “The View from the Afternoon”, that sort of thing.”[34] A secret gig played at Sheffield’s Leadmill on 10 February 2007, debuted seven new songs (six from Favourite Worst Nightmare and one other).[35] Early reviews of the release were positive, and described it as “very, very fast and very, very loud.”[36]

Meanwhile, the band continued to pick up awards from around the world, namely the ‘Best New Artist in the United States’ at the PLUG Independent Music Awards, the “Album of the Year” awards in Japan, Ireland and the US, awards for “Best Album” and “Best Music DVD” for the short film “Scummy Man” at the 2007 NME Awards.[37] It ended the year by clinching the “Best British Band” and “Best British Album” at the 2008 BRIT Awards. For the second year in a row, the band was nominated for the annual Mercury Prize, although it failed to match its feat of 2006 after the award went to KlaxonsMyths of the Near Future.

On 29 April 2007, the day Favourite Worst Nightmare charted at No. 1 in the UK Albums Chart, all 12 tracks from the album charted in the Top 200 of the UK Singles Chart. On 27 April 2007 it had a total of 18 tracks in the Top 200. “Fluorescent Adolescent” and “505” charted in the Top 75, at No. 60 and No. 74 respectively. The band later released “Fluorescent Adolescent” as a single, and it charted at No. 5, after debuting the song live on The Jonathan Ross Show.

The third single from Favourite Worst Nightmare, “Teddy Picker“, was released on 3 December 2007. It charted at No. 20 and remained only one week in the top 40 staying in this position, making it the lowest charting single for the band so far. Prior to this release the band released an extremely limited number of 250 vinyl under the pseudonym The Death Ramps containing two of the b-sides from the “Teddy Picker” single.

Arctic Monkeys headlined the Glastonbury Festival on 22 June 2007, the highlights of which were aired on BBC2. During their headline act, the band performed with Dizzee Rascal and Simian Mobile Disco and covered Shirley Bassey‘s “Diamonds Are Forever“.[38] The band also played a large gig at Dublin‘s Malahide Castle on 16 June 2007, with a second date added the following day.[39] The band was also slated to play the Austin City Limits Music Festival in September 2007. Other European festivals include Rock Werchter in 2007. The band played two shows at Cardiff International Arena on 19 and 20 June 2007 supported by local friends of the band, Reverend and the Makers. It also played two London gigs at Alexandra Palace on 8 and 9 December 2007. On 1 September 2007 the band insisted on taking a working holiday to Ibiza where it played what turned out to be the last ever full live Ibiza Rocks show in Bar M (now Ibiza Rocks Bar). The band performed in front of 700 people in the bar by the beach whilst many thousands lined the beach outside unable to get a ticket – The Sun described this concert as the “rock event of the summer” stating that “most people left saying they had just witnessed the best gig of their lives”.[40] The band played their last show of the tour on 17 December 2007 at Manchester Apollo, which was filmed for the live DVD ‘At The Apollo’ which was released in cinemas the following year.

Humbug (2008–10)

Main article: Humbug (album)

Arctic Monkeys at the Shepherd’s Bush Empire, London, March 2010

After a brief hiatus during which Alex Turner toured and recorded with his side project The Last Shadow Puppets, the band recorded a total of 24 songs; 12 in the Rancho De La Luna recording sessions with Josh Homme of Queens of the Stone Age in early autumn, 2008, and 12 in the New York sessions with James Ford in spring, 2009, following their January tour of New Zealand and Australia. During this tour, lead single “Crying Lightning“, along with Humbug songs “Pretty Visitors”, “Dangerous Animals”, and “Potion Approaching” (then known as “Go-Kart”), was debuted live. It was later revealed by Matt Helders in a video diary that the album would consist of 14 tracks and that Alex Turner would stay in New York to oversee the mixing of the material.[41] However, the final track listing, revealed on 1 June 2009, listed only 10.[42]

In a preview article on ClashMusic.com, writer Simon Harper claimed that the band had “completely defied any expectations or presumptions to explore the depths they can reach when stepping foot outside their accepted styles,” and that “Turner is his usual eloquent self, but has definitely graduated into an incomparable writer whose themes twist and turn through stories and allegories so potent and profound it actually leaves one breathless”.[43] On the same site, Alex Turner revealed that the band had listened to Nick Cave, Jimi Hendrix, and Cream while writing the new album, the title of which would be Humbug.[44] Humbug was released on 19 August 2009, and, like both of its predecessors, the album went straight to No. 1.

As announced on Arctic Monkeys’ website, the first single was “Crying Lightning“, released on 6 July, digitally through iTunes and also received its first radio premiere on the same day. On 12 July 2009, the single “Crying Lightning” debuted at number 12 in the UK Singles Chart and number 1 on the UK Indie Chart. The second single, “Cornerstone“, was released on 16 November 2009 to much critical acclaim, but failed to replicate the same success that every prior Arctic Monkeys single had, reaching a peak at position 94 on the UK singles chart.[45] It was announced in February 2010 that the third and final single to be taken from Humbug would be “My Propeller“, released on 22 March, shortly before a one off UK show at the Royal Albert Hall in support of the Teenage Cancer Trust on 27 March.

Arctic Monkeys embarked on the first leg of the worldwide Humbug Tour in January 2009 and went on to headline 2009’s Reading and Leeds Festivals. During this performance, it played a number of songs from Humbug, plus older tracks and a cover of Nick Cave and the Bad Seeds‘ “Red Right Hand“. It was also the headline act on the first night of 2009’s Exit festival in Serbia. In North America, where it has less of a following, it played abridged sets at Montreal’s Osheaga Festival, as well as New Jersey’s All Points West Music and Arts Festival. The tour finished on 22 April 2010 in Mexico.

Suck It and See (2011–12)

Main article: Suck It and See

Lead vocalist Alex Turner at Lollapalooza in Chicago, August 2011

NME reported in May 2011 that the band were teaming up with producer James Ford once again, and would be releasing their fourth studio album in late spring at the earliest.[46] Q magazine reported that the fourth Arctic Monkeys album would be of a “more accessible vintage” than Humbug.[47] Q printed edition 299 states ‘It’s the sound of a band drawing back the curtains and letting the sunshine in’.[48]

The album was recorded in Sound City Studios in Los Angeles in 2010 and 2011. On 4 March 2011 the band premièred on its website a new track called “Brick by Brick” with lead vocals by Matt Helders. Helders explained that this is not a single, just a tease of what is coming and that is definitely going to be in the fourth album.[49] On 10 March 2011 the band revealed the album is to be called Suck It and See and was released on 6 June 2011.

Their fourth album’s first single, titled “Don’t Sit Down ‘Cause I’ve Moved Your Chair” was released as a digital download on 11 April, and on Vinyl with “Brick by Brick” on 16 April for Record Store Day. On 17 April, it went to No. 28 in the UK Singles Chart. A version of the single with 2 B-sides was released on 7 and 10 inch vinyl on 30 May. The band allowed fans to listen to the entire album on their website before deciding about whether to purchase it or not. Suck It and See was then released on 6 June 2011, and went straight to No. 1 in the album charts. In doing so, Arctic Monkeys became only the second band in history to debut four albums in a row at the top of the charts.[50]

The band announced “The Hellcat Spangled Shalalala” as the second single to be taken from Suck It and See. Most of the stock was burned because of the London riots. A limited edition 7″ Vinyl of the single was then released over the band’s website on 14 August. The song only managed to chart in the top 200 in the UK, however reaching higher in Belgium at No. 25. In September 2011 the band released a music video for the song “Suck It and See” featuring drummer Matt Helders, and announced they would be releasing it as a single on 31 October 2011. In July 2011, the band released a live EP over iTunes with 6 live recordings from the iTunes Festival in London.

Arctic Monkeys embarked in May 2011 on their Suck It and See Tour. They headlined the Benicassim Festival 2011 alongside The Strokes, Arcade Fire and Primal Scream. They also headlined Oxegen 2011,[51] Super Bock Super Rock 2011, V Festival 2011,[52] Rock Werchter.[53] and T in The Park. They confirmed on 7 February that they were playing two “massive homecoming shows”[54] at the Don Valley Bowl in Sheffield on 10 and 11 June, support included Miles Kane, Anna Calvi, The Vaccines, Dead Sons and Mabel Love, clips from the show were also used in the music video for “The Hellcat Spangled Shalalala“. They played at Lollapalooza 5–7 August 2011. On 21 August, they also played at Lowlands, the Netherlands. The tour continued until March 2012.[55] On Friday 27 July 2012 Arctic Monkeys performed during the 2012 Summer Olympics opening ceremony in the Olympic Stadium, London.

On 27 October they released a music video for “Evil Twin” on YouTube, the b-side to their new single “Suck It and See”. They performed the song on The Graham Norton Show on 28 October. The 4th single from Suck It and See, “Black Treacle” was released on 23 January 2012. The video for the single was released on YouTube on 5 January 2012. This video continued the theme from the previous single, “Suck It and See” and “Evil Twin”.

AM (2013–14)

Arctic Monkeys performing at INmusic festival on 25 June 2013. The concert was a part of the AM Tour.

On 26 February 2012, the band released a brand new song titled “R U Mine?” on their YouTube channel.[56] On 4 March, it went to No. 23 on the UK Singles Chart on downloads alone. On 21 April, the song was released as a single, with the track “Electricity” as a B-side, released additionally for the Record Store Day. The song marked a direct shift in musical direction in comparison to their previous album, Suck It and See, by incorporating a heavy use of falsetto and hip hop beats, and eventually became the inspiration for AM.

On 27 July 2012, Arctic Monkeys played in the London Summer Olympics opening ceremony, performing “I Bet You Look Good on the Dancefloor” and a cover of The Beatles‘ song “Come Together“. After the opening ceremony, their version of “Come Together” entered the UK Singles Chart. It later peaked at number 21, becoming their highest charting single since 2009’s “Crying Lightning”.[57]

On 22 May 2013 the band started the AM Tour at the Ventura Theatre in Ventura, California, where they debuted a new song titled “Do I Wanna Know?“. On 1 June 2013, the band performed at Free Press Summer Fest in Houston, TX, where they also played “Do I Wanna Know?”. On 14 June, the band debuted another song titled “Mad Sounds” at Hultsfred Festival in Sweden. Four days later, on 18 June 2013, the band released the official video to “Do I Wanna Know?” via their Facebook page. The studio version of the song, along with accompanying visuals, was also made available to purchase via iTunes, and entered the UK Singles Chart at number 11. On 23 June 2013 Arctic Monkeys headlined Southside Festival in Germany.

On 24 June 2013, the band announced that their new album, entitled AM, would be released on 9 September 2013. The album was recorded in Rancho de la Luna in Joshua Tree, California, and features guest appearances from Josh Homme of Queens of the Stone Age, Elvis Costello‘s drummer Pete Thomas and Bill Ryder-Jones of The Coral.[58] Further, on 27 June, the band announced an eight date UK arena tour culminating with a homecoming gig at the Motorpoint Arena Sheffield.[59] The band played at the 2013 Glastonbury Festival on 28 June as headliners at the Pyramid stage to resounding success, playing ‘Mad Sounds’ and ‘Do I Wanna Know?’ from the forthcoming album ‘AM’. Arctic Monkeys also headlined the 2013 Open’er Festival in Gdynia, Poland and played on the main stage on 4 July.[60] On 20 July, the band performed at Benicassim 2013.[61]

On 11 August 2013, the third single from the album, “Why’d You Only Call Me When You’re High?“, was released, with B-Side ‘Stop The World I Wanna Get Off With You’. It debuted at no. 8 on the UK Singles Chart on 18 August 2013, making it the band’s first UK Top 10 single since 2007’s “Fluorescent Adolescent”. The band streamed the album in its entirety four days ahead of its release.[62]

Upon the release of AM on 9 September 2013, the album debuted at number 1 in the UK album charts, selling over 157,000 copies in its first week.[63] As a result, Arctic Monkeys made history as the first independent label band with five consecutive number 1 albums in the UK.[64] The album received widespread critical acclaim and brought Arctic Monkeys their third nomination for the Mercury Prize.[65] The album also won the Brit award for Best British Album.[66]

Alex Turner described AM as the band’s “most original [album] yet,” merging hip-hop drum beats with 70’s heavy rock. The frontman has said that the song “Arabella” expresses the two styles of the album most effectively in one track. On AM, Turner continued to experiment with unusual lyrics, and the album includes the words from poem “I Wanna Be Yours” by John Cooper Clarke.[67] Turner has stated that Homme’s appearance on the song “Knee Socks” marks his favourite moment of the whole album.[68]

Arctic Monkeys headlined the Reading and Leeds Festival in August 2014, with Turner stating ‘I’m going to have fun with you, Yorkshire’ at the Leeds show. The band had a handful of shows in late 2014, which closed the ‘AM’ Tour. In December 2014, “Do I Wanna Know?” was nominated for the Grammy Award for Best Rock Performance.[69]

Hiatus (2014–present)

On 24 August 2014, the band announced a hiatus following their AM tour.[70]

Turner and Helders have both pursued other projects during this time. In 2016, Turner announced his second album with The Last Shadow Puppets, Everything You’ve Come to Expect. Helders played as a featured performer on Iggy Pop’s Post Pop Depression.

On 6 July 2016, all four members of the band appeared together in public for the first time since the end of their AM tour. It was to promote the Sheffield Children’s Hospital arts trail.

Musical style and influences

The band have usually been categorized under the indie rock,[71][72][50] garage rock[73] and post-punk revival genres.[74] A key part of their sound, and one that translates across their whole discography, is lead singer and frontman Alex Turner’s intricate and often rapidly delivered lyrics, sung in a distinctive strong Sheffield accent that their music became famed for in their early years. A large part of their iconic British sound is credited to the punk poet John Cooper Clarke from whom the Arctic Monkeys even borrowed lyrics and the title from in “I Wanna Be Yours”. Turner adapted Clarke’s method of delivery mostly in their first album, Whatever People Say I Am That’s What I’m Not. Their early albums Whatever People Say I Am That’s What I’m Not and Favourite Worst Nightmare were rooted in garage rock and post-punk revival, with Turner’s sharp lyrics the focal point. On the first album Alex Turner examined human behaviour in nightclubs and in the culture of the band’s hometown, Sheffield. Turner describes “Dancing Shoes” as being about “people always looking to pull when they go out however much they mask it.”[75]

These themes continued on the following album Favourite Worst Nightmare with the band still progressing as musicians. Songs such as “Fluorescent Adolescent” and “Do Me a Favour” explored failed relationships, nostalgia and growing old, while musically the band took up a more uptempo and aggressive sound.

Their third album Humbug includes strong stoner rock and desert rock elements, due to the influence of the album’s producer and Queens of The Stone Age frontman, Joshua Homme. For Humbug, the band actively sought a new sound. Homme was quoted saying, “They came to me: ‘Will you take us to the weird and the strange?'”[76]

Their fourth album Suck It and See sees the band exploring styles, mixing them with newfound maturity. Turner said: “I think the new album is a balance between our first three. There’s nothing about taxi ranks or anything like that, but there’s a bit of the standpoint I had on those early songs and the sense of humour, but also there’s a bit of the ‘Humbug’ stuff which is kind of off in the corners.”[77] Critics noted an influence from British rock bands from the 1960s, as well as The Smiths, and slower, love-themed ballads featured more heavily on the album than the fast-paced, rockier songs that typifies the band’s sound.

In a 2012 interview with NME magazine, frontman Alex Turner cited John Lennon as a major influence lyrically. Speaking about Lennon, Turner said; “I remember when I first started writing songs, and writing lyrics, I really wanted to be able to write an “I Am the Walrus” type song, and I found it very difficult. You listen to that and it sounds like it’s all nonsense, but it’s difficult to write that sort of thing and make it compelling. Lennon definitely had a knack for that”.[78]

According to the band, the fifth album AM is more hip-hop influenced. As Alex Turner stated in an interview with NME, it’s “like a Dr. Dre beat, but we’ve given it an Ike Turner bowl-cut and sent it galloping across the desert on a Stratocaster”.[79] He also cited Outkast, Aaliyah and Black Sabbath as influences for the album on the song “Arabella“.[80][81]

Band members

Current members
  • Alex Turner – lead vocals, rhythm guitar, piano (2002–present)
  • Jamie Cook – lead guitar (2002–present), backing vocals (2002-2007)
  • Nick O’Malley – bass guitar, backing vocals (2006–present)
  • Matt Helders – drums, percussion, backing vocals (2002–present)
Family members
Former members

Timeline

Discography

Studio albums

Tour history

Awards

 Rhythm and blues

Rhythm and blues

From Wikipedia, the free encyclopedia
“R&B” redirects here. For the modern style of music also called “R&B”, see Contemporary R&B.

Rhythm and blues, often abbreviated as R&B or RnB, is a genre of popular African-American music that originated in the 1940s.[1] The term was originally used by record companies to describe recordings marketed predominantly to urban African Americans, at a time when “urbane, rocking, jazz based music with a heavy, insistent beat” was becoming more popular.[2] In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands usually consisted of piano, one or two guitars, bass, drums, saxophone, and sometimes background vocalists. R&B lyrical themes often encapsulate the African-American experience of pain and the quest for freedom and joy.[3] Lyrics focus heavily on the themes of triumphs and failures in terms of relationships, freedom, economics, aspirations, and sex.

The term rhythm and blues has undergone a number of shifts in meaning. In the early 1950s it was frequently applied to blues records.[4] Starting in the mid-1950s, after this style of music contributed to the development of rock and roll, the term “R&B” became used to refer to music styles that developed from and incorporated electric blues, as well as gospel and soul music. In the 1960s, several British rock bands such as the Rolling Stones, The Who and The Animals were referred to and promoted as being RnB bands; posters for The Who’s residency at the Marquee Club in 1964 contained the slogan.[5] This tangent of RnB is now known as “British rhythm and blues“. By the 1970s, the term rhythm and blues changed again and was used as a blanket term for soul and funk. In the 1980s, a newer style of R&B developed, becoming known as “Contemporary R&B“. It combines elements of rhythm and blues, soul, funk, pop, hip hop and dance. Popular R&B vocalists at the end of the 20th century included Michael Jackson, R. Kelly, Stevie Wonder,[6] Whitney Houston,[6][7][8] and Mariah Carey.[7][9][10]

Contents

Etymology, definitions and description

Although Jerry Wexler of Billboard magazine is credited with coining the term “rhythm and blues” as a musical term in the United States in 1948,[11] the term was used in Billboard as early as 1943.[12][13] It replaced the term “race music“, which originally came from within the black community, but was deemed offensive in the postwar world.[14][15] The term “rhythm and blues” was used by Billboard in its chart listings from June 1949 until August 1969, when its “Hot Rhythm & Blues Singles” chart was renamed as “Best Selling Soul Singles”.[16] Before the “Rhythm and Blues” name was instated, various record companies had already begun replacing the term “race music” with “sepia series”.[17] In 2010 LaMont Robinson founded the Official Rhythm & Blues Music Hall of Fame Museum.[18]

Writer and producer Robert Palmer defined rhythm & blues as “a catchall term referring to any music that was made by and for black Americans”.[19] He has used the term “R&B” as a synonym for jump blues.[20] However, AllMusic separates it from jump blues because of its stronger, gospel-esque backbeat.[21] Lawrence Cohn, author of Nothing but the Blues, writes that “rhythm and blues” was an umbrella term invented for industry convenience. According to him, the term embraced all black music except classical music and religious music, unless a gospel song sold enough to break into the charts.[14] Well into the 21st century, the term R&B continues in use (in some contexts) to categorize music made by black musicians, as distinct from styles of music made by other musicians.

In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands usually consisted of piano, one or two guitars, bass, drums, and saxophone. Arrangements were rehearsed to the point of effortlessness and were sometimes accompanied by background vocalists. Simple repetitive parts mesh, creating momentum and rhythmic interplay producing mellow, lilting, and often hypnotic textures while calling attention to no individual sound. While singers are emotionally engaged with the lyrics, often intensely so, they remain cool, relaxed, and in control. The bands dressed in suits, and even uniforms, a practice associated with the modern popular music that rhythm and blues performers aspired to dominate. Lyrics often seemed fatalistic, and the music typically followed predictable patterns of chords and structure.[22]

History

Precursors

Louis Jordan, New York, N.Y., ca. July 1946 (William P. Gottlieb 04721).

The migration of African Americans to the urban industrial centers of Chicago, Detroit, New York, Los Angeles and elsewhere in the 1920s and 1930s created a new market for jazz, blues, and related genres of music, often performed by full-time musicians, either working alone or in small groups. The precursors of rhythm and blues came from jazz and blues, which overlapped in the Late-1920s,1930s through the work of musicians such as the Harlem Hamfats, with their 1936 hit “Oh Red”, as well as Lonnie Johnson, Leroy Carr, Cab Calloway, Count Basie, and T-Bone Walker. There was also increasing emphasis on the electric guitar as a lead instrument, as well as the piano and saxophone.[23]

Late 1940s

In 1948, RCA Victor was marketing black music under the name “Blues and Rhythm”. In that year, Louis Jordan dominated the top five listings of the R&B charts with three songs, and two of the top five songs were based on the boogie-woogie rhythms that had come to prominence during the 1940s.[24] Jordan’s band, the Tympany Five (formed in 1938), consisted of him on saxophone and vocals, along with musicians on trumpet, tenor saxophone, piano, bass and drums.[25][26] Lawrence Cohn described the music as “grittier than his boogie-era jazz-tinged blues”.[14]:173 Robert Palmer described it as “urbane, rocking, jazz-based music with a heavy, insistent beat”.[2] Jordan’s cool music, along with that of Big Joe Turner, Roy Brown, Billy Wright, and Wynonie Harris, is now also referred to as jump blues. Already Paul Gayten, Roy Brown, and others had had hits in the style now referred to as rhythm and blues. In 1948, Wynonie Harris’ remake of Brown’s 1947 recording “Good Rockin’ Tonight” hit the charts in the #2 spot, following band leader Sonny Thompson‘s “Long Gone” at #1.[27][28]

In 1949, the term “Rhythm and Blues” replaced the Billboard category Harlem Hit Parade.[14] Also in that year, “The Huckle-Buck“, recorded by band leader and saxophonist Paul Williams, was the number 1 R&B tune, remaining on top of the charts for nearly the entire year. Written by musician and arranger Andy Gibson, the song was described as a “dirty boogie” because it was risque and raunchy.[29] Paul Williams and His Hucklebuckers’ concerts were sweaty riotous affairs that got shut down on more than one occasion. Their lyrics, by Roy Alfred (who later co-wrote the 1955 hit “(The) Rock and Roll Waltz“), were mildly sexually suggestive, and one teenager from Philadelphia said “That Hucklebuck was a very nasty dance”.[30][31] Also in 1949, a new version of a 1920s blues song, “Ain’t Nobody’s Business” was a #4 hit for Jimmy Witherspoon, and Louis Jordan and the Tympany Five once again made the top 5 with “Saturday Night Fish Fry“.[32] Many of these hit records were issued on new independent record labels, such as Savoy (founded 1942), King (founded 1943), Imperial (founded 1945), Specialty (founded 1946), Chess (founded 1947), and Atlantic (founded 1948).[23]

Afro-Cuban rhythmic influence

African American music began incorporating Afro-Cuban rhythmic motifs in the 1800s with the popularity of the Cuban contradanza (known outside of Cuba as the habanera).[33] The habanera rhythm can be thought of as a combination of tresillo and the backbeat.

The habanera rhythm shown as tresillo (lower notes) with the backbeat (upper note).

For the more than quarter-century in which the cakewalk, ragtime and proto-jazz were forming and developing, the Cuban genre habanera exerted a constant presence in African American popular music.[34] Jazz pioneer Jelly Roll Morton considered the tresillo/habanera rhythm (which he called the Spanish tinge) to be an essential ingredient of jazz.[35] There are examples of tresillo-like rhythms in some African American folk musics such as the hand clapping and foot stomping patterns in ring shout, post-Civil War drum and fife music, and New Orleans second line music.[36] Wynton Marsalis considers tresillo to be the New Orleans “clave” (although technically, the pattern is only half a clave).[37] Tresillo is the most basic duple-pulse rhythmic cell in Sub-Saharan African music traditions, and its use in African American music is one of the clearest examples of African rhythmic retention in the United States.[38] The use of tresillo was continuously reinforced by the consecutive waves of Cuban music, which were adopted into North American popular culture. In 1940 Bob Zurke released “Rhumboogie,” a boogie woogie with a tresillo bass line, and lyrics proudly declaring the adoption of Cuban rhythm:

Harlem’s got a new rhythm, man it’s burning up the dance floors because it’s so hot! They took a little rhumba rhythm and added boogie woogie and now look what they got! Rhumboogie, it’s Harlem’s new creation with the Cuban syncopation, it’s the killer! Just plant your both feet on each side. Let both your hips and shoulder glide. Then throw your body back and ride. There’s nothing like rhumbaoogie, rhumboogie, boogie woogie. In Harlem or Havana, you can kiss the old Savannah. It’s a killer!

Although originating in the metropolis at the mouth of the Mississippi River, New Orleans blues, with its Afro-Caribbean rhythmic traits, is distinct from the sound of the Mississippi Delta blues.[39] In the late 1940s, New Orleans musicians were especially receptive to Cuban influences precisely at the time when R&B was first forming.[40] The first use of tresillo in R&B occurred in New Orleans. Robert Palmer recalls:

Fats Domino in 1956.

New Orleans producer-bandleader Dave Bartholomew first employed this figure (as a saxophone-section riff) on his own 1949 disc “Country Boy” and subsequently helped make it the most over-used rhythmic pattern in 1950s rock ‘n’ roll. On numerous recordings by Fats Domino, Little Richard and others, Bartholomew assigned this repeating three-note pattern not just to the string bass, but also to electric guitars and even baritone sax, making for a very heavy bottom. He recalls first hearing the figure – as a bass pattern on a Cuban disc.[41]

In a 1988 interview with Palmer, Bartholomew (who had the first R&B studio band),[42] revealed how he initially superimposed tresillo over swing rhythm:

I heard the bass playing that part on a ‘rumba’ record. On ‘Country Boy’ I had my bass and drums playing a straight swing rhythm and wrote out that ‘rumba’ bass part for the saxes to play on top of the swing rhythm. Later, especially after rock ‘n’ roll came along, I made the ‘rumba’ bass part heavier and heavier. I’d have the string bass, an electric guitar and a baritone all in unison.[43]

Bartholomew referred to the Cuban son by the misnomer rumba, a common practice of that time. Listen: “Country Boy” by Dave Bartholomew (1949). on YouTube Fats Domino’s “Blue Monday,” produced by Bartholomew, is another example of this now classic use of tresillo in R&B. Listen: Fats Domino’s “Blue Monday” (1956). on YouTube On Bartholomew’s 1949 tresillo-based “Oh Cubanas” we clearly hear an attempt to blend African American and Afro-Cuban music. The word mambo, larger than any of the other text, is placed prominently on the 45′ label.

In his composition “Misery,” New Orleans pianist Professor Longhair (Henry Roeland Byrd) plays a habanera-like figure in his left hand. The deft use of triplets is a characteristic of Longhair’s style.

“Misery” by Professor Longhair (1957).

Gerhard Kubik notes that with the exception of New Orleans, early blues lacked complex polyrhythms, and there was a “very specific absence of asymmetric time-line patterns (key patterns) in virtually all early-twentieth-century African American music . . . only in some New Orleans genres does a hint of simple time line patterns occasionally appear in the form of transient so-called ‘stomp’ patterns or stop-time chorus. These do not function in the same way as African time lines.”[44] In the late 1940s this changed somewhat when the two-celled time line structure was brought into the blues. New Orleans musicians such as Bartholomew and Longhair incorporated Cuban instruments, as well as the clave pattern and related two-celled figures in songs such as “Carnival Day,” (Bartholomew 1949) and “Mardi Gras In New Orleans” (Longhair 1949). While some of these early experiments were awkward fusions, the Afro-Cuban elements were eventually integrated fully into the New Orleans sound.

Robert Palmer reports that, in the 1940s, Professor Longhair listened to and played with musicians from the islands and “fell under the spell of Perez Prado’s mambo records.”[45] He was especially enamored with Afro-Cuban music. Michael Campbell states: “Professor Longhair’s influence was . . . far reaching. In several of his early recordings, Professor Longhair blended Afro-Cuban rhythms with rhythm and blues. The most explicit is ‘Longhair’s Blues Rhumba,’ where he overlays a straightforward blues with a clave rhythm.”[46] Longhair’s particular style was known locally as rumba-boogie.[47] In his “Mardi Gras in New Orleans,” the pianist employs the 2–3 clave onbeat/offbeat motif in a rumba boogie “guajeo” (below).[48] 2–3 clave is written above the piano excerpt for reference.

Piano excerpt from the rumba boogie “Mardi Gras in New Orleans” (1949) by Professor Longhair. 2–3 clave is written above for rhythmic reference.

The syncopated, but straight subdivision feel of Cuban music (as opposed to swung subdivisions) took root in New Orleans R&B during this time. Alexander Stewart states that the popular feel was passed along from “New Orleans—through James Brown’s music, to the popular music of the 1970s,” adding: “The singular style of rhythm & blues that emerged from New Orleans in the years after World War II played an important role in the development of funk. In a related development, the underlying rhythms of American popular music underwent a basic, yet generally unacknowledged transition from triplet or shuffle feel to even or straight eighth notes.[49] Concerning the various funk motifs, Stewart states: “This model, it should be noted, is different from a time line (such as clave and tresillo) in that it is not an exact pattern, but more of a loose organizing principle.”[50]

Johnny Otis released the R&B mambo “Mambo Boogie” in January 1951, featuring congas, maracas, claves, and mambo saxophone guajeos in a blues progression.[51] Listen: “Mambo Boogie” by Johnny Otis (1951). on YouTube

Ike Turner recorded “Cubano Jump” (1954) an electric guitar instrumental, which is built around several 2–3 clave figures, adopted from the mambo. Listen: “Cubano Jump” by Ike Turner (1954). on YouTube The Hawketts, in “Mardi Gras Mambo” (1955) (featuring the vocals of a young Art Neville), make a clear reference to Perez Prado in their use of his trademark “Unhh!” in the break after the introduction.[52] Listen: “Mardi Gras Mambo” by the Hawketts (1955). on YouTube

Ned Sublette states: “The electric blues cats were very well aware of Latin music, and there was definitely such a thing as rhumba blues; you can hear Muddy Waters and Howlin’ Wolf playing it.”[53] He also cites Otis Rush, Ike Turner and Ray Charles, as R&B artists who employed this feel.[53]

The use of clave in R&B coincided with the growing dominance of the backbeat, and the rising popularity of Cuban music in the U.S. In a sense, clave can be distilled down to tresillo (three-side) answered by the backbeat (two-side).[54]

3-2 clave written in two measures in cut-time.

Tresillo answered by the backbeat, the essence of clave in African American music.

The “Bo Diddley beat” (1955) is perhaps the first true fusion of 3-2 clave and R&B/rock ‘n’ roll. Watch: “Hey Bo Diddley” performed live by Bo Diddley (1965). on YouTube Bo Diddley has given different accounts of the riff’s origins. Sublette asserts: “In the context of the time, and especially those maracas [heard on the record], ‘Bo Diddley’ has to be understood as a Latin-tinged record. A rejected cut recorded at the same session was titled only ‘Rhumba’ on the track sheets.”[55] Johnny Otis‘ “Willie and the Hand Jive” (1958) is another example of this successful blend of 3–2 clave and R&B. Watch: “Hand Jive” performed by Johnny Otis. The Johnny Otis Show. on YouTube Otis used the Cuban instruments claves and maracas on the song.

Bo Diddley‘s “Bo Diddley beat” is a clave-based motif.

Afro-Cuban music was the conduit by which African American music was “re-Africanized,” through the adoption of two-celled figures like clave and Afro-Cuban instruments like the conga drum, bongos, maracas and claves. According to John Storm Roberts, R&B became the vehicle for the return of Cuban elements into mass popular music.[56] Ahmet Ertegun, producer for Atlantic Records, is reported to have said that “Afro-Cuban rhythms added color and excitement to the basic drive of R&B.”[57] As Ned Sublette points out though: “By the 1960s, with Cuba the object of a United States embargo that still remains in effect today, the island nation had been forgotten as a source of music. By the time people began to talk about rock and roll as having a history, Cuban music had vanished from North American consciousness.”[58]

Early to mid-1950s

Ray Charles in 1971. Photo: Heinrich Klaffs.

At first, only African Americans were buying R&B discs. According to Jerry Wexler of Atlantic Records, sales were localized in African-American markets; there was no white sales nor white radio play. During the early 1950s, more white teenagers started to become aware of R&B and to purchase the music. For example, 40% of 1952 sales at Dolphin’s of Hollywood record shop, located in an African-American area of Los Angeles, were to whites. Eventually, white teens across the country turned their music taste towards rhythm and blues.[59]

Johnny Otis, who had signed with the Newark, New Jersey-based Savoy Records, produced many R&B hits in 1951, including: “Double Crossing Blues”, “Mistrustin’ Blues” and “Cupid’s Boogie”, all of which hit number one that year. Otis scored ten top ten hits that year. Other hits include: “Gee Baby”, “Mambo Boogie” and “All Nite Long”.[60] The Clovers, a vocal trio who sang a distinctive sounding combination of blues and gospel,[61] had the #5 hit of the year with “Don’t You Know I Love You” on Atlantic Records.[60][62][63] Also in July 1951, Cleveland, Ohio DJ Alan Freed started a late-night radio show called “The Moondog Rock Roll House Party” on WJW (850 AM).[64][not in citation given] Freed’s show was sponsored by Fred Mintz, whose R&B record store had a primarily African American clientele. Freed began referring to the rhythm and blues music he played as “rock and roll“.

In 1951, Little Richard Penniman began recording for RCA Records in the jump blues style of late 1940s stars Roy Brown and Billy Wright. However, it was not until he prepared a demo in 1954, that caught the attention of Specialty Records, that the world would start to hear his new, uptempo, funky rhythm and blues that would catapult him to fame in 1955 and help define the sound of rock ‘n’ roll. A rapid succession of rhythm and blues hits followed, beginning with “Tutti Frutti[65] and “Long Tall Sally“, which would influence performers such as James Brown,[66] Elvis Presley,[67] and Otis Redding.[68]

Ruth Brown on the Atlantic label, placed hits in the top 5 every year from 1951 through 1954: “Teardrops from My Eyes“, “Five, Ten, Fifteen Hours”, “(Mama) He Treats Your Daughter Mean” and “What a Dream“.[61] Faye Adams‘s “Shake a Hand” made it to #2 in 1952. In 1953, the R&B record-buying public made Willie Mae Thornton‘s original recording of Leiber and Stoller‘s “Hound Dog[69] the #3 hit that year. Ruth Brown was very prominent among female R&B stars. Ruth Brown’s popularity most likely derived because of “her deeply rooted vocal delivery in African American tradition”[70] [71] That same year The Orioles, a doo-wop group, had the #4 hit of the year with “Crying in the Chapel“.[72]

Fats Domino made the top 30 of the pop charts in 1952 and 1953, then the top 10 with “Ain’t That a Shame“.[73][74] Ray Charles came to national prominence in 1955 with “I Got a Woman“.[75] Big Bill Broonzy said of Charles’ music: “He’s mixing the blues with the spirituals… I know that’s wrong.”[14]:173

In 1954 The Chords‘ “Sh-Boom[76] became the first hit to cross over from the R&B chart to hit the top 10 early in the year. Late in the year, and into 1955, “Hearts of Stone” by The Charms made the top 20.[77]

At Chess Records in the spring of 1955, Bo Diddley‘s debut record “Bo Diddley”/”I’m A Man” climbed to #2 on the R&B charts and popularized Bo Diddley’s own original rhythm and blues clave-based vamp that would become a mainstay in rock and roll.[78]

At the urging of Leonard Chess at Chess Records, Chuck Berry had reworked a country fiddle tune with a long history, entitled “Ida Red“.[79] The resulting “Maybellene” was not only a #3 hit on the R&B charts in 1955, but also reached into the top 30 on the pop charts. Alan Freed, who had moved to the much larger market of New York City in 1954, helped the record become popular with white teenagers. Freed had been given part of the writers’ credit by Chess in return for his promotional activities; a common practice at the time.[80]

Late 1950s

In 1956, an R&B “Top Stars of ’56” tour took place, with headliners Al Hibbler, Frankie Lymon and the Teenagers, and Carl Perkins, whose “Blue Suede Shoes” was very popular with R&B music buyers. Some of the performers completing the bill were Chuck Berry, Cathy Carr, Shirley & Lee, Della Reese, the Cleftones, and the Spaniels with Illinois Jacquet‘s Big Rockin’ Rhythm Band. Cities visited by the tour included Columbia, SC, Annapolis, MD, Pittsburgh, PA, Syracuse, Rochester and Buffalo, NY, into Canada, and through the mid Western US ending in Texas. In Columbia the concert ended with a near riot as Perkins began his first song as the closing act. Perkins is quoted as saying, “It was dangerous. Lot of kids got hurt. There was a lot of rioting going on, just crazy, man! The music drove ’em insane.” In Annapolis 70,000 to 50,000 people tried to attend a sold out performance with 8,000 seats. Roads were clogged for seven hours.[81] Film makers took advantage of the popularity of “rhythm and blues” musicians as “rock n roll” musicians beginning in 1956. Little Richard, Chuck Berry, Fats Domino, Big Joe Turner, The Treniers, The Platters, The Flamingos, all made it onto the big screen.[82]

Two Elvis Presley records made the R&B top five in 1957: “Jailhouse Rock“/”Treat Me Nice” at #1, and “All Shook Up” at #5, an unprecedented acceptance of a non-African American artist into a music category known for being created by blacks.[83] Nat King Cole, also a jazz pianist who had had #1 and #2 hits on the pop charts in the early 1950s (“Mona Lisa” at #2 in 1950 and “Too Young” at #1 in 1951), had a record in the top 5 in the R&B charts in 1958, “Looking Back”/”Do I Like It”.[84]

In 1959, two black-owned record labels, one of which would become hugely successful, made their debut: Sam Cooke‘s Sar, and Berry Gordy‘s Motown Records.[85] Brook Benton was at the top of the R&B charts in 1959 and 1960 with one #1 and two #2 hits. Benton had a certain warmth in his voice that attracted a wide variety of listeners, and his ballads led to comparisons with performers such as Cole, Sinatra and Tony Bennett.[86] Lloyd Price, who in 1952 had a #1 hit with “Lawdy Miss Clawdy” regained predominance with a version of “Stagger Lee” at #1 and “Personality” at #5 for in 1959.[87][88]

The white bandleader of the Bill Black Combo, Bill Black, who had helped start Elvis Presley’s career, was popular with black listeners. Ninety percent of his record sales were from black people, and his “Smokey, Part 2” (1959) rose to the #1 position on black music charts. He was once told that “a lot of those stations still think you’re a black group because the sound feels funky and black.” Hi Records did not feature pictures of the Combo on early records.[89]

1960s–1970s

Sam Cooke‘s #5 hit “Chain Gang” is indicative of R&B in 1960, as is Chubby Checker‘s #5 hit “The Twist“.[90][91] By the early 1960s, the music industry category previously known as rhythm and blues was being called soul music, and similar music by white artists was labeled blue eyed soul.[92][93] Motown Records had its first million-selling single in 1960 with The Miracles‘ “Shop Around“,[94] and in 1961, Stax Records had its first hit with Carla Thomas‘ “Gee Whiz! (Look at His Eyes)”.[95][96] Stax’s next major hit, The Mar-Keys‘ instrumental “Last Night” (also released in 1961) introduced the rawer Memphis soul sound for which Stax became known.[97] In Jamaica, R&B influenced the development of ska.[98][99][100] In 1969 black culture and Rhythm and blues reached another great achievement when the Grammys first added the Rhythm and Blues category, giving academic recognition to the category. This category was created 10 years after the first Grammy Awards took place. ”

By the 1970s[citation needed], the term rhythm and blues was being used as a blanket term for soul, funk, and disco. Around the same time, earlier R&B was an influence on British pub rock and later, the mod revival. Now the term R&B is almost always used instead of the full rhythm and blues, and mainstream use of the term usually refers to contemporary R&B, which is a newer version of soul and funk-influenced pop music that originated as disco faded from popularity.

1980s to present

Main article: Contemporary R&B

In the late 1980s and early 1990s, hip-hop started to capture the imagination of America’s youth. R&B started to become homogenized, with a group of high profile producers responsible for most R&B hits. It was hard for R&B artists of the era to sell their music or even have their music heard because of the rise of hip-hop, but some adopted a “hip-hop” image, were marketed as such, and often featured rappers on their songs. Newer artists such as Usher, R. Kelly, TLC, Aaliyah, Beyoncé, and Mary J. Blige, enjoyed success. L.A. Reid, the CEO of LaFace Records, was responsible for some of R&B’s greatest successes in the 1990s in the form of Usher, TLC and Toni Braxton. Later, Reid successfully marketed Boyz II Men.[101] In 2004, 80% of the songs that topped the R&B charts, were also on top of the Hot 100. That period was the all-time peak for R&B and hip hop on the Billboard Hot 100, and on Top 40 Radio.[102] From about 2005 to 2013, R&B sales declined.[103] However; since 2010 Hip-Hop has started to take from the R&B sound choosing to adopt a softer smoother sound incorporating that of traditional R&B with rappers such as Drake and Fetty Wap who have opened an entire new door for the genre. This sound has gained in popularity and created great controversy for both Hip-Hop and R&B in how to identify it [104]

British rhythm and blues

British rhythm and blues developed in the early 1960s, largely as a response to the recordings of American artists, often brought over by African American servicemen stationed in Britain during the Cold War, or merchant seamen visiting ports such as London, Liverpool, Newcastle on Tyne and Belfast.[105][106] Many bands, particularly in the developing London club scene, tried to emulate black rhythm and blues performers, resulting in a “rawer” or “grittier” sound than the more popular “beat groups“.[107] Initially developing out of the trad jazz, skiffle and folk club scenes, early artists tended to focus on major blues performers and standard forms, particularly Alexis Korner, who acted as a mentor to members of The Rolling Stones, The Yardbirds, Manfred Mann, The Graham Bond Organisation and The Kinks.[107] Although this “purist” interest in the blues would influence major British rock musicians, including Eric Clapton, Jeff Beck, Peter Green and Jimmy Page, other artists adopted an interest in a wider range of rhythm and blues styles.[107]

Most successful were the Rolling Stones, whose first eponymously titled album in 1964 largely consisted of rhythm and blues standards. They soon established themselves as the second most popular UK band (after The Beatles)[108] and led a second wave of the “British Invasion” of the US pop charts.[107] In addition to Chicago blues numbers, the Rolling Stones also covered songs by Chuck Berry and Bobby and Shirley Womack, with the latter’s “It’s All Over Now“, giving them their first UK number one in 1964.[109] Blues songs and influences continued to surface in the Rolling Stones’ music in later years. Other London-based bands included the Yardbirds, The Kinks, Manfred Mann and The Pretty Things, beside more jazz-influenced acts like the Graham Bond Organisation, Georgie Fame and Zoot Money.[107] Bands to emerge from other major British cities included The Animals from Newcastle on Tyne,[110] The Moody Blues and Spencer Davis Group from Birmingham, and Them from Belfast.[107] None of these bands played exclusively rhythm and blues, but it remained at the core of their early albums.[107]

The music of the British Mod subculture grew out of rhythm and blues and later soul, performed by artists that were not available to the small London clubs where the scene originated.[111] As a result, a number of bands emerged to fill this gap, including Small Faces, The Creation, and most successfully The Who.[111] The Who’s early promotional material tagged them as producing “maximum rhythm and blues”, but by about 1966 they moved from attempting to emulate American R&B to producing songs that reflected the Mod lifestyle.[111] Many of these bands enjoyed national success in the UK, but found it difficult to break into the American market.[111]

The British R&B bands produced music which was very different in tone from that of African American artists, often with more emphasis on guitars and sometimes with greater energy.[107] They have been criticized for exploiting the massive catalogue of African American music, but it has also been noted that they both popularized that music, bringing it to British, world and in some cases American audiences, and helping to build the reputation of existing and past rhythm and blues artists.[107] Most of these bands rapidly moved on from recording and performing American standards to writing and recording their own music, often leaving their R&B roots behind.[107] Many helped pioneer psychedelic, and eventually progressive and hard rock, having a major influence on the nature and sound of rock music; making rhythm and blues a major component of its sound.[107]

See also

Pop Music

Pop music

From Wikipedia, the free encyclopedia
This article is about a specific music genre. For popular music in general, see Popular music. For other uses, see Pop music (disambiguation).
“Pop song” redirects here. For other uses, see Pop Song.
“Popstar” redirects here. For Popstar (disambiguation), see Popstar (disambiguation).

Pop music is a genre of popular music that originated in its modern form in the Western world during the 1950s and 1960s[not verified in body] as a softer alternative to rock and roll. The terms “popular music” and “pop music” are often used interchangeably, although the former describes all music that is popular (and can include any style).

Although pop music is seen as just the singles charts, it is not the sum of all chart music. Pop music is eclectic, and often borrows elements from other styles such as urban, dance, rock, Latin, and country; nonetheless, there are core elements that define pop music. Identifying factors include generally short to medium-length songs written in a basic format (often the verse-chorus structure) as well as the common employment of repeated choruses, melodic tunes, and hooks.

Definitions[edit]

David Hatch and Stephen Millward define pop music as “a body of music which is distinguishable from popular, jazz, and folk musics”.[4] According to Pete Seeger, pop music is “professional music which draws upon both folk music and fine arts music”.[3]Although pop music is seen as just the singles charts, it is not the sum of all chart music. The music charts contain songs from a variety of sources, including classical, jazz, rock, and novelty songs. Pop music, as a genre, is seen as existing and developing separately.[5] Thus “pop music” may be used to describe a distinct genre, aimed at a youth market, often characterized as a softer alternative to rock and roll.[6] Musicologist Allan Moore surmises that the term “pop music” itself may have originated from Pop art.[7] Additionally, it’s important to note that pop music is always evolving, which means that the definition of pop music can change, too.[8]It’s also important to be cognizant of the distinction between pop music and popular music. According to The New Grove Dictionary Of Music and Musicians, popular music is defined as “the music since industrialization in the 1800’s that is most in line with the tastes and interests of the urban middle class.”[8]

Etymology[edit]

The Oxford Dictionary of Musicstates that the term “pop” refers to music performed by such artists as the Rolling Stones (pictured here in a 2006 performance)

The term “pop song” was first recorded as being used in 1926, in the sense of a piece of music “having popular appeal”.[9]However,[editorializing] the term was in mainstream use[not in citation given] at least ten years earlier.[10] Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country, blues andhillbilly music.[11]

According to the website of The New Grove Dictionary of Music and Musicians, called Grove Music Online, the term “pop music” “originated in Britain in the mid-1950s as a description for rock and roll and the new youth music styles that it influenced”.[2] The Oxford Dictionary of Music states that while pop’s “earlier meaning meant concerts appealing to a wide audience … since the late 1950s, however, pop has had the special meaning of non-classical mus[ic], usually in the form of songs, performed by such artists as the Beatles, the Rolling Stones, ABBA, etc”.[12] Grove Music Online also states that “… in the early 1960s [the term] ‘pop music’ competed terminologically with beat music [in England], while in the USA its coverage overlapped (as it still does) with that of ‘rock and roll'”.[2]

From about 1967, the term was increasingly used in opposition to the term rock music, a division that gave generic significance to both terms.[13] Whereas rock aspired to authenticity and an expansion of the possibilities of popular music,[13] pop was more commercial, ephemeral and accessible.[14] According to British musicologist Simon Frith, pop music is produced “as a matter of enterprise not art”, is “designed to appeal to everyone” and “doesn’t come from any particular place or mark off any particular taste”. It is “not driven by any significant ambition except profit and commercial reward … and, in musical terms, it is essentially conservative”. It is, “provided from on high (by record companies, radio programmers and concert promoters) rather than being made from below … Pop is not a do-it-yourself music but is professionally produced and packaged”.[6]

Characteristics[edit]

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As of 2011, “You’ve Lost That Lovin’ Feelin’” ranks as the most frequently played song in US radio history,[15]described by music writers Nick Loganand Bob Woffinden as “the ultimate pop record”.[16]

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According to Frith, characteristics of pop music include an aim of appealing to a general audience, rather than to a particular sub-culture or ideology, and an emphasis on craftsmanship rather than formal “artistic” qualities.[6] Music scholar Timothy Warner said it typically has an emphasis on recording, production, and technology, rather than live performance; a tendency to reflect existing trends rather than progressive developments; and aims to encourage dancing or uses dance-oriented rhythms.[14]

The main medium of pop music is the song, often between two and a half and three and a half minutes in length, generally marked by a consistent and noticeable rhythmic element, a mainstream style and a simple traditional structure.[17] Common variants include the verse-chorus form and the thirty-two-bar form, with a focus on melodies and catchy hooks, and a chorusthat contrasts melodically, rhythmically and harmonically with the verse.[18] The beat and the melodies tend to be simple, with limited harmonic accompaniment.[19] The lyrics of modern pop songs typically focus on simple themes – often love and romantic relationships – although there are notable exceptions.[6]

Harmony and chord progressions in pop music are often “that of classical European tonality, only more simple-minded.”[20] Clichés include the barbershop quartet-style harmony(i.e. ii – V – I) and blues scale-influenced harmony.[21] There was a lessening of the influence of traditional views of the circle of fifths between the mid-1950s and the late 1970s, including less predominance for the dominant function.[22]

Development and influence[edit]

Stylistic evolution[edit]

Throughout its development, pop music has absorbed influences from most other genres of popular music. Early pop music drew on the sentimental ballad for its form, gained its use of vocal harmonies from gospel and soul music, instrumentation from jazz, country, and rock music, orchestration from classical music, tempo from dance music, backing from electronic music, rhythmic elements from hip-hop music, and has recently[when?] appropriated spoken passages from rap.[6] According to Robert Christgau in 2014, pop music worldwide is permeated by electronic dance music.[23]

A Scientific Reports study that examined over 464,000 recordings of popular music recorded between 1955 and 2010 found less variety in pitch progressions, growing average loudness levels,[24] less diverse instrumentation and recording techniques, and less timbral variety, which declined after reaching a peak in the 1960s.[25] Scientific Americans John Matson reported that this “seems to support the popular anecdotal observation that pop music of yore was better, or at least more varied, than today’s top-40 stuff.”[25]

Technology and media[edit]

Left, Michael Jackson in 1984; right, Madonna in 2008

In the 1940s improved microphone design allowed a more intimate singing style[26] and ten or twenty years later inexpensive and more durable 45 r.p.m. records for singles “revolutionized the manner in which pop has been disseminated” and helped to move pop music to ‘a record/radio/film star system’.[26] Another technological change was the widespread availability of television in the 1950s; with televised performances, “pop stars had to have a visual presence”.[26] In the 1960s, the introduction of inexpensive, portable transistor radios meant that teenagers could listen to music outside of the home.[26]Multi-track recording (from the 1960s); and digital sampling (from the 1980s) have also been utilized as methods for the creation and elaboration of pop music.[6] By the early 1980s, the promotion of pop music had been greatly affected by the rise of music television channels like MTV, which “favoured those artists such as Michael Jackson and Madonna who had a strong visual appeal”.[26]

Legitimacy in music criticism[edit]

See also: Poptimism

The latter half of the 20th-century included a large scale trend in American culture in which the boundaries between art and pop music were increasingly blurred.[27] Between 1950 and 1970, there was a debate of pop versus art.[28] Since then, certain music publications have embraced its legitimacy. According to Popmatters Robert Loss: “There’s a strong argument for the ‘rockist‘ mode in music criticism—that it exists, and that it’s harmful—and poptimism has positioned itself as a corrective, an antidote. … In general the Old Guard of rock critics and journalists is depicted as a bunch of bricklayers for the foundations of the Rock and Roll Hall of Fame. True in part, which is to say, false. Like film studies, rock criticism of the late ‘60s and the ‘70s was an attempt to make popular music worthy of study; it was poptimism before its day.”[28]

International spread[edit]

The story of pop music is largely the story of the intertwining pop culture of the United States and the United Kingdom in the postwar era.

 — Bob Stanley[23]

Pop music has been dominated by the American and (from the mid-1960s) British music industries, whose influence has made pop music something of an international monoculture, but most regions and countries have their own form of pop music, sometimes producing local versions of wider trends, and lending them local characteristics.[29] Some of these trends (for example Europop) have had a significant impact of the development of the genre.[30]

According to Grove Music Online, “Western-derived pop styles, whether coexisting with or marginalizing distinctively local genres, have spread throughout the world and have come to constitute stylistic common denominators in global commercial music cultures”.[31] Some non-Western countries, such as Japan, have developed a thriving pop music industry, most of which is devoted to Western-style pop, has for several years produced a greater quantity of music of everywhere except the USA.[31] The spread of Western-style pop music has been interpreted variously as representing processes of Americanization, homogenization, modernization, creative appropriation, cultural imperialism, and/or a more general process of globalization.[31]

Michael Jackson

Michael Jackson

From Wikipedia, the free encyclopedia
For other people named Michael Jackson, see Michael Jackson (disambiguation).
Michael Jackson
Michael Jackson in 1988.jpg

Jackson performing in Vienna, Austria in June 1988
Born Michael Joseph Jackson
August 29, 1958
Gary, Indiana, U.S.
Died June 25, 2009 (aged 50)
Los Angeles, California, U.S.
Cause of death Homicide[1] (Involuntary manslaughter)[2]
Resting place Glendale, California, U.S.
Residence Los Olivos, California, U.S.
Occupation
  • Singer
  • songwriter
  • dancer
  • actor
  • record producer
  • businessman
  • philanthropist
Net worth US $236 Million (2007 estimate)
Spouse(s) Lisa Marie Presley
(m. 1994; div. 1996)
Debbie Rowe
(m. 1996; div. 1999)
Children 3
Parent(s)
Relatives See Jackson family
Website michaeljackson.com
Musical career
Genres
Instruments Vocals
Years active 1964–2009
Labels
Associated acts The Jackson 5
Signature
Michael Jackson's signature

Michael Joseph Jackson[3][4] (August 29, 1958 – June 25, 2009) was an American singer and philanthropist.[5][6][7] Called the “King of Pop“,[8][9][10][11] his contributions to music, dance, and fashion[12][13][14] along with his publicized personal life made him a global figure in popular culture for over four decades.

The eighth child of the Jackson family (one of whom died in infancy), Michael made his professional debut in 1964 with his elder brothers Jackie, Tito, Jermaine, and Marlon as a member of the Jackson 5. He began his solo career in 1971. In the early 1980s, Jackson became a dominant figure in popular music. His music videos, including those of “Beat It“, “Billie Jean“, and “Thriller” from his 1982 album Thriller, are credited with breaking racial barriers and transforming the medium into an art form and promotional tool. The popularity of these videos helped bring the television channel MTV to fame. Jackson’s 1987 album Bad spawned the U.S.Billboard Hot 100 number-one singles “I Just Can’t Stop Loving You“, “Bad“, “The Way You Make Me Feel“, “Man in the Mirror“, and “Dirty Diana“, becoming the first album to have five number-one singles on the Billboard Hot 100. He continued to innovate with videos such as “Black or White” and “Scream” throughout the 1990s, and forged a reputation as a touring solo artist. Through stage and video performances, Jackson popularized a number of complicated dance techniques, such as the robot and the moonwalk, to which he gave the name. His distinctive sound and style has influenced numerous artists of various music genres.

Thriller is the best-selling album of all time, with estimated sales of 65 million copies worldwide. Jackson’s other albums, includingOff the Wall (1979), Bad (1987), Dangerous (1991), and HIStory (1995), also rank among the world’s best-selling albums. He is recognized as the Most Successful Entertainer of All Time by Guinness World Records.[15][16] Jackson is one of the few artists to have been inducted into the Rock and Roll Hall of Fame twice, and was also inducted into the Songwriters Hall of Fame and the Dance Hall of Fame as the only dancer from pop and rock music. His other achievements include multiple Guinness World Records, 13 Grammy Awards, the Grammy Legend Award, the Grammy Lifetime Achievement Award, 26 American Music Awards—more than any other artist—including the “Artist of the Century” and “Artist of the 1980s”, 13 number-one singles in the United Statesduring his solo career,—more than any other male artist in the Hot 100 era—and estimated sales of over 350 million records worldwide.[Note 1] Jackson has won hundreds of awards, making him the most awarded recording artist in the history of popular music.[17] He became the first artist in history to have a top ten single in the Billboard Hot 100 in five different decades when “Love Never Felt So Good” reached number nine on May 21, 2014.[18] Jackson traveled the world attending events honoring his humanitarianism, and, in 2000, the Guinness World Records recognized him for supporting 39 charities, more than any other entertainer.[19]

Aspects of Jackson’s personal life, including his changing appearance, personal relationships, and behavior, generated controversy. In 1993, he was accused of child sexual abuse, but the civil case was settled out of court for an undisclosed amount and no formal charges were brought.[20] In 2005, he was tried and acquitted of further child sexual abuse allegations and several other charges after the jury found him not guilty on all counts. While preparing for his comeback concert series, This Is It, Jackson died of acutepropofol and benzodiazepine intoxication on June 25, 2009, after suffering from cardiac arrest. The Los Angeles County Coronerruled his death a homicide, and his personal physician, Conrad Murray, was convicted of involuntary manslaughter. Jackson’s death triggered a global outpouring of grief, and a live broadcast of his public memorial service was viewed around the world.[21] Forbesranks Jackson as the top-earning dead celebrity, with yearly earnings of $825 million in 2016, the highest ever recorded by the publication.[22]

Life and career

1958–1975: Early life and the Jackson 5

The single-storey house has white walls, two windows, a central white door with a black door frame, and a black roof. In front of the house there is a walk way and multiple colored flowers and memorabilia.

Jackson’s childhood home in Gary, Indiana, showing floral tributes after his death.

Michael Joseph Jackson was born on August 29, 1958. He was the eighth of ten children in a working class African-American family living in a two-bedroom house on Jackson Street in Gary, Indiana, an industrial city and a part of the Chicago metropolitan area.[23][24] His mother, Katherine Esther Scruse, was a devout Jehovah’s Witness. She played clarinet and piano and once aspired to be a country-and-western performer, but worked part-time at Sears to support the family.[25] Michael’s father, Joseph Walter “Joe” Jackson, a former boxer, was a steelworker at U.S. Steel. Joe also performed on guitar with a local rhythm and blues band, the Falcons, to supplement the family’s household income.[26] Michael grew up with three sisters (Rebbie, La Toya, and Janet) and five brothers (Jackie, Tito, Jermaine, Marlon, and Randy).[27] A sixth brother, Marlon’s twin Brandon, died shortly after birth.[28]

Jackson had a troubled relationship with his father, Joe.[29][30] In 2003, Joe acknowledged that he regularly whipped him as a boy.[31] Joe was also said to have verbally abused his son, often saying that he had a “fat nose”.[32] Jackson stated that he was physically and emotionally abused during incessant rehearsals, though he credited his father’s strict discipline with playing a large role in his success.[29]In an interview with Martin Bashir for the 2003 documentary Living with Michael Jackson, Jackson recalled that Joe often sat in a chair with a belt in his hand as he and his siblings rehearsed, and that “if you didn’t do it the right way, he would tear you up, really get you.”[33][34]

Jackson’s parents have disputed the longstanding allegations of abuse, with Katherine stating that while whipping is considered abuse today, it was a common way to discipline children at the time.[35][36][37] Jackie, Tito, Jermaine and Marlon have also said that their father was not abusive and that the whippings, which were harder on Michael because he was younger, kept them disciplined and out of trouble.[38] Speaking openly about his childhood in an interview with Oprah Winfrey broadcast in February 1993, Jackson acknowledged that his youth had been lonely and isolating.[39] His deep dissatisfaction with his appearance, his nightmares and chronic sleep problems, his tendency to remain hyper-compliant, especially with his father, and to remain childlike throughout his adult life are consistent with the effects of the maltreatment he endured as a young child.[40]

Jackson (center) as a member of the Jackson 5 in 1972.

In 1964, Michael and Marlon joined the Jackson Brothers—a band formed by their father and which included brothers Jackie, Tito, and Jermaine—as backup musicians playing congas and tambourine.[41] In 1965, Jackson began sharing lead vocals with his older brother Jermaine, and the group’s name was changed to the Jackson 5.[27] The following year, the group won a major local talent show with Jackson performing the dance to Robert Parker‘s 1965 hit “Barefootin’“.[42] From 1966 to 1968 the band toured the Midwest, frequently performing at a string of black clubs known as the “chitlin’ circuit” as the opening act for artists such as Sam & Dave, the O’Jays, Gladys Knight, and Etta James. The Jackson 5 also performed at clubs and cocktail lounges, where striptease shows and other adult acts were featured, and at local auditoriums and high school dances.[43][44] In August 1967, while touring the East coast, the group won a weekly amateur night concert at the Apollo Theater in Harlem.[45]

The Jackson 5 recorded several songs, including “Big Boy” (1968), their first single, for Steeltown Records, a Gary, Indiana, record label,[46] before signing with Motown in 1969.[27] They left Gary in 1969 and relocated to the Los Angeles area, where they continued to record music for Motown.[47] Rolling Stone later described the young Michael as “a prodigy” with “overwhelming musical gifts” who “quickly emerged as the main draw and lead singer.”[48] The group set a chart record when its first four singles—”I Want You Back” (1969), “ABC” (1970), “The Love You Save” (1970), and “I’ll Be There” (1970)—peaked at number one on the Billboard Hot 100.[27] In May 1971, the Jackson family moved into a large home on two-acre estate in Encino, California.[49] During this period, Michael evolved from child performer into a teen idol.[50] As Jackson began to emerge as a solo performer in the early 1970s, he maintained ties to the Jackson 5 and Motown. Between 1972 and 1975, Michael released four solo studio albums with Motown: Got to Be There (1972), Ben (1972), Music & Me (1973), andForever, Michael (1975).[51]Got to Be There” and “Ben“, the title tracks from his first two solo albums, both became successful singles, as did a cover of Bobby Day‘s “Rockin’ Robin“.[52]

The Jackson 5 were later described as “a cutting-edge example of black crossover artists.”[53] Although the group’s sales began to decline in 1973, and the band members chafed under Motown’s refusal to allow them creative input, they achieved several top 40 hits, including the top five single “Dancing Machine” (1974), before leaving Motown in 1975.[54]

1975–1981: Move to Epic and Off the Wall

From left, back row: Jackie Jackson, Michael Jackson, Tito Jackson, Marlon Jackson. Middle row: Randy Jackson,La Toya Jackson, Rebbie Jackson. Front row: Janet Jackson (1977)

In June 1975, the Jackson 5 signed with Epic Records, a subsidiary of CBS Records,[54] and renamed themselves the Jacksons. Younger brother Randy formally joined the band around this time, while Jermaine chose to stay with Motown and pursue a solo career.[55] The Jacksons continued to tour internationally, and released six more albums between 1976 and 1984. Michael, the group’s lead songwriter during this time, wrote hits such as “Shake Your Body (Down to the Ground)” (1979), “This Place Hotel” (1980), and “Can You Feel It” (1980).[41]

His work in film began in 1978, when he starred as the Scarecrow in The Wiz, a musical directed by Sidney Lumet that also starred Diana Ross, Nipsey Russell, and Ted Ross.[56] The film was a box-office failure.[57] While working on the film Jackson met producer Quincy Jones, though this was not the first time they had met (they originally met when Michael was 12, at Sammy Davis Jr.‘s house).[58] Jones was arranging the film’s musical score and agreed to produce Jackson’s next solo album, Off the Wall.[59] In 1979, Jackson broke his nose during a complex dance routine. His subsequent rhinoplasty was not a complete success; he complained of breathing difficulties that would affect his career. He was referred to Dr. Steven Hoefflin, who performed Jackson’s second rhinoplasty and subsequent operations.[60]

Off the Wall (1979), which Jones and Jackson co-produced, established Jackson as a solo performer. The album helped Jackson transition from the bubblegum pop of his youth to the more complex sounds he would create as an adult.[50] Songwriters for the album included Jackson, Rod Temperton, Stevie Wonder, and Paul McCartney. Off the Wall was the first solo album to generate four top 10 hits in the United States: “Off the Wall”, “She’s Out of My Life“, and the chart-topping singles “Don’t Stop ‘Til You Get Enough” and “Rock with You“.[61][62] The album reached number three on the Billboard 200 and eventually sold over 20 million copies worldwide.[63] In 1980, Jackson won three awards at the American Music Awards for his solo efforts: Favorite Soul/R&B Album, Favorite Soul/R&B Male Artist, and Favorite Soul/R&B Single for “Don’t Stop ‘Til You Get Enough”.[64][65] He also won Billboard Year-End awards for Top Black Artist and Top Black Album, and a Grammy Award for Best Male R&B Vocal Performance for 1979 with “Don’t Stop ‘Til You Get Enough”.[66] In 1981 Jackson was the American Music Awards winner for Favorite Soul/R&B Album and Favorite Soul/R&B Male Artist.[67] Despite its commercial success, Jackson felt Off the Wall should have made a bigger impact, and was determined to exceed expectations with his next release.[68] In 1980, he secured the highest royalty rate in the music industry: 37 percent of wholesale album profit.[69]

Jackson recorded with Queen singer Freddie Mercury from 1981 to 1983, including a demo of “State of Shock“, “Victory” and “There Must Be More to Life Than This”.[70] The recordings were intended for an album of duets but, according to Queen’s then-manager Jim Beach, the relationship between the singers soured when Jackson insisted on bringing a llama into the recording studio.[71] The collaborations were not officially released until 2014.[72] Jackson went on to record the single “State of Shock” with Mick Jaggerfor the Jacksons‘ album Victory (1984).[73] Mercury included the solo version of “There Must Be More To Life Than This” on his Mr. Bad Guy album (1985).[74]

1982–1983: Thriller and Motown 25: Yesterday, Today, Forever

In 1982, Jackson combined his interests in songwriting and film when he contributed the song “Someone in the Dark” to the storybook for the film E.T. the Extra-Terrestrial. The song, with Quincy Jones as its producer, won a Grammy for Best Recording for Children for 1983.[75]

More success came with the release of his sixth album, Thriller, in late 1982. The album earned Jackson seven more Grammys[75] and eight American Music Awards, including the Award of Merit, the youngest artist to win it.[76] It was the best-selling album worldwide in 1983,[77][78] and became the best-selling album of all time in the United States[79]and the best-selling album of all time worldwide, selling an estimated 65 million copies.[80] It topped the Billboard 200 chart for 37 weeks and was in the top 10 of the 200 for 80 consecutive weeks. It was the first album to have seven Billboard Hot 100 top 10 singles, including “Billie Jean“, “Beat It“, and “Wanna Be Startin’ Somethin’“.[81] In December 2015, Thriller was certified for 30 million shipments by the RIAA, making it the only album to achieve that feat in the United States.[82] Thriller won Jackson and Quincy Jones the Grammy award for Producer of the Year (Non-Classical) for 1983. It also won Album of the Year, with Jackson as the album’s artist and Jones as its co-producer, and a Best Pop Vocal Performance, Male, award for Jackson. “Beat It” won Record of the Year, with Jackson as artist and Jones as co-producer, and a Best Rock Vocal Performance, Male, award for Jackson. “Billie Jean” won Jackson two Grammy awards, Best R&B Song, with Jackson as its songwriter, and Best R&B Vocal Performance, Male, as its artist.[75]Thriller also won another Grammy for Best Engineered Recording – Non Classical in 1984, awarding Bruce Swedien for his work on the album.[83] The AMA Awards for 1984 provided Jackson with an Award of Merit and AMAs for Favorite Male Artist, Soul/R&B, and Favorite Male Artist, Pop/Rock. “Beat It” won Jackson AMAs for Favorite Video, Soul/R&B, Favorite Video, Pop/Rock, and Favorite Single, Pop/Rock. Thriller won him AMAs for Favorite Album, Soul/R&B, and Favorite Album, Pop/Rock.[76][84]

In addition to the album, Jackson released “Thriller“, a 14-minute music video directed by John Landis, in 1983.[85] It “defined music videos and broke racial barriers” on the Music Television Channel (MTV), a fledgling entertainment television channel at the time.[50] In December 2009, the Library of Congress selected the “Thriller” music video for inclusion in the National Film Registry. It was one of 25 films named that year as “works of enduring importance to American culture” that would be “preserved for all time.”[86][87]As of 2009, the zombie-themed “Thriller” is the only music video to have been inducted into the registry.[85][87][88]

The jacket and white sequined gloves worn by Jackson at Motown 25: Yesterday, Today, Forever, one of Jackson’s most famous signature looks

Jackson’s attorney John Branca noted that Jackson had the highest royalty rate in the music industry at that point: approximately $2 for every album sold. He was also making record-breaking profits from sales of his recordings. The videocassette of the documentary The Making of Michael Jackson’s Thriller sold over 350,000 copies in a few months. The era saw the arrival of novelties such as dolls modeled after Michael Jackson, which appeared in stores in May 1984 at a price of $12.[89] Biographer J. Randy Taraborrelli writes that “Thriller stopped selling like a leisure item—like a magazine, a toy, tickets to a hit movie—and started selling like a household staple.”[90]In 1985, The Making of Michael Jackson’s Thriller won a Grammy for Best Music Video, Longform.[75] Time described Jackson’s influence at that point as “star of records, radio, rock video. A one-man rescue team for the music business. A songwriter who sets the beat for a decade. A dancer with the fanciest feet on the street. A singer who cuts across all boundaries of taste and style and color too”.[89] The New York Times wrote that “in the world of pop music, there is Michael Jackson and there is everybody else”.[91]

On March 25, 1983, Jackson reunited with his brothers for a live performance taped at the Pasadena Civic Auditorium for Motown 25: Yesterday, Today, Forever, an NBC television special. The show aired on May 16, 1983, to an estimated audience of 47 million viewers, and featured the Jacksons and other Motown stars.[92] The show is best remembered for Jackson’s solo performance of “Billie Jean”, which earned Jackson his first Emmy nomination.[93] Wearing a distinctive black-sequined jacket and a golf glove decorated withrhinestones, he debuted his signature dance move, the moonwalk, which former Soul Train dancer and Shalamar member Jeffrey Danielhad taught him three years earlier.[94] Jackson originally turned down the invitation to perform at the show, believing he had been doing too much television at the time; however, at the request of Berry Gordy, Jackson agreed to perform in exchange for time to do a solo performance.[95] According to Rolling Stone reporter Mikal Gilmore, “There are times when you know you are hearing or seeing something extraordinary…that came that night.”[50] Jackson’s performance drew comparisons to Elvis Presley‘s and the Beatles‘ appearances on The Ed Sullivan Show.[96] Anna Kisselgoff of The New York Times later wrote: “The moonwalk that he made famous is an apt metaphor for his dance style. How does he do it? As a technician, he is a great illusionist, a genuine mime. His ability to keep one leg straight as he glides while the other bends and seems to walk requires perfect timing.”[97] Berry Gordy said of the performance, “from the first beat of Billie Jean, I was mesmerized, and when he did his iconic moonwalk, I was shocked, it was magic, Michael Jackson went into orbit, and never came down.”[98]

1984–1985: Pepsi, “We Are the World”, and business career

In November 1983 Jackson and his brothers partnered with PepsiCo in a $5 million promotional deal that broke advertising industry records for a celebrity endorsement. The first Pepsi Cola campaign, which ran in the United States from 1983 to 1984 and launched its “New Generation” theme, included tour sponsorship, public relations events, and in-store displays. Jackson, who was actively involved in creating the iconic advertisement, suggested using his song, “Billie Jean”, as its jingle with a revised chorus.[99] According to a Billboard report in 2009, Brian J. Murphy, executive VP of branded management at TBA Global, said: “You couldn’t separate the tour from the endorsement from the licensing of the music, and then the integration of the music into the Pepsi fabric.”[99]

On January 27, 1984, Michael and other members of the Jacksons filmed a Pepsi commercial overseen by executive Phil Dusenberry,[100] a BBDO ad agency executive, andAlan Pottasch, Pepsi’s Worldwide Creative Director, at the Shrine Auditorium in Los Angeles. During a simulated concert before a full house of fans, pyrotechnics accidentally set Jackson’s hair on fire, causing second-degree burns to his scalp. Jackson underwent treatment to hide the scars and had his third rhinoplasty shortly thereafter.[60] Pepsi settled out of court, and Jackson donated his $1.5 million settlement to the Brotman Medical Center in Culver City, California. Its Michael Jackson Burn Center is named in his honor.[101]Dusenberry later recounted the episode in his memoir, Then We Set His Hair on Fire: Insights and Accidents from a Hall of Fame Career in Advertising. Jackson signed a second agreement with Pepsi in the late 1980s for a reported $10 million. The second campaign had a global reach of more than 20 countries and would provide financial support for Jackson’s Bad album and 1987–88 world tour.[99] Although Jackson had endorsements and advertising deals with other companies, such as LA Gear, Suzuki, andSony, none were as significant as his deals with Pepsi, which later signed other music stars such as Britney Spears and Beyoncé to promote its products.[99][102]

President Reagan wearing a suit and tie stands at a podium and turns to smile at Mrs Reagan, who is wearing a white outfit, and Jackson, who is wearing a white shirt with a blue jacket and a yellow strap across his chest.

Jackson at the White House being presented with an award by PresidentRonald Reagan and first lady Nancy Reagan, 1984.

Jackson’s humanitarian work was recognized on May 14, 1984, when he was invited to the White House to receive an award from President Ronald Reagan for his support of charities that helped people overcome alcohol and drug abuse,[103] and in recognition of his support for the Ad Council‘s and the National Highway Traffic Safety Administration‘s Drunk Driving Prevention campaign. Jackson donated the use of “Beat It” for the campaign’s public service announcements.[104]

Unlike later albums, Thriller did not have an official tour, but the Victory Tour of 1984 headlined the Jacksons and showcased much of Jackson’s new solo material to more than two million Americans. It was the last tour he would do with his brothers.[105] Following controversy over the concert’s ticket sales, Jackson held a press conference and announced that he would donate his share of the proceeds, an estimated $3 to 5 million, to charity.[106][107] His charitable work and humanitarian awards continued with the release of “We Are the World” (1985), which he co-wrote with Lionel Richie.[108] The song was recorded on January 28, 1985[109] and was released worldwide in March 1985 to aid the poor in the United States and Africa.[110] The song earned $63 million for famine relief,[110] and became one of the best-selling singles of all time, with 20 million copies sold.[111] “We Are the World” won four Grammys for 1985, including Song of the Year going to Jackson and Richie as its co-songwriters.[108] Although the American Music Award directors removed the charity song from the competition because they felt it would be inappropriate, the AMA show in 1986 concluded with a tribute to the song in honor of its first anniversary. The project’s creators received two special AMA honors: one for the creation of the song and another for the USA for Africa idea. Jackson, Quincy Jones, and entertainment promoter Ken Kragan received special awards for their roles in the song’s creation.[108][109][112][113]

Jackson’s financial interests in the music publishing business grew after Jackson collaborated with Paul McCartney in the early 1980s. He subsequently learned that McCartney was making approximately $40 million a year from other people’s songs.[110] By 1983, Jackson had begun investing in publishing rights to songs that others had written, but he was careful with his acquisitions, only bidding on a few of the dozens that were offered to him. Jackson’s early acquisitions of music catalogs and song copyrights such as the Sly Stone collection included “Everyday People” (1968), Len Barry‘s “1-2-3” (1965), and Dion DiMucci‘s “The Wanderer” (1961) and “Runaround Sue” (1961); however, Jackson’s most significant purchase came in 1985, when he acquired the publishing rights to ATV Music Publishing after months of negotiation.[110] ATV had acquired the publishing rights to nearly 4000 songs, including the Northern Songs catalog that contained the majority of the Lennon–McCartney compositions recorded by the Beatles.[114]

In 1984 Robert Holmes à Court, the wealthy Australian investor who owned ATV Music Publishing, announced he was putting the ATV catalog up for sale.[114] In 1981, McCartney was offered the ATV music catalog for £20 million ($40 million).[110][115][116] According to McCartney, he contacted Yoko Ono about making a joint purchase by splitting the cost at £10 million each, but Ono thought they could buy it for £5 million each.[110][116] When they were unable to make a joint purchase, McCartney, who did not want to be the sole owner of the Beatles’ songs, did not pursue an offer on his own.[115][116] According to a negotiator for Holmes à Court in the 1984 sale, McCartney was given first right of refusal and declined to purchase.[117]

Jackson was informed of the sale by his attorney, John Branca, in September 1984.[114] An attorney for McCartney also assured Branca that McCartney was not interested in bidding. McCartney reportedly felt it was too expensive,[110][115] but several other companies and investors were interested in bidding. Jackson submitted a bid of $46 million on November 20, 1984.[114] His agents thought they had a deal several times, but encountered new bidders or new areas of debate. In May 1985, Jackson’s team left talks after having spent more than $1 million and four months of due diligence work on the negotiations.[114] In June 1985, Jackson and Branca learned that Charles Koppelman‘s andMarty Bandier‘s The Entertainment Company had made a tentative agreement with Holmes à Court to buy ATV Music for $50 million; however, in early August, Holmes à Court’s team contacted Jackson and talks resumed. Jackson raised his bid to $47.5 million, which was accepted because he could close the deal more quickly, having already completed due diligence of ATV Music.[114] Jackson also agreed to visit Holmes à Court in Australia, where he would appear on the Channel Seven Perth Telethon.[117] Jackson’spurchase of ATV Music was finalized on August 10, 1985.[114]

1986–1990: Changing appearance, tabloids, Bad, films, autobiography, and Neverland

Jackson’s skin had been a medium-brown color during his youth, but starting in the mid-1980s gradually grew paler. The change gained widespread media coverage, including rumors that he might have been bleaching his skin.[118] According to J. Randy Taraborrelli‘s biography, in 1984, Jackson was diagnosed with vitiligo, which Taraborrelli noted may be a consequence of skin bleaching. He claimed Jackson was diagnosed with lupus. The vitiligo partially lightened his skin, and the lupus was in remission. Both illnesses made his skin sensitive to sunlight. The treatments Jackson used for his condition further lightened his skin tone, and with the application of pancake makeup to even out blotches he could appear pale.[119] Jackson was also diagnosed with vitiligo in his autopsy, though not lupus.[120]

Jackson claimed he had only two rhinoplasties and no other facial surgery, although at one point mentioned having a dimple created in his chin. He lost weight in the early 1980s because of a change in diet and a desire for “a dancer’s body”.[121] Witnesses reported that he was often dizzy, and speculated he was suffering from anorexia nervosa. Periods of weight loss would become a recurring problem later in life.[122] During the course of his treatment, Jackson made two close friends: his dermatologist, Dr. Arnold Klein, and Klein’s nurse Debbie Rowe. Rowe eventually became Jackson’s second wife and the mother of his two eldest children. He also relied heavily on Klein for medical and business advice.[123]

Jackson became the subject of increasingly sensational reports. In 1986, the tabloids ran a story claiming that Jackson slept in a hyperbaric oxygen chamber to slow the aging process; he was pictured lying in a glass box. Although the claim was untrue, according to tabloid reports that are widely cited, Jackson had disseminated the fabricated story himself.[124] When Jackson bought a chimpanzee named Bubbles from a laboratory, he was reported to be increasingly detached from reality.[125] It was reported that Jackson had offered to buy the bones of Joseph Merrick (the “Elephant Man”) and, although untrue, Jackson did not deny the story.[126] Although he initially saw these stories as opportunities for publicity, he stopped leaking untruths to the press as they became more sensational. Consequently, the media began fabricating stories.[124][127][128] These reports became embedded in the public consciousness, inspiring the nickname “Wacko Jacko”, which Jackson came to despise.[4][129] Responding to the gossip, Jackson remarked to Taraborrelli:

Why not just tell people I’m an alien from Mars? Tell them I eat live chickens and do a voodoo dance at midnight. They’ll believe anything you say, because you’re a reporter. But if I, Michael Jackson, were to say, “I’m an alien from Mars and I eat live chickens and do a voodoo dance at midnight,” people would say, “Oh, man, that Michael Jackson is nuts. He’s cracked up. You can’t believe a single word that comes out of his mouth.”[130]

A black jacket with five round golden medals on its left and right shoulders, a gold band on its left arm sleeve, and two belt straps on the right bottom sleeve. Underneath the jacket is a golden belt, with a round ornament in its center.

Jackson wore a gold-plated military style jacket with belt during the Bad era.

Jackson collaborated with filmmakers George Lucas and Francis Ford Coppola on the 17-minute 3D film Captain EO, which debuted in September 1986 at both the original Disneyland and at Epcot in Florida, and in March 1987 at Tokyo Disneyland. The $30 million movie was a popular attraction at all three parks. A Captain EO attraction was later featured at Euro Disneyland after that park opened in 1992. All four parks’ Captain EO installations stayed open well into the 1990s: the Paris installation was the last to close, in 1998.[131] The attraction would later return to Disneyland in 2010 after Jackson’s death.[132] In 1987, Jackson disassociated himself from the Jehovah’s Witnesses, in response to their disapproval of the Thriller video.[133][134]

Jackson performing in 1988.

With the industry expecting another major hit, Jackson’s first album in five years, Bad (1987), was highly anticipated.[135] The album produced nine singles: seven of them were successful in the U.S., and only two of them were failures. Five of these singles (“I Just Can’t Stop Loving You“, “Bad“, “The Way You Make Me Feel“, “Man in the Mirror“, and “Dirty Diana“) reached number one on the Billboard Hot 100. This was a record for most number one Hot 100 singles from any one album, including Thriller.[136] As of 2012, the album had sold between 30 and 45 million copies worldwide.[137][138][139][140] Bruce Swedien and Humberto Gatica won one Grammy in 1988 for Best Engineered Recording – Non Classical and Michael Jackson won one Grammy for Best Music Video, Short Form for “Leave Me Alone” in 1989.[75][83] In the same year, Jackson won an Award of Achievement at the American Music Awards because Bad is the first album ever to generate five number one singles in the U.S., the first album to top in 25 countries, and the best-selling album worldwide in 1987 and 1988.[141][142][143][144] In 1988, “Bad” won an American Music Award for Favorite Soul/R&B Single.[145]

The Bad World Tour began on September 12 that year, finishing on January 14, 1989.[146] In Japan alone, the tour had 14 sellouts and drew 570,000 people, nearly tripling the previous record of 200,000 in a single tour.[147] Jackson broke a Guinness World Record when 504,000 people attended seven sold-out shows at Wembley Stadium.[148] He performed a total of 123 concerts to an audience of 4.4 million people.[149]

In 1988, Jackson released his only autobiography, Moonwalk, which took four years to complete and sold 200,000 copies.[150] He wrote about his childhood, the Jackson 5, and the abuse he had suffered.[151] He also wrote about his changing facial appearance, attributing it to puberty, weight loss, a strict vegetarian diet, a change in hair style, and stage lighting.[121] Moonwalk reached the top position on The New York Timesbest sellers’ list.[152] Jackson released a film, Moonwalker, which featured live footage and short films starring Jackson and Joe Pesci. Due to financial issues, the film was only released theatrically in Germany; in other markets it was released direct-to-video. It debuted at the top of theBillboard Top Music Video Cassette chart, staying there for 22 weeks. It was eventually knocked off the top spot by Michael Jackson: The Legend Continues.[153]

In March 1988, Jackson purchased land near Santa Ynez, California, to build Neverland Ranch at a cost of $17 million.[154] He installed several carnival rides on the 2,700-acre (11 km2) property, including a Ferris wheel, carousel, menagerie, as well as a movie theater and a zoo.[154][155][156] A security staff of 40 patrolled the grounds.[155] In 2003, it was valued at approximately $100 million.[157] In 1989, Jackson’s annual earnings from album sales, endorsements, and concerts were estimated at $125 million for that year alone.[158] Shortly afterwards, he became the first Westerner to appear in a television ad in the Soviet Union.[153]

Jackson’s success resulted in him being dubbed the “King of Pop“.[8][9][10] The nickname was popularized by Elizabeth Taylor when she presented him with the Soul Train Heritage Award in 1989, proclaiming him “the true king of pop, rock and soul.”[159] President George H. W. Bush designated him the White House’s “Artist of the Decade”.[160]From 1985 to 1990, he donated $455,000 to the United Negro College Fund,[161] and all profits from his single “Man in the Mirror” went to charity.[162] Jackson’s live rendition of “You Were There” at Sammy Davis Jr.‘s 60th birthday celebration won Jackson a second Emmy nomination.[93][153]

1991–1993: Dangerous, Heal the World Foundation, and Super Bowl XXVII

In March 1991, Jackson renewed his contract with Sony for $65 million, a record-breaking deal at the time,[163] displacing Neil Diamond‘s renewal contract with Columbia Records.[164] In 1991, he released his eighth album, Dangerous, co-produced with Teddy Riley.[165] Dangerous was certified seven times platinum in the U.S., and by 2008 had sold approximately 30 million copies worldwide.[166][167] In the United States, the album’s first single “Black or White” was its biggest hit, reaching number one on the BillboardHot 100 and remaining there for seven weeks, with similar chart performances worldwide.[168] The album’s second single, “Remember the Time“, spent eight weeks in the top five in the United States, peaking at number three on the Billboard Hot 100 singles chart.[169] At the end of 1992, Dangerous was awarded the best-selling album of the year worldwide and “Black or White” was awarded best-selling single of the year worldwide at the Billboard Music Awards. Jackson also won an award as best-selling artist of the 1980s.[170] In 1993, he performed the song at the Soul Train Music Awards in a chair, saying he had suffered an injury in rehearsals.[171] In the UK and other parts of Europe, “Heal the World” was the album’s most successful song; it sold 450,000 copies in the UK and spent five weeks at number two in 1992.[169]

Jackson founded the Heal the World Foundation in 1992. The charity organization brought underprivileged children to Jackson’s ranch to enjoy theme park rides that Jackson had built on the property. The foundation also sent millions of dollars around the globe to help children threatened by war, poverty, and disease. In the same year, Jackson published his second book, Dancing the Dream, a collection of poetry, revealing a more intimate side of his nature. While it was a commercial success, it received mostly negative reviews. In 2009, the book was republished by Doubleday and was more positively received by some critics in the wake of Jackson’s death. The Dangerous World Tourgrossed $100 million. The tour began on June 27, 1992, and finished on November 11, 1993. Jackson performed to 3.5 million people in 70 concerts.[169][172] He sold the broadcast rights to his Dangerous world tour to HBO for $20 million, a record-breaking deal that still stands.[173]

Following the illness and death of AIDS spokesperson Ryan White, Jackson helped draw public attention to HIV/AIDS, something that was controversial at the time. He publicly pleaded with the Clinton Administration at Bill Clinton’s Inaugural Gala to give more money to HIV/AIDS charities and research.[174][175] In a high-profile visit to Africa, Jackson visited several countries, among them Gabon and Egypt.[176] His first stop to Gabon was greeted with an enthusiastic reception of more than 100,000 people, some of them carrying signs that read, “Welcome Home Michael.”[176] In his trip to Ivory Coast, Jackson was crowned “King Sani” by a tribal chief.[176] He thanked the dignitaries in French and English, signed official documents formalizing his kingship, and sat on a golden throne while presiding over ceremonial dances.[176]

In January 1993, Jackson performed at the Super Bowl XXVII halftime show in Pasadena, California. Because of a dwindling interest during halftime in the preceding years, the NFL decided to seek big-name talent that would keep ratings high, with Jackson selected for his universal appeal.[177] It was the first Super Bowl whose half-time performance drew greater audience figures than the game itself. The performance began with Jackson catapulting onto the stage as fireworks went off behind him. As he landed on the canvas, he maintained a “clenched fist, standing statue stance,” dressed in a gold and black military outfit and sunglasses; he remained completely motionless for a minute and a half while the crowd cheered. He then slowly removed his sunglasses, threw them away, and performed four songs: “Jam“, “Billie Jean”, “Black or White”, and “Heal the World”. Jackson’s Dangerous album rose 90 places up the album chart soon after.[118]

Jackson gave a 90-minute interview to Oprah Winfrey on February 10, 1993, his second television interview since 1979. He grimaced when speaking of his childhood abuse at the hands of his father; he believed he had missed out on much of his childhood years, admitting that he often cried from loneliness. He denied tabloid rumors that he had bought the bones of the Elephant Man, slept in a hyperbaric oxygen chamber, or bleached his skin, stating for the first time that he had vitiligo. Dangerous re-entered the album chart in the top 10, more than a year after its original release.[34][118][169]

In February 1993, Jackson was given the “Living Legend Award” at the 35th Annual Grammy Awards in Los Angeles. “Black or White” was Grammy-nominated for best vocal performance. “Jam” gained two nominations: Best R&B Vocal Performance and Best R&B Song.[169] The Dangerous album won a Grammy for Best Engineered – Non Classical, awarding the work of Bruce Swedien and Teddy Riley.[83] In the same year, Michael Jackson won three American Music Awards for Favorite Pop/Rock Album (Dangerous), Favorite Soul/R&B Single (“Remember the Time“), and was the first to win the International Artist Award of Excellence, for his global performances and humanitarian concerns.[178][179]

Jackson agreed to produce the soundtrack for Sega‘s 1994 video game Sonic the Hedgehog 3 with collaborators Brad Buxer, Bobby Brooks, Darryl Ross, Geoff Grace, Doug Grigsby, and Cirocco Jones.[180][181][182] Jackson left the project before completion and was never officially credited, allegedly due to his dissatisfaction with the Sega Genesisconsole’s audio chip.[183][184][185]

1993–1994: First child sexual abuse allegations and first marriage

In the summer of 1993, Jackson was accused of child sexual abuse by a 13-year-old boy named Jordan Chandler and his father, Evan Chandler, a dentist.[186][187][188] The Chandler family demanded payment from Jackson, and the singer initially refused. Jordan Chandler eventually told the police that Jackson had sexually abused him.[126][189]Evan Chandler was recorded discussing his intention to pursue charges, saying, “If I go through with this, I win big-time. There’s no way I lose. I will get everything I want and they will be destroyed forever….. Michael’s career will be over.” Jordan’s mother was, however, adamant at the time that there had been no wrongdoing on Jackson’s part.[188]Jackson later used the recording to argue that he was the victim of a jealous father whose only goal was to extort money from the singer.[188] In January 1994, after investigation on allegations of extortion against the singer by Chandler, deputy Los Angeles County district attorney Michael J. Montagna stated that Chandler would not be charged, due to lack of cooperation from Jackson’s party and its willingness to negotiate with Chandler for several weeks, among other reasons.[190]

In August 1993, Jackson’s home was raided by the police who, according to court documents, found books and photographs in his bedroom featuring young boys with little or no clothing.[191] Since the books were legal to purchase and own, the jury decided not to indict Jackson.[192] In December 1993, Jackson was strip-searched.[193] Jordan Chandler had reportedly given police a description of Jackson’s intimate parts, and the strip search revealed that Jordan had correctly claimed Jackson had patchy-colored buttocks, shortpubic hair, and pink and brown marked testicles.[193] Reportedly, Jordan had also previously drawn accurate pictures of a dark spot on Jackson’s penis only visible when his penis was lifted.[194] Despite differing initial internal reports from prosecutors and investigators[195] and later, with reports of jurors feeling otherwise that the photos did not match the description,[196] the DA stated his belief in a sworn affidavit that the description was accurate,[197] along with the sheriff’s photographer stating the description was accurate.[198] A 2004 motion filed by Jackson’s defense asserted that Jackson was never criminally indicted by any grand jury and that his settlement admitted no wrongdoing and contained no evidence of criminal misconduct.[199]

The investigation was inconclusive and no charges were filed.[196] Jackson described the search in an emotional public statement, and proclaimed his innocence.[186][193][200] On January 1, 1994, Jackson settled with the Chandlers out of court for $22 million. A Santa Barbara County grand jury and a Los Angeles County grand jury disbanded on May 2, 1994, without indicting Jackson,[201] and the Chandlers stopped co-operating with the criminal investigation around July 6, 1994.[199][202][203] The out-of-court settlement’s documentation stated Jackson admitted no wrongdoing and no liability; the Chandlers and their family lawyer Larry Feldman signed it without contest.[204]

Feldman also stated “nobody bought anybody’s silence”.[205] A decade after the fact, during the second round of child abuse allegations, Jackson’s lawyers would file a memo stating that the 1994 settlement was done without his consent.[199] A later disclosure by the FBI of investigation documents compiled over nearly 20 years led Jackson’s attorney to suggest that no evidence of molestation or sexual impropriety from Jackson toward minors existed.[206] According to reports the Department of Children and Family Services (Los Angeles County) had investigated Jackson beginning in 1993 with the Chandler allegation and again in 2003. Reports show the LAPD and DCFS did not find credible evidence of abuse or sexual misconduct.[207][208][209]

In May 1994, Jackson married Lisa Marie Presley, the daughter of Elvis and Priscilla Presley. They had met in 1975, when a seven-year-old Presley attended one of Jackson’s family engagements at the MGM Grand Hotel and Casino, and reconnected through a mutual friend.[210] According to a friend of Presley’s, “their adult friendship began in November 1992 in L.A.”[211] They stayed in contact every day over the telephone. As the child molestation accusations became public, Jackson became dependent on Presley for emotional support; she was concerned about his faltering health and addiction to drugs.[212] Presley explained, “I believed he didn’t do anything wrong and that he was wrongly accused and yes I started falling for him. I wanted to save him. I felt that I could do it.”[213] She eventually persuaded him to settle the civil case out of court and go into rehabilitation to recover.[212]

Jackson proposed to Presley over the telephone towards the fall of 1993, saying, “If I asked you to marry me, would you do it?”[212] They married in the Dominican Republic in secrecy, denying it for nearly two months afterwards.[214] The marriage was, in her words, “a married couple’s life … that was sexually active.”[215] The tabloid media speculated that the wedding was a ploy to prop up Jackson’s public image.[214] The marriage ended less than two years later with an amicable divorce settlement.[216] In a 2010 interview with Oprah, Presley admitted that they had spent four more years after the divorce “getting back together and breaking up” until she decided to stop.[217]

1995–1999: HIStory, second marriage, and fatherhood

In 1995, Jackson merged his ATV Music catalog with Sony’s music publishing division, creating Sony/ATV Music Publishing. He retained ownership of half the company, earning $95 million up front as well as the rights to more songs.[218][219] In June, he released the double album HIStory: Past, Present and Future, Book I. The first disc, HIStory Begins, is a 15-track greatest hits album (later reissued as Greatest Hits: HIStory, Volume I in 2001); the second disc, HIStory Continues, contains 13 original songs and 2 cover versions. The album debuted at number one on the charts and has been certified for seven million shipments in the US.[220] It is the best-selling multiple-disc album of all-time, with 20 million copies (40 million units) sold worldwide.[168][221] HIStory received a Grammy nomination for Album of the Year.[222]

The first single released from the album was “Scream/Childhood“. “Scream”, a duet with Jackson’s youngest sister Janet, protests the media, particularly for its treatment of him during the 1993 child abuse allegations. The single had the highest debut on the Billboard Hot 100 at number five, and received a Grammy nomination for “Best Pop Collaboration with Vocals”.[222]You Are Not Alone” was the second single released from HIStory; it holds the Guinness World Record for the first song ever to debut at number one on the Billboard Hot 100 chart.[158] It was seen as a major artistic and commercial success, receiving a Grammy nomination for “Best Pop Vocal Performance”.[222]

Close-up of a pale skinned Jackson with black hair. He is wearing a black jacket with white designs on it.

Michael Jackson at the1997 Cannes Film Festival for the Ghosts music video premiere.

In late 1995, Jackson was rushed to a hospital after collapsing during rehearsals for a televised performance, caused by a stress-related panic attack.[223]Earth Song” was the third single released from HIStory, and topped the UK Singles Chart for six weeks over Christmas 1995; it sold a million copies, making it Jackson’s most successful single in the UK.[222] The track “They Don’t Care About Us” became controversial when theAnti-Defamation League and other groups criticized its allegedly antisemitic lyrics. Jackson quickly released a revised version of the song without the offending lyrics.[224] In 1996, Jackson won a Grammy for Best Music Video, Short Form for “Scream” and an American Music Award for Favorite Pop/Rock Male Artist.[75][225]

HIStory was promoted with the successful HIStory World Tour, beginning on September 7, 1996, and ending on October 15, 1997. Jackson performed 82 concerts in five continents, 35 countries and 58 cities to over 4.5 million fans, and grossed a total of $165 million, becoming Jackson’s most successful tour in terms of audience figures.[146] During the tour, Jackson married his longtime friend Deborah Jeanne Rowe, a dermatology nurse, in an impromptu ceremony in Sydney, Australia. Rowe was approximately six months pregnant with the couple’s first child at the time. Originally, Rowe and Jackson had no plans to marry, but Jackson’s mother Katherine persuaded them to do so.[226] Michael Joseph Jackson Jr (commonly known as Prince) was born on February 13, 1997; his sister Paris-Michael Katherine Jackson was born a year later on April 3, 1998.[216][227] The couple divorced in 1999, and Jackson received full custody of the children. The divorce was relatively amicable, but a subsequent custody suit was not settled until 2006.[228][229]

In 1997, Jackson released Blood on the Dance Floor: HIStory in the Mix, which contained remixes of hit singles from HIStory and five new songs. Worldwide sales stand at 6 million copies, making it the best-selling remix album of all time.[230] It reached number one in the UK, as did the title track.[230][231] In the US, the album was certified platinum, but only reached number 24.[166][222] Forbes placed Jackson’s annual income at $35 million in 1996 and $20 million in 1997.[157]

Throughout June 1999, Jackson was involved in a number of charitable events. He joined Luciano Pavarotti for a benefit concert in Modena, Italy. The show was in support of the nonprofit organization War Child, and raised a million dollars for the refugees of Kosovo, FR Yugoslavia, and additional funds for the children of Guatemala.[232] Later that month, Jackson organized a series of “Michael Jackson & Friends” benefit concerts in Germany and Korea. Other artists involved included Slash, The Scorpions, Boyz II Men,Luther Vandross, Mariah Carey, A. R. Rahman, Prabhu Deva Sundaram, Shobana, Andrea Bocelli, and Luciano Pavarotti. The proceeds went to the Nelson Mandela Children’s Fund, the Red Cross and UNESCO.[233] From August 1999 through 2000, he lived in New York City at 4 East 74th Street.[234]

2000–2003: Label dispute and Invincible

At the turn of the century, Jackson won an American Music Award as Artist of the 1980s.[235] Throughout 2000 and 2001, he worked with collaborators including Teddy Riley andRodney Jerkins to produce his tenth solo album, Invincible, released in October 2001. The album cost $30 million to record, not including promotional expenditures.[236]Invincible was Jackson’s first full-length album in six years, and was the last album of original material he released in his lifetime. The release was preceded by a dispute between Jackson and his record label, Sony Music Entertainment. Jackson had expected the licenses to the masters of his albums to revert to him sometime in the early 2000s. Once he had the licenses, he would be able to promote the material however he pleased and keep all the profits; however, clauses in the contract set the revert date years into the future. Jackson discovered that the attorney who had represented him in the deal had also been representing Sony.[231] Jackson was also concerned about the fact that for years, Sony had been pressuring him to sell his share in its music catalog venture. Jackson feared that Sony might have a conflict of interest, since if Jackson’s career failed, he would have to sell his share of the catalog at a low price.[237] Jackson sought an early exit from his contract.[231]

In September 2001, two 30th Anniversary concerts were held at Madison Square Garden to mark Jackson’s 30th year as a solo artist. Jackson appeared onstage alongside his brothers for the first time since 1984. The show also featured performances by Mýa, Usher, Whitney Houston, NSYNC, Destiny’s Child, Monica, Luther Vandross, and Slash, among other artists.[238] The second of the two shows took place the night before the September 11, 2001, terrorist attacks.[239] After 9/11, Jackson helped organize the United We Stand: What More Can I Give benefit concert at RFK Stadium in Washington, D.C. The concert took place on October 21, 2001, and included performances from dozens of major artists, including Jackson, who performed his song “What More Can I Give” as the finale.[237] Due to contractual issues related to the earlier 30th Anniversary concerts, later edited into a two-hour TV special titled Michael Jackson: 30th Anniversary Celebration broadcast in November 2001, Jackson’s solo performances were omitted from the televised benefit concert, although he could still be seen singing background vocals.

Invincible was released in October 2001 to much anticipation. It debuted at number one in 13 countries and went on to sell approximately 13 million copies worldwide. It received double-platinum certification in the U.S.[166][168] However, sales for Invincible were lower than Jackson’s previous releases, due in part to the record label dispute and the lack of promotion or tour, and its release at a bad time[240] for the music industry in general.[237] Invincible spawned three singles, “You Rock My World“, “Cry“, and “Butterflies“, the latter without a music video. Jackson alleged in July 2002 that the-then Sony Music chairman Tommy Mottola was a “devil” and a “racist” who did not support his African-American artists, using them merely for his own personal gain.[237] He charged that Mottola had called his colleague Irv Gotti a “fat nigger“.[241] Sony refused to renew Jackson’s contract, and claimed that a $25 million promotional campaign had failed because Jackson refused to tour in the United States.[236]

In 2002, Michael Jackson won his 22nd American Music Award for Artist of the Century.[242] In the same year, his third child, Prince Michael Jackson II (nicknamed “Blanket”) was born.[243] The mother’s identity was not announced, but Jackson said the child was the result of artificial insemination from a surrogate mother and his own sperm.[228] On November 20 of that year, Jackson brought his infant son onto the balcony of his room at the Hotel Adlon in Berlin as fans stood below, holding him in his right arm, with a cloth loosely draped over the baby’s face. The baby was briefly extended over a railing, four stories above ground level, prompting widespread criticism in the media. Jackson later apologized for the incident, calling it “a terrible mistake”.[244] In November 2003, Sony released Number Ones, a compilation of Jackson’s hits on CD and DVD. In the U.S., the album was certified triple platinum by the RIAA; in the UK it was certified six times platinum for shipments of at least 1.2 million units.[166][245]

2003–2005: Second child sexual abuse allegations and acquittal

Jackson in Las Vegas, 2003.

Beginning in May 2002, Jackson allowed a documentary film crew, led by British TV personality Martin Bashir, to follow him around nearly everywhere he went. Bashir’s film crew was with Jackson during the “baby-dangling incident” in Berlin. The program was broadcast in March 2003 as Living with Michael Jackson. In a particularly controversial scene, Jackson was seen holding hands and discussing sleeping arrangements with a young boy.[246]

As soon as the documentary aired, the Santa Barbara county attorney’s office began a criminal investigation. After an initial probe from the LAPD and DCFS was conducted in February 2003, they had initially concluded that molestation allegations were “unfounded” at the time.[209] After the young boy involved in the documentary and his mother had told investigators that Jackson had behaved improperly with the boy, Jackson was arrested in November 2003, and was charged with seven counts of child molestation and two counts ofadministering an intoxicating agent in relation to the 13-year-old boy shown in the film.[246] Jackson denied the allegations, saying the sleepovers were not sexual in nature. The People v. Jackson trial began on January 31, 2005, in Santa Maria, California, and lasted five months, until the end of May. On June 13, 2005, Jackson was acquitted on all counts.[247][248][249] After the trial, in a highly publicized relocation he moved to the Persian Gulf island of Bahrain, as a guest of Sheikh Abdullah.[250] Bahrain was also where the family intended to send Jackson if he was convicted (though Jackson did not know about the plan), according to a statement by Jermaine Jackson printed in The Times of London in September 2011.[251]

2006–2009: Closure of Neverland, final years, and This Is It

Jackson and his son Blanket in Disneyland Paris, 2006.

In March 2006, the main house at the Neverland Ranch was closed as a cost-cutting measure.[252] There were numerous reports around that time that Jackson had been having financial problems. He had been delinquent on his repayments of a $270 million loan secured against his music-publishing holdings, even though those holdings were reportedly making him as much as $75 million a year.[253] Bank of America sold the debt to Fortress Investments. Sony reportedly proposed a restructuring deal which would give them a future option to buy half of Jackson’s stake in their jointly-owned publishing company, leaving Jackson with a 25% stake.[219] Jackson agreed to a Sony-backed refinancing deal in April 2006, although the details were not made public.[254] Jackson did not have a recording contract at the time. In early 2006, it was announced that Jackson had signed a contract with a Bahrain-based startup called Two Seas Records. However, nothing came of the deal, and the Two Seas CEO Guy Holmes later stated that the deal had never been finalized.[255][256]

Throughout 2006, Sony repackaged 20 singles from the 1980s and 1990s as the Michael Jackson: Visionary series, which subsequently became a box set. Most of those singles returned to the charts as a result. In September 2006, Jackson and his ex-wife Debbie Rowe confirmed reports that they had settled their long-running child custody suit. The terms were never made public. Jackson continued to be the custodial parent of the couple’s two children.[229] In October 2006, Fox News entertainment reporter Roger Friedman said that Jackson had been recording at a studio in rural Westmeath, Ireland. It was not known at the time what Jackson had working on, or who had paid for the sessions, since his publicist had recently issued a statement claiming that he had left Two Seas.[256][257]

In November 2006, Jackson invited an Access Hollywood camera crew into the studio in Westmeath, and MSNBC reported that he was working on a new album, produced by will.i.am.[168] Jackson performed at the World Music Awards in London on November 15, 2006, and accepted a Diamond Award for selling over 100 million records.[168][258] He returned to the United States after Christmas 2006 to attend James Brown‘s funeral in Augusta, Georgia, where he gave one of the eulogies, saying that “James Brown is my greatest inspiration.”[259] In the spring of 2007, Jackson and Sony teamed up to buy another music publishing company, Famous Music LLC, formerly owned by Viacom. This deal gave him the rights to songs by Eminem and Beck, among others.[260][261] In March 2007, Jackson gave a brief interview to the Associated Press in Tokyo, where he said: “I’ve been in the entertainment industry since I was 6 years old, and as Charles Dickens would say, ‘It’s been the best of times, the worst of times.’ But I would not change my career … While some have made deliberate attempts to hurt me, I take it in stride because I have a loving family, a strong faith and wonderful friends and fans who have, and continue, to support me.”[262] In March 2007, Jackson visited a U.S. Army post in Japan, Camp Zama, to greet over 3,000 U.S. troops and their families. The hosts presented Jackson with a Certificate of Appreciation.[263]

In September 2007, Jackson was reportedly still working on his next album, but the work was never completed.[264] In 2008, Jackson and Sony released Thriller 25 to mark the 25th anniversary of the original Thriller. This album featured the previously unreleased song “For All Time”, an outtake from the original sessions, as well as remixes, where Jackson collaborated with younger artists who had been inspired by his work.[265] Two of the remixes were released as singles with modest success: “The Girl Is Mine 2008” (with will.i.am) and “Wanna Be Startin’ Somethin’ 2008” (with Akon). The first single was based on an early demo version, without Paul McCartney. The album was a commercial success.[265][266][267][268] In anticipation of Jackson’s 50th birthday, Sony BMG released a series of greatest hits albums, King of Pop. Slightly different versions were released in various countries, based on polls of local fans.[269] King of Pop reached the top 10 in most countries where it was issued, and also sold well as an import in other countries (such as the United States).[270][271]

An aerial view of part of Jackson’s 2,800-acre (11 km2) Neverland Valley Ranch near Los Olivos, California, showing the many rides.

In late 2008, Fortress Investments threatened to foreclose on Neverland Ranch, which Jackson used as collateral for loans running into many tens of millions of dollars. However, Fortress opted to sell Jackson’s debts to Colony Capital LLC. In November, Jackson transferred Neverland Ranch’s title to Sycamore Valley Ranch Company LLC, a joint venture between Jackson and Colony Capital LLC. The deal cleared Jackson’s debt and reportedly earned him an additional $35 million. At the time of his death, Jackson still owned a stake of unknown size in Neverland/Sycamore Valley.[272][273] In September 2008, Jackson entered negotiations with Julien’s Auction House to display and auction a large collection of memorabilia amounting to approximately 1,390 lots. The auction was scheduled to take place between April 22 and 25.[274] An exhibition of the lots opened as scheduled on April 14, but the actual auction was eventually cancelled at Jackson’s request.[275]

In March 2009, Jackson held a press conference at London’s O2 Arena to announce a series of comeback concerts titled This Is It. The shows would be Jackson’s first major series of concerts since the HIStory World Tour finished in 1997. Jackson suggested possible retirement after the shows, saying it would be his “final curtain call”. The initial plan was for 10 concerts in London, followed by shows in Paris, New York City and Mumbai. Randy Phillips, president and chief executive of AEG Live, stated that the first 10 dates alone would earn the singer approximately £50 million.[276] The London residency was increased to 50 dates after record-breaking ticket sales: over one million were sold in less than two hours.[277] The concerts would have commenced on July 13, 2009, and finished on March 6, 2010. Jackson rehearsed in Los Angeles in the weeks leading up to the tour under the direction of choreographer Kenny Ortega. Most of these rehearsals took place at the Staples Center, owned by AEG.[278] Less than three weeks before the first show was due to begin in London, with all concerts sold out, Jackson died after suffering cardiac arrest.[279] Some time before his death, it was reported that he was starting a clothing line with Christian Audigier.[280][281]

Jackson’s first posthumous song released entirely by his estate was “This Is It“, which he had co-written in the 1980s with Paul Anka. It was not on the setlists for the concerts, and the recording was based on an old demo tape. The surviving brothers reunited in the studio for the first time since 1989 to record backing vocals. On October 28, 2009, a documentary film about the rehearsals, Michael Jackson’s This Is It, was released.[282] Despite a limited two-week engagement, it became the highest-grossing documentary or concert film of all time, with earnings of more than $260 million worldwide.[283] Jackson’s estate received 90% of the profits.[284] The film was accompanied by a compilation album of the same name. Two versions of “This Is It” appear on the album, which also featured original masters of Jackson’s hits in the order in which they appear in the film, along with a bonus disc with previously unreleased versions of more Jackson hits and a spoken-word poem, “Planet Earth”.[285] At the 2009 American Music Awards, Jackson won four posthumous awards, two for him and two for his album Number Ones, bringing his total American Music Awards to 26.[286][287]

Death and memorial

Jackson's Star with flowers and notes on it

Fans flocked to Jackson’s star on the Hollywood Walk of Fame, adorning it with flowers and notes on the day of his death.

On June 25, 2009, Jackson fell unconscious while lying in bed at his rented mansion at 100 North Carolwood Drive in the Holmby Hillsdistrict of Los Angeles. Attempts at resuscitating him by Conrad Murray, his personal physician, were unsuccessful.[288] Los Angeles Fire Department paramedics received a 911 call at 12:22 pm (PDT, 19:22 UTC), arriving three minutes later.[289][290] Jackson was reportedly not breathing and CPR was performed.[291] Resuscitation efforts continued en route to Ronald Reagan UCLA Medical Center, and for more than an hour after arriving there at 1:13 pm (20:13 UTC). He was pronounced dead at 2:26 pm Pacific time (21:26 UTC).[292][293]

Jackson’s death triggered a global outpouring of grief.[288] The news spread quickly online, causing websites to slow down and crashfrom user overload. Both TMZ and the Los Angeles Times suffered outages.[294] Google initially believed that the millions of search requests meant their search engine was under DDoS attack, and blocked searches related to Michael Jackson for 30 minutes. Twitter reported a crash, as did Wikipedia at 3:15 pm PDT (22:15 UTC).[295] The Wikimedia Foundation reported nearly a million visitors to Jackson’s biography within one hour, probably the most visitors in a one-hour period to any article in Wikipedia’s history.[296] AOL Instant Messenger collapsed for 40 minutes. AOL called it a “seminal moment in internet history … We’ve never seen anything like it in terms of scope or depth.”[297] Around 15% of Twitter posts (5,000 tweets per minute) reportedly mentioned Jackson after the news broke,[298][299]compared to the 5% recalled as having mentioned the Iranian elections or the flu pandemic that had made headlines earlier in the year.[299] Overall, web traffic ranged from 11% to at least 20% higher than normal.[298][300] MTV and BET aired marathons of Jackson’s music videos.[301] Jackson specials aired on television stations around the world. The British soap opera EastEnders added a last-minute scene to the June 26 episode in which one character tells another about the news.[302] MTV briefly returned to its original music video format to celebrate his work,[303] airing hours of Jackson’s music videos, accompanied by live news specials featuring reactions from MTV personalities and other celebrities.[304] The temporary shift in MTV’s programming culminated the following week in the channel’s live coverage of Jackson’s memorial service.[304]

Jackson’s tomb in the Holly Terrace of the Great Mausoleum, Forest Lawn Glendale.

Jackson’s memorial was held on July 7, 2009 at the Staples Center in Los Angeles, preceded by a private family service at Forest Lawn Memorial Park’s Hall of Liberty. Due to high demand, tickets to the memorial were distributed via lottery, and over 1.6 million fans applied for tickets during the two-day application period. 8,750 names were drawn at random, with each recipient receiving two tickets each.[305]Jackson’s casket was present during the memorial but no information was released about the final disposition of the body. The memorial service was one of the most watched events in streaming history,[306] with an estimated U.S. audience of 31.1 million, an amount comparable to the estimated 35.1 million that watched the 2004 burial of former president Ronald Reagan, and the estimated 33.1 millionAmericans who watched the 1997 funeral for Princess Diana.[307]

Mariah Carey, Stevie Wonder, Lionel Richie, John Mayer, Jennifer Hudson, Usher, Jermaine Jackson, and Shaheen Jafargholiperformed at the event. Berry Gordy and Smokey Robinson gave eulogies, while Queen Latifah read “We Had Him”, a poem written for the occasion by Maya Angelou.[308] The Reverend Al Sharpton received a standing ovation with cheers when he told Jackson’s children: “Wasn’t nothing strange about your daddy. It was strange what your daddy had to deal with. But he dealt with it anyway.”[309] Jackson’s 11-year-old daughter Paris Katherine, speaking publicly for the first time, wept as she told the crowd: “Ever since I was born, Daddy has been the best father you could ever imagine … I just wanted to say I love him … so much.”[310][311] Reverend Lucious Smith provided a closing prayer.[312]

At the time of death, Jackson had been administered propofol, lorazepam, and midazolam,[313] and the Los Angeles coroner decided to treat the death as a homicide.[314][315] Law enforcement officials conducted a manslaughter investigation of his personal physician Conrad Murray, and charged him with involuntary manslaughter in Los Angeles on February 8, 2010.[316] Jackson’s body was entombed on September 3, 2009, at Forest Lawn Memorial Park in Glendale, California.[317]

Portrait and other tributes, including mural and messages from 650 Spanish fans, letters, pictures, teddy bears, and flowers.

Tribute of fans from all over the world in the Forest Lawn Memorial Park on the first anniversary of his death.

On June 25, 2010, the first anniversary of Jackson’s death, fans traveled to Los Angeles to pay tribute. They visited Jackson’s star on the Hollywood Walk of Fame, his family’s home, and Forest Lawn Memorial Park. Many of the fans were carrying sunflowers and other tribute items to leave at the sites. Members of the Jackson family and close friends arrived to pay their respects.[318][319] Katherine returned to Gary, Indiana to unveil a granite monument constructed in the front yard of the family home. The memorial continued with a candlelight vigil and a special performance of “We Are the World”.[320][321] On June 26, there was a protest march in front of the Los Angeles Police Department’s Robbery-Homicide Division at the old Parker Center building and a petition with thousands of signatures demanding justice.[322][323] The Jackson Family Foundation, in conjunction with Voiceplate, presented “Forever Michael”, an event bringing together Jackson family members, celebrities, fans, supporters and the community to celebrate and honor his legacy. A portion of the proceeds were presented to some of Jackson’s favorite charities. Katherine also introduced her new book “Never Can Say Goodbye”.[324][325][326]

Aftermath

In the 12 months after his death, Jackson sold more than 8.2 million albums in the United States and 35 million albums worldwide, making him the best-selling albums artist of 2009.[327][328] He became the first artist to sell one million downloads in a week in music download history, with a record-breaking 2.6 million downloads of his songs. Three of his albums sold more than any new album, the first time a catalog album has ever scanned more sales than any new album.[329] Jackson also became the first artist in history to have four of the top 20 best-selling albums in a single year in the United States.[327] Following this surge in sales, Sony announced that they had extended their distribution rights for Jackson’s material, which had been due to expire in 2015.[330] On March 16, 2010, Sony Music Entertainment, spearheaded by its Columbia/Epic Label Group division, signed a new deal with the Jackson estate to extend their distribution rights to his back catalogue until at least 2017, and release ten new albums of previously unreleased material and new collections of released work.[331]

On November 4, 2010, Sony announced the first posthumous album, Michael, released on December 14, with the promotional single, “Breaking News“, released to radio on November 8.[332] Sony Music reportedly paid the Jackson estate $250 million for the deal, plus royalties, making it the most expensive music contract pertaining to a single artist in history.[330][333] Video game developer Ubisoft announced a dancing-and-singing game featuring Michael Jackson for the 2010 holiday season, Michael Jackson: The Experience; it is among the first games to use Kinect and PlayStation Move, the motion-detecting camera systems for Microsoft’s Xbox 360 and Sony’s PlayStation 3respectively.[334]

On November 3, 2010, the theatrical performing company Cirque du Soleil announced that it would launch Michael Jackson: The Immortal World Tour in October 2011 in Montreal, while a permanent show will reside in Las Vegas.[335] The 90-minute $57-million production will combine Jackson’s music and choreography with the Cirque’s artistry, dance and aerial displays involving 65 artists.[336] The tour was written and directed by Jamie King[337] and centers on Jackson’s “inspirational Giving Tree – the wellspring of creativity where his love of music and dance, fairy tale and magic, and the fragile beauty of nature are unlocked.”[338] On October 3, 2011, the accompanying compilation soundtrack album Immortal was announced to have over 40 Jackson’s original recordings re-produced by Kevin Antunes.[339] A second, larger and more theatrical Cirque show,Michael Jackson: One, designed for residency at the Mandalay Bay resort in Las Vegas, was announced on February 21, 2013. This show, also produced, written and directed by King, began its run on May 23, 2013 in a newly renovated theater to critical and commercial success.[340][341][342][343]

In April 2011, billionaire businessman Mohamed Al-Fayed, chairman of Fulham Football Club and Jackson’s longtime friend, unveiled a statue of Michael Jackson outside the club’s stadium, Craven Cottage.[344] Fulham fans were bemused by the statue and failed to understand the relevance of Jackson to the club.[345] Al Fayed defended the statue and told the fans to “go to hell” if they did not appreciate it.[344] The statue was removed in September 2013[346] and moved to the National Football Museum in Manchester in May 2014.[347]

In 2012, in an attempt to end public family feuding, Jackson’s brother Jermaine Jackson retracted his signature on a public letter criticizing executors of Michael Jackson’s estate and his mother’s advisers concerning the legitimacy of his brother’s will.[348] T.J. Jackson, son of Tito Jackson, was given co-guardianship of Michael Jackson’s children after false reports surfaced of Katherine Jackson going missing.[349]

On May 16, 2013, choreographer Wade Robson alleged on The Today Show that Jackson “performed sexual acts on me and forced me to perform sexual acts on him” for 7 years, beginning when Robson was 7 years old.[350] Robson had previously testified in defence of Jackson at the singer’s 2005 child molestation trial.[351] The attorney for Jackson’s estate described Robson’s claim as “outrageous and pathetic”.[352] The date for the hearing which will determine whether Robson can sue Jackson’s estate was scheduled for June 2, 2014.[353] In February 2014, the Internal Revenue Service reported that Jackson’s estate owed $702 million, including $505 million in taxes and $197 million in penalties after they claimed the estate undervalued Jackson’s fortune.[354]

On March 31, 2014, Epic Records announced Xscape, an album of eight songs of unreleased material culled from past recording sessions.[355] It was released on May 13, 2014.[356] On May 12, 2014, another young man, Jimmy Safechuck, sued Jackson’s estate, claiming Jackson sexually abused him “from the age of 10 to about 14 or 15” in the 1980s.[357] During the 2014 Billboard Music Awards on May 18, a “Pepper’s ghost” likeness of Jackson appeared, dancing to “Slave to the Rhythm“, one of the tracks fromXscape.[358] Later that year, Queen released three duets that Freddie Mercury had recorded with Jackson in the 1980s.[72]

Jackson’s earnings have exponentially increased following his sudden death in comparison to his final years alive. According to Forbes, he has been the top-earning dead celebrity each year since his death, with triple-digit millions per annum ($115 million in 2015).[22] In December 2015, Jackson’s album Thriller became the first album in the United States to surpass 30 million shipments, certifying it 30× platinum by the RIAA.[82] Two months later, Billboard reported that the album was certified again at 32× platinum, surpassing 32 million shipments after Soundscan added streams and audio downloads to album certifications.[359]

Artistry

Influences

Silver-colored statue of Jackson standing up with his arms bent inward and both legs spaced apart.

One of many identical statues, based on Diana Walczak‘s original HIStory statue, positioned throughout Europe to promote HIStory.

Jackson was influenced by musicians including Little Richard, James Brown,[360] Jackie Wilson, Diana Ross, Fred Astaire,[360] Sammy Davis Jr.,[360] Gene Kelly,[360][361] David Ruffin,[362] the Isley Brothers, and the Bee Gees.[363] According to choreographer David Winters, who met and befriended Jackson while choreographing the 1971 Diana Ross TV special Diana!, Jackson watched the musical West Side Story almost every week, and it was his favorite film; he paid tribute to it in “Beat It” and the “Bad” video.[363][364][365] While Little Richard had a substantial influence on Jackson,[366] James Brown was Jackson’s greatest inspiration. In reference to Brown, Jackson declared: “Ever since I was a small child, no more than like six years old, my mother would wake me no matter what time it was, if I was sleeping, no matter what I was doing, to watch the television to see the master at work. And when I saw him move, I was mesmerized. I had never seen a performer perform like James Brown, and right then and there I knew that was exactly what I wanted to do for the rest of my life because of James Brown.”[367]

Jackson’s wax statue at theMadame Tussauds

The young Jackson owed his vocal technique in large part to Diana Ross. Not only a mother figure to him, she was often observed in rehearsal as an accomplished performer.[clarification needed] He later said: “I got to know her well. She taught me so much. I used to just sit in the corner and watch the way she moved. She was art in motion. I studied the way she moved, the way she sang – just the way she was.” He told her: “I want to be just like you, Diana.” She said: “You just be yourself.”[368] Jackson owed part of his enduring style—especially his use of the oooh interjection—to Ross. From a young age, Jackson often punctuated his verses with a sudden exclamation of oooh. Diana Ross had used this effect on many of the songs recorded with the Supremes.[369]

Musical themes and genres

Jackson explored a variety of music genres, including pop, soul, rhythm and blues, funk, rock, disco, post-disco, dance-pop and new jack swing.[4][155][370][371][372][373] Unlike many artists, Jackson did not write his songs on paper and instead dictated into a sound recorder.[374] When composing music, he preferred to beatbox and imitate instruments vocally rather than use instruments.[375]

Black and white photo of Jackson holding a microphone and singing.

Jackson in 1988, in Vienna, Austria, during his Bad World Tour.

According to Steve Huey of AllMusic,[4] Thriller refined the strengths of Off the Wall; the dance and rock tracks were more aggressive, while the pop tunes and ballads were softer and more soulful.[4] Its tracks included the ballads “The Lady in My Life”, “Human Nature“, and “The Girl Is Mine“, the funk pieces “Billie Jean” and “Wanna Be Startin’ Somethin’“, and the disco set “Baby Be Mine” and “P.Y.T. (Pretty Young Thing)“.[4][376][377][378] With Thriller, Christopher Connelly of Rolling Stone commented that Jackson developed his long association with the subliminal theme of paranoia and darker imagery.[378] AllMusic’sStephen Thomas Erlewine noted this is evident on the songs “Billie Jean” and “Wanna Be Startin’ Somethin'”.[376] In “Billie Jean”, Jackson sings about an obsessive fan who alleges he has fathered a child of hers.[4] In “Wanna Be Startin’ Somethin'” he argues against gossip and the media.[378] “Beat It” decried gang violence in an homage to West Side Story, and was Jackson’s first successful rock cross-over piece, according to Huey.[4][48] He also observed that the title track “Thriller” began Jackson’s interest with the theme of the supernatural, a topic he revisited in subsequent years.[4] In 1985, Jackson co-wrote the charity anthem “We Are the World“; humanitarian themes later became a recurring theme in his lyrics and public persona.[4]

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Jackson’s song “Thriller”, released as a single in 1984, utilizes cinematic sound effects, horror film motifs, and vocal trickery to convey a sense of danger.[59]

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A single from the album Bad, released 1988, “Smooth Criminal” features digital drum sounds, keyboard-created bass lines, and other percussion elements designed to give the impression of a pulsing heart.[379]

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The lead single from Dangerous, “Black or White” is a danceable rock song with hard rock elements. It was one of Jackson’s most successful recordings.[380][381]

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In Bad, Jackson’s concept of the predatory lover can be seen on the rock song “Dirty Diana“.[382] The lead single “I Just Can’t Stop Loving You” is a traditional love ballad, while “Man in the Mirror” is an anthemic ballad of confession and resolution. “Smooth Criminal” was an evocation of bloody assault, rape and likely murder.[135] AllMusic’s Stephen Thomas Erlewinestates that Dangerous presents Jackson as a very paradoxical individual.[383] He comments the album is more diverse than his previous Bad, as it appeals to an urban audience while also attracting the middle class with anthems like “Heal the World“.[383] The first half of the record is dedicated to new jack swing, including songs like “Jam” and “Remember the Time“.[384] The album is Jackson’s first where social ills become a primary theme; “Why You Wanna Trip on Me”, for example, protests against world hunger, AIDS, homelessness and drugs.[384] Dangerous contains sexually charged efforts such as the multifaceted love song, “In the Closet“.[384] The title track continues the theme of the predatory lover and compulsive desire.[384] The second half includes introspective, pop-gospel anthems such as “Will You Be There“, “Heal the World” and “Keep the Faith”; these songs show Jackson opening up about various personal struggles and worries.[384] In the ballad “Gone Too Soon“, Jackson gives tribute to his friend Ryan White and the plight of those with AIDS.[385]

HIStory creates an atmosphere of paranoia.[386] Its content focuses on the hardships and public struggles Jackson went through just prior to its production. In the new jack swing-funk-rock efforts “Scream” and “Tabloid Junkie”, along with the R&B ballad “You Are Not Alone“, Jackson retaliates against the injustice and isolation he feels, and directs much of his anger at the media.[387] In the introspective ballad “Stranger in Moscow“, Jackson laments over his “fall from grace”, while songs like “Earth Song“, “Childhood“, “Little Susie” and “Smile” are all operatic pop pieces.[386][387] In the track “D.S.“, Jackson launched a verbal attack against Tom Sneddon. He describes Sneddon as an antisocial, white supremacist who wanted to “get my ass, dead or alive”. Of the song, Sneddon said, “I have not—shall we say—done him the honor of listening to it, but I’ve been told that it ends with the sound of a gunshot”.[388]Invincible found Jackson working heavily with producer Rodney Jerkins.[4] It is a record made up of urban soul like “Cry” and “The Lost Children”, ballads such as “Speechless“, “Break of Dawn”, and “Butterflies” and mixes hip hop, pop, and R&B in “2000 Watts”, “Heartbreaker” and “Invincible”.[389][390]

Vocal style

Jackson sang from childhood, and over time his voice and vocal style changed noticeably. Between 1971 and 1975, Jackson’s voice descended from boy soprano to high tenor.[391] His vocal range as an adult was F2-E6. Jackson first used a technique called the “vocal hiccup” in 1973, starting with the song “It’s Too Late to Change the Time” from the Jackson 5‘s G.I.T.: Get It Together album.[392] Jackson did not use the hiccup technique—somewhat like a gulping for air or gasping—fully until the recording of Off the Wall: it can be seen in full force in the “Shake Your Body (Down to the Ground)” promotional video.[54] With the arrival of Off the Wall in the late 1970s, Jackson’s abilities as a vocalist were well regarded. At the time, Rolling Stone compared his vocals to the “breathless, dreamy stutter” of Stevie Wonder. Their analysis was also that “Jackson’s feathery-timbred tenor is extraordinarily beautiful. It slides smoothly into a startling falsetto that’s used very daringly”.[370][393] 1982 saw the release of Thriller, and Rolling Stonewas of the opinion that Jackson was then singing in a “fully adult voice” that was “tinged by sadness”.[378]

A distinctive deliberate mispronunciation of “come on”, used frequently by Jackson, occasionally spelled “c’mon”, “cha’mone”, or “shamone”, is also a staple in impressions and caricatures of him.[394] The turn of the 1990s saw the release of the introspective album Dangerous. The New York Times noted that on some tracks, “he gulps for breath, his voice quivers with anxiety or drops to a desperate whisper, hissing through clenched teeth” and he had a “wretched tone”.[384] When singing of brotherhood or self-esteem the musician would return to “smooth” vocals.[384] When commenting on Invincible, Rolling Stone were of the opinion that—at the age of 43—Jackson still performed “exquisitely voiced rhythm tracks and vibrating vocal harmonies”.[395] Nelson George wrote: “The grace, the aggression, the growling, the natural boyishness, the falsetto, the smoothness—that combination of elements mark him as a major vocalist”.[379] Cultural critic Joseph Vogel notes that Jackson had a “distinctive styles is his ability to convey emotion without the use of language: there are his trademark gulps, grunts, gasps, cries, exclamations; he also frequently scats or twists and contorts words until they are barely discernible.”[396]Neil McCormick notes that Jackson’s unorthodox singing style “was original and utterly distinctive, from his almost ethereal falsetto to his soft, sweet mid-tones; his fluid, seamless control of often very fast moving series of notes; his percussive yet still melodic outbursts, ululations and interjections (from those spooky “tee-hee-hees” to grunts and wails). Unusually for someone coming from a black American soul tradition, he did not often sing straight, unadorned ballads, though when he did (from ‘Ben‘ to ‘She’s Out of My Life‘) the effect was of a powerful simplicity and truth.”[397]

Music videos and choreography

Jackson has been called the King of Music Videos.[398] Steve Huey of AllMusic observed how Jackson transformed the music video into an art form and a promotional tool through complex story lines, dance routines, special effects and famous cameo appearances, simultaneously breaking down racial barriers.[4] Before Thriller, Jackson struggled to receive coverage on MTV, allegedly because he was African American.[399] Pressure from CBS Records persuaded MTV to start showing “Billie Jean” and later “Beat It”, leading to a lengthy partnership with Jackson, also helping other black music artists gain recognition.[400] MTV employees deny any racism in their coverage, or pressure to change their stance. MTV maintains that they played rock music, regardless of race.[401] The popularity of his videos on MTV helped to put the relatively young channel “on the map”; MTV’s focus shifted in favor of pop and R&B.[400][402] His performance on Motown 25: Yesterday, Today, Forever changed the scope of live stage show; “That Jackson lip-synced ‘Billie Jean’ is, in itself, not extraordinary, but the fact that it did not change the impact of the performance is extraordinary; whether the performance was live or lip-synced made no difference to the audience” thus creating an era in which artists re-create the spectacle of music video imagery on stage.[403] Short films like Thriller largely remained unique to Jackson, while the group dance sequence in “Beat It” has frequently been imitated.[404] The choreography in Thriller has become a part of global pop culture, replicated everywhere from Indian films to prisons in the Philippines.[405] The Thriller short film marked an increase in scale for music videos, and has been named the most successful music video ever by the Guinness World Records.[158]

In the 19-minute music video for “Bad“—directed by Martin Scorsese—Jackson began using sexual imagery and choreography not previously seen in his work. He occasionally grabbed or touched his chest, torso and crotch. When asked by Oprah in the 1993 interview about why he grabbed his crotch, he replied, “I think it happens subliminally” and he described it as something that was not planned, but rather, as something that was compelled by the music. “Bad” garnered a mixed reception from both fans and critics; Timemagazine described it as “infamous”. The video also featured Wesley Snipes; in the future Jackson’s videos would often feature famous cameo roles.[127][406] For the “Smooth Criminal” video, Jackson experimented with an anti-gravity lean where the performer leans forward at a 45 degree angle, beyond the performer’s center of gravity. To accomplish this move live, Jackson and designers developed a special shoe that locks the performer’s feet to the stage, allowing them to lean forward. They were granted U.S. Patent 5,255,452 for the device.[407] Although the music video for “Leave Me Alone” was not officially released in the US, in 1989 it was nominated for three Billboard Music Video Awards;[408] the same year it won a Golden Lion Award for the quality of the special effects used in its production. In 1990, “Leave Me Alone” won a Grammy for Best Music Video, Short Form.[153]

He received the MTV Video Vanguard Award in 1988 and the MTV Video Vanguard Artist of the Decade Award in 1990 to celebrate his accomplishments in the art form in the 1980s; in 1991 the first award was renamed in his honor.[169]Black or White” was accompanied by a controversial music video, which, on November 14, 1991, simultaneously premiered in 27 countries with an estimated audience of 500 million people, the largest viewing ever for a music video at that time.[168] It featured scenes construed as having a sexual nature as well as depictions of violence. The offending scenes in the final half of the 14-minute version were edited out to prevent the video from being banned, and Jackson apologized.[409] Along with Jackson, it featured Macaulay Culkin, Peggy Lipton, and George Wendt. It helped usher in morphing as an important technology in music videos.[410]

Remember the Time” was an elaborate production, and became one of his longest videos at over nine minutes. Set in ancient Egypt, it featured groundbreaking visual effectsand appearances by Eddie Murphy, Iman, and Magic Johnson, along with a distinct complex dance routine.[411] The video for “In the Closet” was Jackson’s most sexually provocative piece. It featured supermodel Naomi Campbell in a courtship dance with Jackson. The video was banned in South Africa because of its imagery.[169]

The music video for “Scream“, directed by Mark Romanek and production designer Tom Foden, is one of Jackson’s most critically acclaimed. In 1995, it gained eleven MTV Video Music Award Nominations—more than any other music video—and won “Best Dance Video”, “Best Choreography”, and “Best Art Direction”.[412] The song and its accompanying video are a response to the backlash Jackson received from the media after being accused of child molestation in 1993.[413] A year later, it won a Grammy for Best Music Video, Short Form; shortly afterwards Guinness World Records listed it as the most expensive music video ever made, at a cost of $7 million.[222][414]

Earth Song” was accompanied by an expensive and well-received music video, which gained a Grammy nomination for Best Music Video, Short Form in 1997. The video had an environmental theme, showing images of animal cruelty, deforestation, pollution and war. Using special effects, time is reversed so that life returns, wars end, and the forests re-grow.[222][415] Released in 1997 and premiering at the 1996 Cannes Film Festival, Michael Jackson’s Ghosts was a short film written by Jackson and Stephen King and directed by Stan Winston. The video for Ghosts is over 38 minutes long and holds the Guinness World Record as the world’s longest music video.[222][231][416][417]

The music video for “You Rock My World“, which is thirteen and a half minutes long, was directed by Paul Hunter, and was released in 2001. The video features appearances from Chris Tucker and Marlon Brando.[418] The video won an NAACP Image Award for Outstanding Music Video at the award shows 2002 ceremony.[419]

Legacy and influence

Pink star with a gold colored rim and the writing "Michael Jackson" in its center. The star is indented into the ground and is surrounded by a marble-colored floor.

Jackson’s star on theHollywood Walk of Fame, set in 1984.

The media has commonly referred to Jackson as the “King of Pop” because, throughout his career, he transformed the art of music videos and paved the way for modern pop music. For much of Jackson’s career, he had an unparalleled worldwide influence over the younger generation through his musical and humanitarian contributions.[224] His music and videos, such as Thriller, fostered racial diversity in MTV’s roster and steered its focus from rock to pop music and R&B, shaping the channel into a form that proved enduring. Jackson’s work continues to influence numerous artists of various music genres.

Danyel Smith, the chief content officer of Vibe Media Group and the editor-in-chief of Vibe describes Jackson as “The Greatest Star”.[420]AllMusic‘s Steve Huey describes Jackson as “an unstoppable juggernaut, possessed of all the skills to dominate the charts seemingly at will: an instantly identifiable voice, eye-popping dance moves, stunning musical versatility and loads of sheer star power”.[4] BET described Jackson “as quite simply the greatest entertainer of all time” and someone who “revolutionized the music video and brought dances like the moonwalk to the world. Jackson’s sound, style, movement and legacy continues to inspire artists of all genres.”[421]

In 1984, Time magazine’s pop critic Jay Cocks wrote that “Jackson is the biggest thing since the Beatles. He is the hottest single phenomenon since Elvis Presley. He just may be the most popular black singer ever.”[89] In 1990, Vanity Fair cited Jackson as the most popular artist in the history of show business.[153] In 2003, Daily Telegraph writer Tom Utley described Jackson as “extremely important” and a “genius”.[422] In 2007, Jackson said: “Music has been my outlet, my gift to all of the lovers in this world. Through it, my music, I know I will live forever.”[423]

At Jackson’s memorial service on July 7, 2009, Motown founder Berry Gordy proclaimed Jackson “the greatest entertainer that ever lived”.[424][425][426] In a June 28, 2009Baltimore Sun article titled “7 Ways Michael Jackson Changed The World”, Jill Rosen wrote that Jackson’s legacy was “as enduring as it is multi-faceted”, influencing fields including sound, dance, fashion, music videos and celebrity.[427] On December 19, 2014, the British Council of Cultural Relations named Jackson’s life one of the 80 most important cultural moments of the 20th century.[428]

In July 2009, the Lunar Republic Society, which promotes the exploration, settlement and development of the Moon, named a Moon crater after Jackson.[429] In the same year, for Jackson’s 51st birthday, Google dedicated their Google Doodle to him.[430] In 2010, two university librarians found that Jackson’s influence extended to academia, with references to Jackson in reports concerning music, popular culture, chemistry and an array of other topics.[431][432][433]

Honors and awards

Thriller platinum record on display at the Hard Rock Cafe, Hollywood in Universal City, California.

Michael Jackson was inducted onto the Hollywood Walk of Fame in 1980 as member of the Jacksons and in 1984 as solo artist. Throughout his career he received numerous honors and awards, including the World Music Awards‘ Best-Selling Pop Male Artist of the Millennium, theAmerican Music Award‘s Artist of the Century Award and the Bambi Pop Artist of the Millennium Award.[238][434] He was a double-inductee of theRock and Roll Hall of Fame, once as a member of The Jackson 5 in 1997 and later as a solo artist in 2001. Jackson was also inducted in several other halls of fame, including Vocal Group Hall of Fame (as a Jackson 5 member) in 1999 and the Songwriters Hall of Fame in 2002.[238] In 2010, Jackson was inducted into the Dance Hall of Fame as the first (and currently only) dancer from the world of pop and rock ‘n’ roll.[435] In 2014, Jackson was inducted into the second class of inductees to the Rhythm and Blues Music Hall of Fame; his father Joe Jackson accepted on his behalf.[436]

His awards include many Guinness World Records (eight in 2006 alone), including for the Most Successful Entertainer of All Time,[15][16] 13Grammy Awards[437] (as well as the Grammy Legend Award[438] and the Grammy Lifetime Achievement Award),[439] 26 American Music Awards(including the “Artist of the Century” and “Artist of the 1980s”),[235][440]—more than any artist—13 number-one singles in the US in his solo career—more than any other male artist in the Hot 100 era[441]—and estimated sales of over 350 million records worldwide[442][Note 1] making him one of the best-selling artists in modern music history.[443] On December 29, 2009, the American Film Institute recognized Jackson’s death as a “moment of significance” saying, “Michael Jackson’s sudden death in June at age 50 was notable for the worldwide outpouring of grief and the unprecedented global eulogy of his posthumous concert rehearsal movie This Is It.”[444] Michael Jackson also received an Honorary Doctor of Humane Letters Degree from the United Negro College Fund[445] and also an Honorary Doctorate of Humane Letters from Fisk University.[446]

Earnings and wealth

It is estimated that Michael Jackson earned about $750 million in his lifetime.[447] Sales of his recordings through Sony’s music unit earned him an estimated $300 million in royalties. He may have also earned an additional $400 million from concerts, music publishing (including his share of the Beatles catalog), endorsements, merchandising and music videos. Estimating how much of these earnings Jackson was able to personally pocket is difficult because one has to account for taxes, recording costs and production costs.[448]

Net worth during Jackson’s life

There have also been several detailed estimates of Jackson’s net worth during his life, which range from negative $285 million to positive $350 million for the years 2002, 2003 and 2007.

Michael Jackson’s estimated net-worth over the years
Year Assets Debt Net worth Source
2002 $130 million $415 million -$285 million Forensic accountant in 2005 recalling Jackson’s 2002 balance sheet under oath[449]
2003 $550 million ($100 million in properties including Neverland ranch; Encino and Las Vegas homes and other properties and $450 million in music holdings including 50% stake in Sony ATV and other music publishing) $200 million $350 million Forbes, November 21, 2003[450]
2007 $567.6 million (includes 50% share of the Sony/ATV catalog valued at $390.6 million, Neverland valued at $33 million, cars, antiques, collectibles and other property valued at $20 million, and $668,215 in cash) $331 million $236 million Michael Jackson’s March 2007 statement of financial condition prepared by Washington-based accounting firm Thompson, Cobb, Bazilio & Associates; described by CBS News as the clearest account yet of Jackson’s finances.[451]

Net worth at time of death; U.S. federal estate tax problems

On July 26, 2013, the executors of the Estate of Michael Jackson filed a petition in the United States Tax Court as a result of a dispute with the Internal Revenue Service (IRS) over U.S. federal estate taxes imposed on the value of Jackson’s Estate at the time of his death.[452] The executors of the Estate claim that the Estate was worth about $7 million. The IRS asserts that the Estate was worth over $1.1 billion, and that over $700 million in federal estate taxes (including penalties) are due.[354] A trial date of February 6, 2017 has been set.[453]

In 2016, Forbes magazine estimated annual gross earnings by the Jackson Estate at $825 million, the largest ever recorded for a celebrity. The majority was due to the sale of the Sony/ATV catalog. It marked the eighth consecutive year since his death where Jackson’s annual earnings were over $100 million.[22]

Michael Jackson

From Wikipedia, the free encyclopedia
For other people named Michael Jackson, see Michael Jackson (disambiguation).
Michael Jackson
Michael Jackson in 1988.jpg

Jackson performing in Vienna, Austria in June 1988
Born Michael Joseph Jackson
August 29, 1958
Gary, Indiana, U.S.
Died June 25, 2009 (aged 50)
Los Angeles, California, U.S.
Cause of death Homicide[1] (Involuntary manslaughter)[2]
Resting place Glendale, California, U.S.
Residence Los Olivos, California, U.S.
Occupation
  • Singer
  • songwriter
  • dancer
  • actor
  • record producer
  • businessman
  • philanthropist
Net worth US $236 Million (2007 estimate)
Spouse(s) Lisa Marie Presley
(m. 1994; div. 1996)
Debbie Rowe
(m. 1996; div. 1999)
Children 3
Parent(s)
Relatives See Jackson family
Website michaeljackson.com
Musical career
Genres
Instruments Vocals
Years active 1964–2009
Labels
Associated acts The Jackson 5
Signature
Michael Jackson's signature

Michael Joseph Jackson[3][4] (August 29, 1958 – June 25, 2009) was an American singer and philanthropist.[5][6][7] Called the “King of Pop“,[8][9][10][11] his contributions to music, dance, and fashion[12][13][14] along with his publicized personal life made him a global figure in popular culture for over four decades.

The eighth child of the Jackson family (one of whom died in infancy), Michael made his professional debut in 1964 with his elder brothers Jackie, Tito, Jermaine, and Marlon as a member of the Jackson 5. He began his solo career in 1971. In the early 1980s, Jackson became a dominant figure in popular music. His music videos, including those of “Beat It“, “Billie Jean“, and “Thriller” from his 1982 album Thriller, are credited with breaking racial barriers and transforming the medium into an art form and promotional tool. The popularity of these videos helped bring the television channel MTV to fame. Jackson’s 1987 album Bad spawned the U.S.Billboard Hot 100 number-one singles “I Just Can’t Stop Loving You“, “Bad“, “The Way You Make Me Feel“, “Man in the Mirror“, and “Dirty Diana“, becoming the first album to have five number-one singles on the Billboard Hot 100. He continued to innovate with videos such as “Black or White” and “Scream” throughout the 1990s, and forged a reputation as a touring solo artist. Through stage and video performances, Jackson popularized a number of complicated dance techniques, such as the robot and the moonwalk, to which he gave the name. His distinctive sound and style has influenced numerous artists of various music genres.

Thriller is the best-selling album of all time, with estimated sales of 65 million copies worldwide. Jackson’s other albums, includingOff the Wall (1979), Bad (1987), Dangerous (1991), and HIStory (1995), also rank among the world’s best-selling albums. He is recognized as the Most Successful Entertainer of All Time by Guinness World Records.[15][16] Jackson is one of the few artists to have been inducted into the Rock and Roll Hall of Fame twice, and was also inducted into the Songwriters Hall of Fame and the Dance Hall of Fame as the only dancer from pop and rock music. His other achievements include multiple Guinness World Records, 13 Grammy Awards, the Grammy Legend Award, the Grammy Lifetime Achievement Award, 26 American Music Awards—more than any other artist—including the “Artist of the Century” and “Artist of the 1980s”, 13 number-one singles in the United Statesduring his solo career,—more than any other male artist in the Hot 100 era—and estimated sales of over 350 million records worldwide.[Note 1] Jackson has won hundreds of awards, making him the most awarded recording artist in the history of popular music.[17] He became the first artist in history to have a top ten single in the Billboard Hot 100 in five different decades when “Love Never Felt So Good” reached number nine on May 21, 2014.[18] Jackson traveled the world attending events honoring his humanitarianism, and, in 2000, the Guinness World Records recognized him for supporting 39 charities, more than any other entertainer.[19]

Aspects of Jackson’s personal life, including his changing appearance, personal relationships, and behavior, generated controversy. In 1993, he was accused of child sexual abuse, but the civil case was settled out of court for an undisclosed amount and no formal charges were brought.[20] In 2005, he was tried and acquitted of further child sexual abuse allegations and several other charges after the jury found him not guilty on all counts. While preparing for his comeback concert series, This Is It, Jackson died of acutepropofol and benzodiazepine intoxication on June 25, 2009, after suffering from cardiac arrest. The Los Angeles County Coronerruled his death a homicide, and his personal physician, Conrad Murray, was convicted of involuntary manslaughter. Jackson’s death triggered a global outpouring of grief, and a live broadcast of his public memorial service was viewed around the world.[21] Forbesranks Jackson as the top-earning dead celebrity, with yearly earnings of $825 million in 2016, the highest ever recorded by the publication.[22]

Life and career

1958–1975: Early life and the Jackson 5

The single-storey house has white walls, two windows, a central white door with a black door frame, and a black roof. In front of the house there is a walk way and multiple colored flowers and memorabilia.

Jackson’s childhood home in Gary, Indiana, showing floral tributes after his death.

Michael Joseph Jackson was born on August 29, 1958. He was the eighth of ten children in a working class African-American family living in a two-bedroom house on Jackson Street in Gary, Indiana, an industrial city and a part of the Chicago metropolitan area.[23][24] His mother, Katherine Esther Scruse, was a devout Jehovah’s Witness. She played clarinet and piano and once aspired to be a country-and-western performer, but worked part-time at Sears to support the family.[25] Michael’s father, Joseph Walter “Joe” Jackson, a former boxer, was a steelworker at U.S. Steel. Joe also performed on guitar with a local rhythm and blues band, the Falcons, to supplement the family’s household income.[26] Michael grew up with three sisters (Rebbie, La Toya, and Janet) and five brothers (Jackie, Tito, Jermaine, Marlon, and Randy).[27] A sixth brother, Marlon’s twin Brandon, died shortly after birth.[28]

Jackson had a troubled relationship with his father, Joe.[29][30] In 2003, Joe acknowledged that he regularly whipped him as a boy.[31] Joe was also said to have verbally abused his son, often saying that he had a “fat nose”.[32] Jackson stated that he was physically and emotionally abused during incessant rehearsals, though he credited his father’s strict discipline with playing a large role in his success.[29]In an interview with Martin Bashir for the 2003 documentary Living with Michael Jackson, Jackson recalled that Joe often sat in a chair with a belt in his hand as he and his siblings rehearsed, and that “if you didn’t do it the right way, he would tear you up, really get you.”[33][34]

Jackson’s parents have disputed the longstanding allegations of abuse, with Katherine stating that while whipping is considered abuse today, it was a common way to discipline children at the time.[35][36][37] Jackie, Tito, Jermaine and Marlon have also said that their father was not abusive and that the whippings, which were harder on Michael because he was younger, kept them disciplined and out of trouble.[38] Speaking openly about his childhood in an interview with Oprah Winfrey broadcast in February 1993, Jackson acknowledged that his youth had been lonely and isolating.[39] His deep dissatisfaction with his appearance, his nightmares and chronic sleep problems, his tendency to remain hyper-compliant, especially with his father, and to remain childlike throughout his adult life are consistent with the effects of the maltreatment he endured as a young child.[40]

Jackson (center) as a member of the Jackson 5 in 1972.

In 1964, Michael and Marlon joined the Jackson Brothers—a band formed by their father and which included brothers Jackie, Tito, and Jermaine—as backup musicians playing congas and tambourine.[41] In 1965, Jackson began sharing lead vocals with his older brother Jermaine, and the group’s name was changed to the Jackson 5.[27] The following year, the group won a major local talent show with Jackson performing the dance to Robert Parker‘s 1965 hit “Barefootin’“.[42] From 1966 to 1968 the band toured the Midwest, frequently performing at a string of black clubs known as the “chitlin’ circuit” as the opening act for artists such as Sam & Dave, the O’Jays, Gladys Knight, and Etta James. The Jackson 5 also performed at clubs and cocktail lounges, where striptease shows and other adult acts were featured, and at local auditoriums and high school dances.[43][44] In August 1967, while touring the East coast, the group won a weekly amateur night concert at the Apollo Theater in Harlem.[45]

The Jackson 5 recorded several songs, including “Big Boy” (1968), their first single, for Steeltown Records, a Gary, Indiana, record label,[46] before signing with Motown in 1969.[27] They left Gary in 1969 and relocated to the Los Angeles area, where they continued to record music for Motown.[47] Rolling Stone later described the young Michael as “a prodigy” with “overwhelming musical gifts” who “quickly emerged as the main draw and lead singer.”[48] The group set a chart record when its first four singles—”I Want You Back” (1969), “ABC” (1970), “The Love You Save” (1970), and “I’ll Be There” (1970)—peaked at number one on the Billboard Hot 100.[27] In May 1971, the Jackson family moved into a large home on two-acre estate in Encino, California.[49] During this period, Michael evolved from child performer into a teen idol.[50] As Jackson began to emerge as a solo performer in the early 1970s, he maintained ties to the Jackson 5 and Motown. Between 1972 and 1975, Michael released four solo studio albums with Motown: Got to Be There (1972), Ben (1972), Music & Me (1973), andForever, Michael (1975).[51]Got to Be There” and “Ben“, the title tracks from his first two solo albums, both became successful singles, as did a cover of Bobby Day‘s “Rockin’ Robin“.[52]

The Jackson 5 were later described as “a cutting-edge example of black crossover artists.”[53] Although the group’s sales began to decline in 1973, and the band members chafed under Motown’s refusal to allow them creative input, they achieved several top 40 hits, including the top five single “Dancing Machine” (1974), before leaving Motown in 1975.[54]

1975–1981: Move to Epic and Off the Wall

From left, back row: Jackie Jackson, Michael Jackson, Tito Jackson, Marlon Jackson. Middle row: Randy Jackson,La Toya Jackson, Rebbie Jackson. Front row: Janet Jackson (1977)

In June 1975, the Jackson 5 signed with Epic Records, a subsidiary of CBS Records,[54] and renamed themselves the Jacksons. Younger brother Randy formally joined the band around this time, while Jermaine chose to stay with Motown and pursue a solo career.[55] The Jacksons continued to tour internationally, and released six more albums between 1976 and 1984. Michael, the group’s lead songwriter during this time, wrote hits such as “Shake Your Body (Down to the Ground)” (1979), “This Place Hotel” (1980), and “Can You Feel It” (1980).[41]

His work in film began in 1978, when he starred as the Scarecrow in The Wiz, a musical directed by Sidney Lumet that also starred Diana Ross, Nipsey Russell, and Ted Ross.[56] The film was a box-office failure.[57] While working on the film Jackson met producer Quincy Jones, though this was not the first time they had met (they originally met when Michael was 12, at Sammy Davis Jr.‘s house).[58] Jones was arranging the film’s musical score and agreed to produce Jackson’s next solo album, Off the Wall.[59] In 1979, Jackson broke his nose during a complex dance routine. His subsequent rhinoplasty was not a complete success; he complained of breathing difficulties that would affect his career. He was referred to Dr. Steven Hoefflin, who performed Jackson’s second rhinoplasty and subsequent operations.[60]

Off the Wall (1979), which Jones and Jackson co-produced, established Jackson as a solo performer. The album helped Jackson transition from the bubblegum pop of his youth to the more complex sounds he would create as an adult.[50] Songwriters for the album included Jackson, Rod Temperton, Stevie Wonder, and Paul McCartney. Off the Wall was the first solo album to generate four top 10 hits in the United States: “Off the Wall”, “She’s Out of My Life“, and the chart-topping singles “Don’t Stop ‘Til You Get Enough” and “Rock with You“.[61][62] The album reached number three on the Billboard 200 and eventually sold over 20 million copies worldwide.[63] In 1980, Jackson won three awards at the American Music Awards for his solo efforts: Favorite Soul/R&B Album, Favorite Soul/R&B Male Artist, and Favorite Soul/R&B Single for “Don’t Stop ‘Til You Get Enough”.[64][65] He also won Billboard Year-End awards for Top Black Artist and Top Black Album, and a Grammy Award for Best Male R&B Vocal Performance for 1979 with “Don’t Stop ‘Til You Get Enough”.[66] In 1981 Jackson was the American Music Awards winner for Favorite Soul/R&B Album and Favorite Soul/R&B Male Artist.[67] Despite its commercial success, Jackson felt Off the Wall should have made a bigger impact, and was determined to exceed expectations with his next release.[68] In 1980, he secured the highest royalty rate in the music industry: 37 percent of wholesale album profit.[69]

Jackson recorded with Queen singer Freddie Mercury from 1981 to 1983, including a demo of “State of Shock“, “Victory” and “There Must Be More to Life Than This”.[70] The recordings were intended for an album of duets but, according to Queen’s then-manager Jim Beach, the relationship between the singers soured when Jackson insisted on bringing a llama into the recording studio.[71] The collaborations were not officially released until 2014.[72] Jackson went on to record the single “State of Shock” with Mick Jaggerfor the Jacksons‘ album Victory (1984).[73] Mercury included the solo version of “There Must Be More To Life Than This” on his Mr. Bad Guy album (1985).[74]

1982–1983: Thriller and Motown 25: Yesterday, Today, Forever

In 1982, Jackson combined his interests in songwriting and film when he contributed the song “Someone in the Dark” to the storybook for the film E.T. the Extra-Terrestrial. The song, with Quincy Jones as its producer, won a Grammy for Best Recording for Children for 1983.[75]

More success came with the release of his sixth album, Thriller, in late 1982. The album earned Jackson seven more Grammys[75] and eight American Music Awards, including the Award of Merit, the youngest artist to win it.[76] It was the best-selling album worldwide in 1983,[77][78] and became the best-selling album of all time in the United States[79]and the best-selling album of all time worldwide, selling an estimated 65 million copies.[80] It topped the Billboard 200 chart for 37 weeks and was in the top 10 of the 200 for 80 consecutive weeks. It was the first album to have seven Billboard Hot 100 top 10 singles, including “Billie Jean“, “Beat It“, and “Wanna Be Startin’ Somethin’“.[81] In December 2015, Thriller was certified for 30 million shipments by the RIAA, making it the only album to achieve that feat in the United States.[82] Thriller won Jackson and Quincy Jones the Grammy award for Producer of the Year (Non-Classical) for 1983. It also won Album of the Year, with Jackson as the album’s artist and Jones as its co-producer, and a Best Pop Vocal Performance, Male, award for Jackson. “Beat It” won Record of the Year, with Jackson as artist and Jones as co-producer, and a Best Rock Vocal Performance, Male, award for Jackson. “Billie Jean” won Jackson two Grammy awards, Best R&B Song, with Jackson as its songwriter, and Best R&B Vocal Performance, Male, as its artist.[75]Thriller also won another Grammy for Best Engineered Recording – Non Classical in 1984, awarding Bruce Swedien for his work on the album.[83] The AMA Awards for 1984 provided Jackson with an Award of Merit and AMAs for Favorite Male Artist, Soul/R&B, and Favorite Male Artist, Pop/Rock. “Beat It” won Jackson AMAs for Favorite Video, Soul/R&B, Favorite Video, Pop/Rock, and Favorite Single, Pop/Rock. Thriller won him AMAs for Favorite Album, Soul/R&B, and Favorite Album, Pop/Rock.[76][84]

In addition to the album, Jackson released “Thriller“, a 14-minute music video directed by John Landis, in 1983.[85] It “defined music videos and broke racial barriers” on the Music Television Channel (MTV), a fledgling entertainment television channel at the time.[50] In December 2009, the Library of Congress selected the “Thriller” music video for inclusion in the National Film Registry. It was one of 25 films named that year as “works of enduring importance to American culture” that would be “preserved for all time.”[86][87]As of 2009, the zombie-themed “Thriller” is the only music video to have been inducted into the registry.[85][87][88]

The jacket and white sequined gloves worn by Jackson at Motown 25: Yesterday, Today, Forever, one of Jackson’s most famous signature looks

Jackson’s attorney John Branca noted that Jackson had the highest royalty rate in the music industry at that point: approximately $2 for every album sold. He was also making record-breaking profits from sales of his recordings. The videocassette of the documentary The Making of Michael Jackson’s Thriller sold over 350,000 copies in a few months. The era saw the arrival of novelties such as dolls modeled after Michael Jackson, which appeared in stores in May 1984 at a price of $12.[89] Biographer J. Randy Taraborrelli writes that “Thriller stopped selling like a leisure item—like a magazine, a toy, tickets to a hit movie—and started selling like a household staple.”[90]In 1985, The Making of Michael Jackson’s Thriller won a Grammy for Best Music Video, Longform.[75] Time described Jackson’s influence at that point as “star of records, radio, rock video. A one-man rescue team for the music business. A songwriter who sets the beat for a decade. A dancer with the fanciest feet on the street. A singer who cuts across all boundaries of taste and style and color too”.[89] The New York Times wrote that “in the world of pop music, there is Michael Jackson and there is everybody else”.[91]

On March 25, 1983, Jackson reunited with his brothers for a live performance taped at the Pasadena Civic Auditorium for Motown 25: Yesterday, Today, Forever, an NBC television special. The show aired on May 16, 1983, to an estimated audience of 47 million viewers, and featured the Jacksons and other Motown stars.[92] The show is best remembered for Jackson’s solo performance of “Billie Jean”, which earned Jackson his first Emmy nomination.[93] Wearing a distinctive black-sequined jacket and a golf glove decorated withrhinestones, he debuted his signature dance move, the moonwalk, which former Soul Train dancer and Shalamar member Jeffrey Danielhad taught him three years earlier.[94] Jackson originally turned down the invitation to perform at the show, believing he had been doing too much television at the time; however, at the request of Berry Gordy, Jackson agreed to perform in exchange for time to do a solo performance.[95] According to Rolling Stone reporter Mikal Gilmore, “There are times when you know you are hearing or seeing something extraordinary…that came that night.”[50] Jackson’s performance drew comparisons to Elvis Presley‘s and the Beatles‘ appearances on The Ed Sullivan Show.[96] Anna Kisselgoff of The New York Times later wrote: “The moonwalk that he made famous is an apt metaphor for his dance style. How does he do it? As a technician, he is a great illusionist, a genuine mime. His ability to keep one leg straight as he glides while the other bends and seems to walk requires perfect timing.”[97] Berry Gordy said of the performance, “from the first beat of Billie Jean, I was mesmerized, and when he did his iconic moonwalk, I was shocked, it was magic, Michael Jackson went into orbit, and never came down.”[98]

1984–1985: Pepsi, “We Are the World”, and business career

In November 1983 Jackson and his brothers partnered with PepsiCo in a $5 million promotional deal that broke advertising industry records for a celebrity endorsement. The first Pepsi Cola campaign, which ran in the United States from 1983 to 1984 and launched its “New Generation” theme, included tour sponsorship, public relations events, and in-store displays. Jackson, who was actively involved in creating the iconic advertisement, suggested using his song, “Billie Jean”, as its jingle with a revised chorus.[99] According to a Billboard report in 2009, Brian J. Murphy, executive VP of branded management at TBA Global, said: “You couldn’t separate the tour from the endorsement from the licensing of the music, and then the integration of the music into the Pepsi fabric.”[99]

On January 27, 1984, Michael and other members of the Jacksons filmed a Pepsi commercial overseen by executive Phil Dusenberry,[100] a BBDO ad agency executive, andAlan Pottasch, Pepsi’s Worldwide Creative Director, at the Shrine Auditorium in Los Angeles. During a simulated concert before a full house of fans, pyrotechnics accidentally set Jackson’s hair on fire, causing second-degree burns to his scalp. Jackson underwent treatment to hide the scars and had his third rhinoplasty shortly thereafter.[60] Pepsi settled out of court, and Jackson donated his $1.5 million settlement to the Brotman Medical Center in Culver City, California. Its Michael Jackson Burn Center is named in his honor.[101]Dusenberry later recounted the episode in his memoir, Then We Set His Hair on Fire: Insights and Accidents from a Hall of Fame Career in Advertising. Jackson signed a second agreement with Pepsi in the late 1980s for a reported $10 million. The second campaign had a global reach of more than 20 countries and would provide financial support for Jackson’s Bad album and 1987–88 world tour.[99] Although Jackson had endorsements and advertising deals with other companies, such as LA Gear, Suzuki, andSony, none were as significant as his deals with Pepsi, which later signed other music stars such as Britney Spears and Beyoncé to promote its products.[99][102]

President Reagan wearing a suit and tie stands at a podium and turns to smile at Mrs Reagan, who is wearing a white outfit, and Jackson, who is wearing a white shirt with a blue jacket and a yellow strap across his chest.

Jackson at the White House being presented with an award by PresidentRonald Reagan and first lady Nancy Reagan, 1984.

Jackson’s humanitarian work was recognized on May 14, 1984, when he was invited to the White House to receive an award from President Ronald Reagan for his support of charities that helped people overcome alcohol and drug abuse,[103] and in recognition of his support for the Ad Council‘s and the National Highway Traffic Safety Administration‘s Drunk Driving Prevention campaign. Jackson donated the use of “Beat It” for the campaign’s public service announcements.[104]

Unlike later albums, Thriller did not have an official tour, but the Victory Tour of 1984 headlined the Jacksons and showcased much of Jackson’s new solo material to more than two million Americans. It was the last tour he would do with his brothers.[105] Following controversy over the concert’s ticket sales, Jackson held a press conference and announced that he would donate his share of the proceeds, an estimated $3 to 5 million, to charity.[106][107] His charitable work and humanitarian awards continued with the release of “We Are the World” (1985), which he co-wrote with Lionel Richie.[108] The song was recorded on January 28, 1985[109] and was released worldwide in March 1985 to aid the poor in the United States and Africa.[110] The song earned $63 million for famine relief,[110] and became one of the best-selling singles of all time, with 20 million copies sold.[111] “We Are the World” won four Grammys for 1985, including Song of the Year going to Jackson and Richie as its co-songwriters.[108] Although the American Music Award directors removed the charity song from the competition because they felt it would be inappropriate, the AMA show in 1986 concluded with a tribute to the song in honor of its first anniversary. The project’s creators received two special AMA honors: one for the creation of the song and another for the USA for Africa idea. Jackson, Quincy Jones, and entertainment promoter Ken Kragan received special awards for their roles in the song’s creation.[108][109][112][113]

Jackson’s financial interests in the music publishing business grew after Jackson collaborated with Paul McCartney in the early 1980s. He subsequently learned that McCartney was making approximately $40 million a year from other people’s songs.[110] By 1983, Jackson had begun investing in publishing rights to songs that others had written, but he was careful with his acquisitions, only bidding on a few of the dozens that were offered to him. Jackson’s early acquisitions of music catalogs and song copyrights such as the Sly Stone collection included “Everyday People” (1968), Len Barry‘s “1-2-3” (1965), and Dion DiMucci‘s “The Wanderer” (1961) and “Runaround Sue” (1961); however, Jackson’s most significant purchase came in 1985, when he acquired the publishing rights to ATV Music Publishing after months of negotiation.[110] ATV had acquired the publishing rights to nearly 4000 songs, including the Northern Songs catalog that contained the majority of the Lennon–McCartney compositions recorded by the Beatles.[114]

In 1984 Robert Holmes à Court, the wealthy Australian investor who owned ATV Music Publishing, announced he was putting the ATV catalog up for sale.[114] In 1981, McCartney was offered the ATV music catalog for £20 million ($40 million).[110][115][116] According to McCartney, he contacted Yoko Ono about making a joint purchase by splitting the cost at £10 million each, but Ono thought they could buy it for £5 million each.[110][116] When they were unable to make a joint purchase, McCartney, who did not want to be the sole owner of the Beatles’ songs, did not pursue an offer on his own.[115][116] According to a negotiator for Holmes à Court in the 1984 sale, McCartney was given first right of refusal and declined to purchase.[117]

Jackson was informed of the sale by his attorney, John Branca, in September 1984.[114] An attorney for McCartney also assured Branca that McCartney was not interested in bidding. McCartney reportedly felt it was too expensive,[110][115] but several other companies and investors were interested in bidding. Jackson submitted a bid of $46 million on November 20, 1984.[114] His agents thought they had a deal several times, but encountered new bidders or new areas of debate. In May 1985, Jackson’s team left talks after having spent more than $1 million and four months of due diligence work on the negotiations.[114] In June 1985, Jackson and Branca learned that Charles Koppelman‘s andMarty Bandier‘s The Entertainment Company had made a tentative agreement with Holmes à Court to buy ATV Music for $50 million; however, in early August, Holmes à Court’s team contacted Jackson and talks resumed. Jackson raised his bid to $47.5 million, which was accepted because he could close the deal more quickly, having already completed due diligence of ATV Music.[114] Jackson also agreed to visit Holmes à Court in Australia, where he would appear on the Channel Seven Perth Telethon.[117] Jackson’spurchase of ATV Music was finalized on August 10, 1985.[114]

1986–1990: Changing appearance, tabloids, Bad, films, autobiography, and Neverland

Jackson’s skin had been a medium-brown color during his youth, but starting in the mid-1980s gradually grew paler. The change gained widespread media coverage, including rumors that he might have been bleaching his skin.[118] According to J. Randy Taraborrelli‘s biography, in 1984, Jackson was diagnosed with vitiligo, which Taraborrelli noted may be a consequence of skin bleaching. He claimed Jackson was diagnosed with lupus. The vitiligo partially lightened his skin, and the lupus was in remission. Both illnesses made his skin sensitive to sunlight. The treatments Jackson used for his condition further lightened his skin tone, and with the application of pancake makeup to even out blotches he could appear pale.[119] Jackson was also diagnosed with vitiligo in his autopsy, though not lupus.[120]

Jackson claimed he had only two rhinoplasties and no other facial surgery, although at one point mentioned having a dimple created in his chin. He lost weight in the early 1980s because of a change in diet and a desire for “a dancer’s body”.[121] Witnesses reported that he was often dizzy, and speculated he was suffering from anorexia nervosa. Periods of weight loss would become a recurring problem later in life.[122] During the course of his treatment, Jackson made two close friends: his dermatologist, Dr. Arnold Klein, and Klein’s nurse Debbie Rowe. Rowe eventually became Jackson’s second wife and the mother of his two eldest children. He also relied heavily on Klein for medical and business advice.[123]

Jackson became the subject of increasingly sensational reports. In 1986, the tabloids ran a story claiming that Jackson slept in a hyperbaric oxygen chamber to slow the aging process; he was pictured lying in a glass box. Although the claim was untrue, according to tabloid reports that are widely cited, Jackson had disseminated the fabricated story himself.[124] When Jackson bought a chimpanzee named Bubbles from a laboratory, he was reported to be increasingly detached from reality.[125] It was reported that Jackson had offered to buy the bones of Joseph Merrick (the “Elephant Man”) and, although untrue, Jackson did not deny the story.[126] Although he initially saw these stories as opportunities for publicity, he stopped leaking untruths to the press as they became more sensational. Consequently, the media began fabricating stories.[124][127][128] These reports became embedded in the public consciousness, inspiring the nickname “Wacko Jacko”, which Jackson came to despise.[4][129] Responding to the gossip, Jackson remarked to Taraborrelli:

Why not just tell people I’m an alien from Mars? Tell them I eat live chickens and do a voodoo dance at midnight. They’ll believe anything you say, because you’re a reporter. But if I, Michael Jackson, were to say, “I’m an alien from Mars and I eat live chickens and do a voodoo dance at midnight,” people would say, “Oh, man, that Michael Jackson is nuts. He’s cracked up. You can’t believe a single word that comes out of his mouth.”[130]

A black jacket with five round golden medals on its left and right shoulders, a gold band on its left arm sleeve, and two belt straps on the right bottom sleeve. Underneath the jacket is a golden belt, with a round ornament in its center.

Jackson wore a gold-plated military style jacket with belt during the Bad era.

Jackson collaborated with filmmakers George Lucas and Francis Ford Coppola on the 17-minute 3D film Captain EO, which debuted in September 1986 at both the original Disneyland and at Epcot in Florida, and in March 1987 at Tokyo Disneyland. The $30 million movie was a popular attraction at all three parks. A Captain EO attraction was later featured at Euro Disneyland after that park opened in 1992. All four parks’ Captain EO installations stayed open well into the 1990s: the Paris installation was the last to close, in 1998.[131] The attraction would later return to Disneyland in 2010 after Jackson’s death.[132] In 1987, Jackson disassociated himself from the Jehovah’s Witnesses, in response to their disapproval of the Thriller video.[133][134]

Jackson performing in 1988.

With the industry expecting another major hit, Jackson’s first album in five years, Bad (1987), was highly anticipated.[135] The album produced nine singles: seven of them were successful in the U.S., and only two of them were failures. Five of these singles (“I Just Can’t Stop Loving You“, “Bad“, “The Way You Make Me Feel“, “Man in the Mirror“, and “Dirty Diana“) reached number one on the Billboard Hot 100. This was a record for most number one Hot 100 singles from any one album, including Thriller.[136] As of 2012, the album had sold between 30 and 45 million copies worldwide.[137][138][139][140] Bruce Swedien and Humberto Gatica won one Grammy in 1988 for Best Engineered Recording – Non Classical and Michael Jackson won one Grammy for Best Music Video, Short Form for “Leave Me Alone” in 1989.[75][83] In the same year, Jackson won an Award of Achievement at the American Music Awards because Bad is the first album ever to generate five number one singles in the U.S., the first album to top in 25 countries, and the best-selling album worldwide in 1987 and 1988.[141][142][143][144] In 1988, “Bad” won an American Music Award for Favorite Soul/R&B Single.[145]

The Bad World Tour began on September 12 that year, finishing on January 14, 1989.[146] In Japan alone, the tour had 14 sellouts and drew 570,000 people, nearly tripling the previous record of 200,000 in a single tour.[147] Jackson broke a Guinness World Record when 504,000 people attended seven sold-out shows at Wembley Stadium.[148] He performed a total of 123 concerts to an audience of 4.4 million people.[149]

In 1988, Jackson released his only autobiography, Moonwalk, which took four years to complete and sold 200,000 copies.[150] He wrote about his childhood, the Jackson 5, and the abuse he had suffered.[151] He also wrote about his changing facial appearance, attributing it to puberty, weight loss, a strict vegetarian diet, a change in hair style, and stage lighting.[121] Moonwalk reached the top position on The New York Timesbest sellers’ list.[152] Jackson released a film, Moonwalker, which featured live footage and short films starring Jackson and Joe Pesci. Due to financial issues, the film was only released theatrically in Germany; in other markets it was released direct-to-video. It debuted at the top of theBillboard Top Music Video Cassette chart, staying there for 22 weeks. It was eventually knocked off the top spot by Michael Jackson: The Legend Continues.[153]

In March 1988, Jackson purchased land near Santa Ynez, California, to build Neverland Ranch at a cost of $17 million.[154] He installed several carnival rides on the 2,700-acre (11 km2) property, including a Ferris wheel, carousel, menagerie, as well as a movie theater and a zoo.[154][155][156] A security staff of 40 patrolled the grounds.[155] In 2003, it was valued at approximately $100 million.[157] In 1989, Jackson’s annual earnings from album sales, endorsements, and concerts were estimated at $125 million for that year alone.[158] Shortly afterwards, he became the first Westerner to appear in a television ad in the Soviet Union.[153]

Jackson’s success resulted in him being dubbed the “King of Pop“.[8][9][10] The nickname was popularized by Elizabeth Taylor when she presented him with the Soul Train Heritage Award in 1989, proclaiming him “the true king of pop, rock and soul.”[159] President George H. W. Bush designated him the White House’s “Artist of the Decade”.[160]From 1985 to 1990, he donated $455,000 to the United Negro College Fund,[161] and all profits from his single “Man in the Mirror” went to charity.[162] Jackson’s live rendition of “You Were There” at Sammy Davis Jr.‘s 60th birthday celebration won Jackson a second Emmy nomination.[93][153]

1991–1993: Dangerous, Heal the World Foundation, and Super Bowl XXVII

In March 1991, Jackson renewed his contract with Sony for $65 million, a record-breaking deal at the time,[163] displacing Neil Diamond‘s renewal contract with Columbia Records.[164] In 1991, he released his eighth album, Dangerous, co-produced with Teddy Riley.[165] Dangerous was certified seven times platinum in the U.S., and by 2008 had sold approximately 30 million copies worldwide.[166][167] In the United States, the album’s first single “Black or White” was its biggest hit, reaching number one on the BillboardHot 100 and remaining there for seven weeks, with similar chart performances worldwide.[168] The album’s second single, “Remember the Time“, spent eight weeks in the top five in the United States, peaking at number three on the Billboard Hot 100 singles chart.[169] At the end of 1992, Dangerous was awarded the best-selling album of the year worldwide and “Black or White” was awarded best-selling single of the year worldwide at the Billboard Music Awards. Jackson also won an award as best-selling artist of the 1980s.[170] In 1993, he performed the song at the Soul Train Music Awards in a chair, saying he had suffered an injury in rehearsals.[171] In the UK and other parts of Europe, “Heal the World” was the album’s most successful song; it sold 450,000 copies in the UK and spent five weeks at number two in 1992.[169]

Jackson founded the Heal the World Foundation in 1992. The charity organization brought underprivileged children to Jackson’s ranch to enjoy theme park rides that Jackson had built on the property. The foundation also sent millions of dollars around the globe to help children threatened by war, poverty, and disease. In the same year, Jackson published his second book, Dancing the Dream, a collection of poetry, revealing a more intimate side of his nature. While it was a commercial success, it received mostly negative reviews. In 2009, the book was republished by Doubleday and was more positively received by some critics in the wake of Jackson’s death. The Dangerous World Tourgrossed $100 million. The tour began on June 27, 1992, and finished on November 11, 1993. Jackson performed to 3.5 million people in 70 concerts.[169][172] He sold the broadcast rights to his Dangerous world tour to HBO for $20 million, a record-breaking deal that still stands.[173]

Following the illness and death of AIDS spokesperson Ryan White, Jackson helped draw public attention to HIV/AIDS, something that was controversial at the time. He publicly pleaded with the Clinton Administration at Bill Clinton’s Inaugural Gala to give more money to HIV/AIDS charities and research.[174][175] In a high-profile visit to Africa, Jackson visited several countries, among them Gabon and Egypt.[176] His first stop to Gabon was greeted with an enthusiastic reception of more than 100,000 people, some of them carrying signs that read, “Welcome Home Michael.”[176] In his trip to Ivory Coast, Jackson was crowned “King Sani” by a tribal chief.[176] He thanked the dignitaries in French and English, signed official documents formalizing his kingship, and sat on a golden throne while presiding over ceremonial dances.[176]

In January 1993, Jackson performed at the Super Bowl XXVII halftime show in Pasadena, California. Because of a dwindling interest during halftime in the preceding years, the NFL decided to seek big-name talent that would keep ratings high, with Jackson selected for his universal appeal.[177] It was the first Super Bowl whose half-time performance drew greater audience figures than the game itself. The performance began with Jackson catapulting onto the stage as fireworks went off behind him. As he landed on the canvas, he maintained a “clenched fist, standing statue stance,” dressed in a gold and black military outfit and sunglasses; he remained completely motionless for a minute and a half while the crowd cheered. He then slowly removed his sunglasses, threw them away, and performed four songs: “Jam“, “Billie Jean”, “Black or White”, and “Heal the World”. Jackson’s Dangerous album rose 90 places up the album chart soon after.[118]

Jackson gave a 90-minute interview to Oprah Winfrey on February 10, 1993, his second television interview since 1979. He grimaced when speaking of his childhood abuse at the hands of his father; he believed he had missed out on much of his childhood years, admitting that he often cried from loneliness. He denied tabloid rumors that he had bought the bones of the Elephant Man, slept in a hyperbaric oxygen chamber, or bleached his skin, stating for the first time that he had vitiligo. Dangerous re-entered the album chart in the top 10, more than a year after its original release.[34][118][169]

In February 1993, Jackson was given the “Living Legend Award” at the 35th Annual Grammy Awards in Los Angeles. “Black or White” was Grammy-nominated for best vocal performance. “Jam” gained two nominations: Best R&B Vocal Performance and Best R&B Song.[169] The Dangerous album won a Grammy for Best Engineered – Non Classical, awarding the work of Bruce Swedien and Teddy Riley.[83] In the same year, Michael Jackson won three American Music Awards for Favorite Pop/Rock Album (Dangerous), Favorite Soul/R&B Single (“Remember the Time“), and was the first to win the International Artist Award of Excellence, for his global performances and humanitarian concerns.[178][179]

Jackson agreed to produce the soundtrack for Sega‘s 1994 video game Sonic the Hedgehog 3 with collaborators Brad Buxer, Bobby Brooks, Darryl Ross, Geoff Grace, Doug Grigsby, and Cirocco Jones.[180][181][182] Jackson left the project before completion and was never officially credited, allegedly due to his dissatisfaction with the Sega Genesisconsole’s audio chip.[183][184][185]

1993–1994: First child sexual abuse allegations and first marriage

In the summer of 1993, Jackson was accused of child sexual abuse by a 13-year-old boy named Jordan Chandler and his father, Evan Chandler, a dentist.[186][187][188] The Chandler family demanded payment from Jackson, and the singer initially refused. Jordan Chandler eventually told the police that Jackson had sexually abused him.[126][189]Evan Chandler was recorded discussing his intention to pursue charges, saying, “If I go through with this, I win big-time. There’s no way I lose. I will get everything I want and they will be destroyed forever….. Michael’s career will be over.” Jordan’s mother was, however, adamant at the time that there had been no wrongdoing on Jackson’s part.[188]Jackson later used the recording to argue that he was the victim of a jealous father whose only goal was to extort money from the singer.[188] In January 1994, after investigation on allegations of extortion against the singer by Chandler, deputy Los Angeles County district attorney Michael J. Montagna stated that Chandler would not be charged, due to lack of cooperation from Jackson’s party and its willingness to negotiate with Chandler for several weeks, among other reasons.[190]

In August 1993, Jackson’s home was raided by the police who, according to court documents, found books and photographs in his bedroom featuring young boys with little or no clothing.[191] Since the books were legal to purchase and own, the jury decided not to indict Jackson.[192] In December 1993, Jackson was strip-searched.[193] Jordan Chandler had reportedly given police a description of Jackson’s intimate parts, and the strip search revealed that Jordan had correctly claimed Jackson had patchy-colored buttocks, shortpubic hair, and pink and brown marked testicles.[193] Reportedly, Jordan had also previously drawn accurate pictures of a dark spot on Jackson’s penis only visible when his penis was lifted.[194] Despite differing initial internal reports from prosecutors and investigators[195] and later, with reports of jurors feeling otherwise that the photos did not match the description,[196] the DA stated his belief in a sworn affidavit that the description was accurate,[197] along with the sheriff’s photographer stating the description was accurate.[198] A 2004 motion filed by Jackson’s defense asserted that Jackson was never criminally indicted by any grand jury and that his settlement admitted no wrongdoing and contained no evidence of criminal misconduct.[199]

The investigation was inconclusive and no charges were filed.[196] Jackson described the search in an emotional public statement, and proclaimed his innocence.[186][193][200] On January 1, 1994, Jackson settled with the Chandlers out of court for $22 million. A Santa Barbara County grand jury and a Los Angeles County grand jury disbanded on May 2, 1994, without indicting Jackson,[201] and the Chandlers stopped co-operating with the criminal investigation around July 6, 1994.[199][202][203] The out-of-court settlement’s documentation stated Jackson admitted no wrongdoing and no liability; the Chandlers and their family lawyer Larry Feldman signed it without contest.[204]

Feldman also stated “nobody bought anybody’s silence”.[205] A decade after the fact, during the second round of child abuse allegations, Jackson’s lawyers would file a memo stating that the 1994 settlement was done without his consent.[199] A later disclosure by the FBI of investigation documents compiled over nearly 20 years led Jackson’s attorney to suggest that no evidence of molestation or sexual impropriety from Jackson toward minors existed.[206] According to reports the Department of Children and Family Services (Los Angeles County) had investigated Jackson beginning in 1993 with the Chandler allegation and again in 2003. Reports show the LAPD and DCFS did not find credible evidence of abuse or sexual misconduct.[207][208][209]

In May 1994, Jackson married Lisa Marie Presley, the daughter of Elvis and Priscilla Presley. They had met in 1975, when a seven-year-old Presley attended one of Jackson’s family engagements at the MGM Grand Hotel and Casino, and reconnected through a mutual friend.[210] According to a friend of Presley’s, “their adult friendship began in November 1992 in L.A.”[211] They stayed in contact every day over the telephone. As the child molestation accusations became public, Jackson became dependent on Presley for emotional support; she was concerned about his faltering health and addiction to drugs.[212] Presley explained, “I believed he didn’t do anything wrong and that he was wrongly accused and yes I started falling for him. I wanted to save him. I felt that I could do it.”[213] She eventually persuaded him to settle the civil case out of court and go into rehabilitation to recover.[212]

Jackson proposed to Presley over the telephone towards the fall of 1993, saying, “If I asked you to marry me, would you do it?”[212] They married in the Dominican Republic in secrecy, denying it for nearly two months afterwards.[214] The marriage was, in her words, “a married couple’s life … that was sexually active.”[215] The tabloid media speculated that the wedding was a ploy to prop up Jackson’s public image.[214] The marriage ended less than two years later with an amicable divorce settlement.[216] In a 2010 interview with Oprah, Presley admitted that they had spent four more years after the divorce “getting back together and breaking up” until she decided to stop.[217]

1995–1999: HIStory, second marriage, and fatherhood

In 1995, Jackson merged his ATV Music catalog with Sony’s music publishing division, creating Sony/ATV Music Publishing. He retained ownership of half the company, earning $95 million up front as well as the rights to more songs.[218][219] In June, he released the double album HIStory: Past, Present and Future, Book I. The first disc, HIStory Begins, is a 15-track greatest hits album (later reissued as Greatest Hits: HIStory, Volume I in 2001); the second disc, HIStory Continues, contains 13 original songs and 2 cover versions. The album debuted at number one on the charts and has been certified for seven million shipments in the US.[220] It is the best-selling multiple-disc album of all-time, with 20 million copies (40 million units) sold worldwide.[168][221] HIStory received a Grammy nomination for Album of the Year.[222]

The first single released from the album was “Scream/Childhood“. “Scream”, a duet with Jackson’s youngest sister Janet, protests the media, particularly for its treatment of him during the 1993 child abuse allegations. The single had the highest debut on the Billboard Hot 100 at number five, and received a Grammy nomination for “Best Pop Collaboration with Vocals”.[222]You Are Not Alone” was the second single released from HIStory; it holds the Guinness World Record for the first song ever to debut at number one on the Billboard Hot 100 chart.[158] It was seen as a major artistic and commercial success, receiving a Grammy nomination for “Best Pop Vocal Performance”.[222]

Close-up of a pale skinned Jackson with black hair. He is wearing a black jacket with white designs on it.

Michael Jackson at the1997 Cannes Film Festival for the Ghosts music video premiere.

In late 1995, Jackson was rushed to a hospital after collapsing during rehearsals for a televised performance, caused by a stress-related panic attack.[223]Earth Song” was the third single released from HIStory, and topped the UK Singles Chart for six weeks over Christmas 1995; it sold a million copies, making it Jackson’s most successful single in the UK.[222] The track “They Don’t Care About Us” became controversial when theAnti-Defamation League and other groups criticized its allegedly antisemitic lyrics. Jackson quickly released a revised version of the song without the offending lyrics.[224] In 1996, Jackson won a Grammy for Best Music Video, Short Form for “Scream” and an American Music Award for Favorite Pop/Rock Male Artist.[75][225]

HIStory was promoted with the successful HIStory World Tour, beginning on September 7, 1996, and ending on October 15, 1997. Jackson performed 82 concerts in five continents, 35 countries and 58 cities to over 4.5 million fans, and grossed a total of $165 million, becoming Jackson’s most successful tour in terms of audience figures.[146] During the tour, Jackson married his longtime friend Deborah Jeanne Rowe, a dermatology nurse, in an impromptu ceremony in Sydney, Australia. Rowe was approximately six months pregnant with the couple’s first child at the time. Originally, Rowe and Jackson had no plans to marry, but Jackson’s mother Katherine persuaded them to do so.[226] Michael Joseph Jackson Jr (commonly known as Prince) was born on February 13, 1997; his sister Paris-Michael Katherine Jackson was born a year later on April 3, 1998.[216][227] The couple divorced in 1999, and Jackson received full custody of the children. The divorce was relatively amicable, but a subsequent custody suit was not settled until 2006.[228][229]

In 1997, Jackson released Blood on the Dance Floor: HIStory in the Mix, which contained remixes of hit singles from HIStory and five new songs. Worldwide sales stand at 6 million copies, making it the best-selling remix album of all time.[230] It reached number one in the UK, as did the title track.[230][231] In the US, the album was certified platinum, but only reached number 24.[166][222] Forbes placed Jackson’s annual income at $35 million in 1996 and $20 million in 1997.[157]

Throughout June 1999, Jackson was involved in a number of charitable events. He joined Luciano Pavarotti for a benefit concert in Modena, Italy. The show was in support of the nonprofit organization War Child, and raised a million dollars for the refugees of Kosovo, FR Yugoslavia, and additional funds for the children of Guatemala.[232] Later that month, Jackson organized a series of “Michael Jackson & Friends” benefit concerts in Germany and Korea. Other artists involved included Slash, The Scorpions, Boyz II Men,Luther Vandross, Mariah Carey, A. R. Rahman, Prabhu Deva Sundaram, Shobana, Andrea Bocelli, and Luciano Pavarotti. The proceeds went to the Nelson Mandela Children’s Fund, the Red Cross and UNESCO.[233] From August 1999 through 2000, he lived in New York City at 4 East 74th Street.[234]

2000–2003: Label dispute and Invincible

At the turn of the century, Jackson won an American Music Award as Artist of the 1980s.[235] Throughout 2000 and 2001, he worked with collaborators including Teddy Riley andRodney Jerkins to produce his tenth solo album, Invincible, released in October 2001. The album cost $30 million to record, not including promotional expenditures.[236]Invincible was Jackson’s first full-length album in six years, and was the last album of original material he released in his lifetime. The release was preceded by a dispute between Jackson and his record label, Sony Music Entertainment. Jackson had expected the licenses to the masters of his albums to revert to him sometime in the early 2000s. Once he had the licenses, he would be able to promote the material however he pleased and keep all the profits; however, clauses in the contract set the revert date years into the future. Jackson discovered that the attorney who had represented him in the deal had also been representing Sony.[231] Jackson was also concerned about the fact that for years, Sony had been pressuring him to sell his share in its music catalog venture. Jackson feared that Sony might have a conflict of interest, since if Jackson’s career failed, he would have to sell his share of the catalog at a low price.[237] Jackson sought an early exit from his contract.[231]

In September 2001, two 30th Anniversary concerts were held at Madison Square Garden to mark Jackson’s 30th year as a solo artist. Jackson appeared onstage alongside his brothers for the first time since 1984. The show also featured performances by Mýa, Usher, Whitney Houston, NSYNC, Destiny’s Child, Monica, Luther Vandross, and Slash, among other artists.[238] The second of the two shows took place the night before the September 11, 2001, terrorist attacks.[239] After 9/11, Jackson helped organize the United We Stand: What More Can I Give benefit concert at RFK Stadium in Washington, D.C. The concert took place on October 21, 2001, and included performances from dozens of major artists, including Jackson, who performed his song “What More Can I Give” as the finale.[237] Due to contractual issues related to the earlier 30th Anniversary concerts, later edited into a two-hour TV special titled Michael Jackson: 30th Anniversary Celebration broadcast in November 2001, Jackson’s solo performances were omitted from the televised benefit concert, although he could still be seen singing background vocals.

Invincible was released in October 2001 to much anticipation. It debuted at number one in 13 countries and went on to sell approximately 13 million copies worldwide. It received double-platinum certification in the U.S.[166][168] However, sales for Invincible were lower than Jackson’s previous releases, due in part to the record label dispute and the lack of promotion or tour, and its release at a bad time[240] for the music industry in general.[237] Invincible spawned three singles, “You Rock My World“, “Cry“, and “Butterflies“, the latter without a music video. Jackson alleged in July 2002 that the-then Sony Music chairman Tommy Mottola was a “devil” and a “racist” who did not support his African-American artists, using them merely for his own personal gain.[237] He charged that Mottola had called his colleague Irv Gotti a “fat nigger“.[241] Sony refused to renew Jackson’s contract, and claimed that a $25 million promotional campaign had failed because Jackson refused to tour in the United States.[236]

In 2002, Michael Jackson won his 22nd American Music Award for Artist of the Century.[242] In the same year, his third child, Prince Michael Jackson II (nicknamed “Blanket”) was born.[243] The mother’s identity was not announced, but Jackson said the child was the result of artificial insemination from a surrogate mother and his own sperm.[228] On November 20 of that year, Jackson brought his infant son onto the balcony of his room at the Hotel Adlon in Berlin as fans stood below, holding him in his right arm, with a cloth loosely draped over the baby’s face. The baby was briefly extended over a railing, four stories above ground level, prompting widespread criticism in the media. Jackson later apologized for the incident, calling it “a terrible mistake”.[244] In November 2003, Sony released Number Ones, a compilation of Jackson’s hits on CD and DVD. In the U.S., the album was certified triple platinum by the RIAA; in the UK it was certified six times platinum for shipments of at least 1.2 million units.[166][245]

2003–2005: Second child sexual abuse allegations and acquittal

Jackson in Las Vegas, 2003.

Beginning in May 2002, Jackson allowed a documentary film crew, led by British TV personality Martin Bashir, to follow him around nearly everywhere he went. Bashir’s film crew was with Jackson during the “baby-dangling incident” in Berlin. The program was broadcast in March 2003 as Living with Michael Jackson. In a particularly controversial scene, Jackson was seen holding hands and discussing sleeping arrangements with a young boy.[246]

As soon as the documentary aired, the Santa Barbara county attorney’s office began a criminal investigation. After an initial probe from the LAPD and DCFS was conducted in February 2003, they had initially concluded that molestation allegations were “unfounded” at the time.[209] After the young boy involved in the documentary and his mother had told investigators that Jackson had behaved improperly with the boy, Jackson was arrested in November 2003, and was charged with seven counts of child molestation and two counts ofadministering an intoxicating agent in relation to the 13-year-old boy shown in the film.[246] Jackson denied the allegations, saying the sleepovers were not sexual in nature. The People v. Jackson trial began on January 31, 2005, in Santa Maria, California, and lasted five months, until the end of May. On June 13, 2005, Jackson was acquitted on all counts.[247][248][249] After the trial, in a highly publicized relocation he moved to the Persian Gulf island of Bahrain, as a guest of Sheikh Abdullah.[250] Bahrain was also where the family intended to send Jackson if he was convicted (though Jackson did not know about the plan), according to a statement by Jermaine Jackson printed in The Times of London in September 2011.[251]

2006–2009: Closure of Neverland, final years, and This Is It

Jackson and his son Blanket in Disneyland Paris, 2006.

In March 2006, the main house at the Neverland Ranch was closed as a cost-cutting measure.[252] There were numerous reports around that time that Jackson had been having financial problems. He had been delinquent on his repayments of a $270 million loan secured against his music-publishing holdings, even though those holdings were reportedly making him as much as $75 million a year.[253] Bank of America sold the debt to Fortress Investments. Sony reportedly proposed a restructuring deal which would give them a future option to buy half of Jackson’s stake in their jointly-owned publishing company, leaving Jackson with a 25% stake.[219] Jackson agreed to a Sony-backed refinancing deal in April 2006, although the details were not made public.[254] Jackson did not have a recording contract at the time. In early 2006, it was announced that Jackson had signed a contract with a Bahrain-based startup called Two Seas Records. However, nothing came of the deal, and the Two Seas CEO Guy Holmes later stated that the deal had never been finalized.[255][256]

Throughout 2006, Sony repackaged 20 singles from the 1980s and 1990s as the Michael Jackson: Visionary series, which subsequently became a box set. Most of those singles returned to the charts as a result. In September 2006, Jackson and his ex-wife Debbie Rowe confirmed reports that they had settled their long-running child custody suit. The terms were never made public. Jackson continued to be the custodial parent of the couple’s two children.[229] In October 2006, Fox News entertainment reporter Roger Friedman said that Jackson had been recording at a studio in rural Westmeath, Ireland. It was not known at the time what Jackson had working on, or who had paid for the sessions, since his publicist had recently issued a statement claiming that he had left Two Seas.[256][257]

In November 2006, Jackson invited an Access Hollywood camera crew into the studio in Westmeath, and MSNBC reported that he was working on a new album, produced by will.i.am.[168] Jackson performed at the World Music Awards in London on November 15, 2006, and accepted a Diamond Award for selling over 100 million records.[168][258] He returned to the United States after Christmas 2006 to attend James Brown‘s funeral in Augusta, Georgia, where he gave one of the eulogies, saying that “James Brown is my greatest inspiration.”[259] In the spring of 2007, Jackson and Sony teamed up to buy another music publishing company, Famous Music LLC, formerly owned by Viacom. This deal gave him the rights to songs by Eminem and Beck, among others.[260][261] In March 2007, Jackson gave a brief interview to the Associated Press in Tokyo, where he said: “I’ve been in the entertainment industry since I was 6 years old, and as Charles Dickens would say, ‘It’s been the best of times, the worst of times.’ But I would not change my career … While some have made deliberate attempts to hurt me, I take it in stride because I have a loving family, a strong faith and wonderful friends and fans who have, and continue, to support me.”[262] In March 2007, Jackson visited a U.S. Army post in Japan, Camp Zama, to greet over 3,000 U.S. troops and their families. The hosts presented Jackson with a Certificate of Appreciation.[263]

In September 2007, Jackson was reportedly still working on his next album, but the work was never completed.[264] In 2008, Jackson and Sony released Thriller 25 to mark the 25th anniversary of the original Thriller. This album featured the previously unreleased song “For All Time”, an outtake from the original sessions, as well as remixes, where Jackson collaborated with younger artists who had been inspired by his work.[265] Two of the remixes were released as singles with modest success: “The Girl Is Mine 2008” (with will.i.am) and “Wanna Be Startin’ Somethin’ 2008” (with Akon). The first single was based on an early demo version, without Paul McCartney. The album was a commercial success.[265][266][267][268] In anticipation of Jackson’s 50th birthday, Sony BMG released a series of greatest hits albums, King of Pop. Slightly different versions were released in various countries, based on polls of local fans.[269] King of Pop reached the top 10 in most countries where it was issued, and also sold well as an import in other countries (such as the United States).[270][271]

An aerial view of part of Jackson’s 2,800-acre (11 km2) Neverland Valley Ranch near Los Olivos, California, showing the many rides.

In late 2008, Fortress Investments threatened to foreclose on Neverland Ranch, which Jackson used as collateral for loans running into many tens of millions of dollars. However, Fortress opted to sell Jackson’s debts to Colony Capital LLC. In November, Jackson transferred Neverland Ranch’s title to Sycamore Valley Ranch Company LLC, a joint venture between Jackson and Colony Capital LLC. The deal cleared Jackson’s debt and reportedly earned him an additional $35 million. At the time of his death, Jackson still owned a stake of unknown size in Neverland/Sycamore Valley.[272][273] In September 2008, Jackson entered negotiations with Julien’s Auction House to display and auction a large collection of memorabilia amounting to approximately 1,390 lots. The auction was scheduled to take place between April 22 and 25.[274] An exhibition of the lots opened as scheduled on April 14, but the actual auction was eventually cancelled at Jackson’s request.[275]

In March 2009, Jackson held a press conference at London’s O2 Arena to announce a series of comeback concerts titled This Is It. The shows would be Jackson’s first major series of concerts since the HIStory World Tour finished in 1997. Jackson suggested possible retirement after the shows, saying it would be his “final curtain call”. The initial plan was for 10 concerts in London, followed by shows in Paris, New York City and Mumbai. Randy Phillips, president and chief executive of AEG Live, stated that the first 10 dates alone would earn the singer approximately £50 million.[276] The London residency was increased to 50 dates after record-breaking ticket sales: over one million were sold in less than two hours.[277] The concerts would have commenced on July 13, 2009, and finished on March 6, 2010. Jackson rehearsed in Los Angeles in the weeks leading up to the tour under the direction of choreographer Kenny Ortega. Most of these rehearsals took place at the Staples Center, owned by AEG.[278] Less than three weeks before the first show was due to begin in London, with all concerts sold out, Jackson died after suffering cardiac arrest.[279] Some time before his death, it was reported that he was starting a clothing line with Christian Audigier.[280][281]

Jackson’s first posthumous song released entirely by his estate was “This Is It“, which he had co-written in the 1980s with Paul Anka. It was not on the setlists for the concerts, and the recording was based on an old demo tape. The surviving brothers reunited in the studio for the first time since 1989 to record backing vocals. On October 28, 2009, a documentary film about the rehearsals, Michael Jackson’s This Is It, was released.[282] Despite a limited two-week engagement, it became the highest-grossing documentary or concert film of all time, with earnings of more than $260 million worldwide.[283] Jackson’s estate received 90% of the profits.[284] The film was accompanied by a compilation album of the same name. Two versions of “This Is It” appear on the album, which also featured original masters of Jackson’s hits in the order in which they appear in the film, along with a bonus disc with previously unreleased versions of more Jackson hits and a spoken-word poem, “Planet Earth”.[285] At the 2009 American Music Awards, Jackson won four posthumous awards, two for him and two for his album Number Ones, bringing his total American Music Awards to 26.[286][287]

Death and memorial

Jackson's Star with flowers and notes on it

Fans flocked to Jackson’s star on the Hollywood Walk of Fame, adorning it with flowers and notes on the day of his death.

On June 25, 2009, Jackson fell unconscious while lying in bed at his rented mansion at 100 North Carolwood Drive in the Holmby Hillsdistrict of Los Angeles. Attempts at resuscitating him by Conrad Murray, his personal physician, were unsuccessful.[288] Los Angeles Fire Department paramedics received a 911 call at 12:22 pm (PDT, 19:22 UTC), arriving three minutes later.[289][290] Jackson was reportedly not breathing and CPR was performed.[291] Resuscitation efforts continued en route to Ronald Reagan UCLA Medical Center, and for more than an hour after arriving there at 1:13 pm (20:13 UTC). He was pronounced dead at 2:26 pm Pacific time (21:26 UTC).[292][293]

Jackson’s death triggered a global outpouring of grief.[288] The news spread quickly online, causing websites to slow down and crashfrom user overload. Both TMZ and the Los Angeles Times suffered outages.[294] Google initially believed that the millions of search requests meant their search engine was under DDoS attack, and blocked searches related to Michael Jackson for 30 minutes. Twitter reported a crash, as did Wikipedia at 3:15 pm PDT (22:15 UTC).[295] The Wikimedia Foundation reported nearly a million visitors to Jackson’s biography within one hour, probably the most visitors in a one-hour period to any article in Wikipedia’s history.[296] AOL Instant Messenger collapsed for 40 minutes. AOL called it a “seminal moment in internet history … We’ve never seen anything like it in terms of scope or depth.”[297] Around 15% of Twitter posts (5,000 tweets per minute) reportedly mentioned Jackson after the news broke,[298][299]compared to the 5% recalled as having mentioned the Iranian elections or the flu pandemic that had made headlines earlier in the year.[299] Overall, web traffic ranged from 11% to at least 20% higher than normal.[298][300] MTV and BET aired marathons of Jackson’s music videos.[301] Jackson specials aired on television stations around the world. The British soap opera EastEnders added a last-minute scene to the June 26 episode in which one character tells another about the news.[302] MTV briefly returned to its original music video format to celebrate his work,[303] airing hours of Jackson’s music videos, accompanied by live news specials featuring reactions from MTV personalities and other celebrities.[304] The temporary shift in MTV’s programming culminated the following week in the channel’s live coverage of Jackson’s memorial service.[304]

Jackson’s tomb in the Holly Terrace of the Great Mausoleum, Forest Lawn Glendale.

Jackson’s memorial was held on July 7, 2009 at the Staples Center in Los Angeles, preceded by a private family service at Forest Lawn Memorial Park’s Hall of Liberty. Due to high demand, tickets to the memorial were distributed via lottery, and over 1.6 million fans applied for tickets during the two-day application period. 8,750 names were drawn at random, with each recipient receiving two tickets each.[305]Jackson’s casket was present during the memorial but no information was released about the final disposition of the body. The memorial service was one of the most watched events in streaming history,[306] with an estimated U.S. audience of 31.1 million, an amount comparable to the estimated 35.1 million that watched the 2004 burial of former president Ronald Reagan, and the estimated 33.1 millionAmericans who watched the 1997 funeral for Princess Diana.[307]

Mariah Carey, Stevie Wonder, Lionel Richie, John Mayer, Jennifer Hudson, Usher, Jermaine Jackson, and Shaheen Jafargholiperformed at the event. Berry Gordy and Smokey Robinson gave eulogies, while Queen Latifah read “We Had Him”, a poem written for the occasion by Maya Angelou.[308] The Reverend Al Sharpton received a standing ovation with cheers when he told Jackson’s children: “Wasn’t nothing strange about your daddy. It was strange what your daddy had to deal with. But he dealt with it anyway.”[309] Jackson’s 11-year-old daughter Paris Katherine, speaking publicly for the first time, wept as she told the crowd: “Ever since I was born, Daddy has been the best father you could ever imagine … I just wanted to say I love him … so much.”[310][311] Reverend Lucious Smith provided a closing prayer.[312]

At the time of death, Jackson had been administered propofol, lorazepam, and midazolam,[313] and the Los Angeles coroner decided to treat the death as a homicide.[314][315] Law enforcement officials conducted a manslaughter investigation of his personal physician Conrad Murray, and charged him with involuntary manslaughter in Los Angeles on February 8, 2010.[316] Jackson’s body was entombed on September 3, 2009, at Forest Lawn Memorial Park in Glendale, California.[317]

Portrait and other tributes, including mural and messages from 650 Spanish fans, letters, pictures, teddy bears, and flowers.

Tribute of fans from all over the world in the Forest Lawn Memorial Park on the first anniversary of his death.

On June 25, 2010, the first anniversary of Jackson’s death, fans traveled to Los Angeles to pay tribute. They visited Jackson’s star on the Hollywood Walk of Fame, his family’s home, and Forest Lawn Memorial Park. Many of the fans were carrying sunflowers and other tribute items to leave at the sites. Members of the Jackson family and close friends arrived to pay their respects.[318][319] Katherine returned to Gary, Indiana to unveil a granite monument constructed in the front yard of the family home. The memorial continued with a candlelight vigil and a special performance of “We Are the World”.[320][321] On June 26, there was a protest march in front of the Los Angeles Police Department’s Robbery-Homicide Division at the old Parker Center building and a petition with thousands of signatures demanding justice.[322][323] The Jackson Family Foundation, in conjunction with Voiceplate, presented “Forever Michael”, an event bringing together Jackson family members, celebrities, fans, supporters and the community to celebrate and honor his legacy. A portion of the proceeds were presented to some of Jackson’s favorite charities. Katherine also introduced her new book “Never Can Say Goodbye”.[324][325][326]

Aftermath

In the 12 months after his death, Jackson sold more than 8.2 million albums in the United States and 35 million albums worldwide, making him the best-selling albums artist of 2009.[327][328] He became the first artist to sell one million downloads in a week in music download history, with a record-breaking 2.6 million downloads of his songs. Three of his albums sold more than any new album, the first time a catalog album has ever scanned more sales than any new album.[329] Jackson also became the first artist in history to have four of the top 20 best-selling albums in a single year in the United States.[327] Following this surge in sales, Sony announced that they had extended their distribution rights for Jackson’s material, which had been due to expire in 2015.[330] On March 16, 2010, Sony Music Entertainment, spearheaded by its Columbia/Epic Label Group division, signed a new deal with the Jackson estate to extend their distribution rights to his back catalogue until at least 2017, and release ten new albums of previously unreleased material and new collections of released work.[331]

On November 4, 2010, Sony announced the first posthumous album, Michael, released on December 14, with the promotional single, “Breaking News“, released to radio on November 8.[332] Sony Music reportedly paid the Jackson estate $250 million for the deal, plus royalties, making it the most expensive music contract pertaining to a single artist in history.[330][333] Video game developer Ubisoft announced a dancing-and-singing game featuring Michael Jackson for the 2010 holiday season, Michael Jackson: The Experience; it is among the first games to use Kinect and PlayStation Move, the motion-detecting camera systems for Microsoft’s Xbox 360 and Sony’s PlayStation 3respectively.[334]

On November 3, 2010, the theatrical performing company Cirque du Soleil announced that it would launch Michael Jackson: The Immortal World Tour in October 2011 in Montreal, while a permanent show will reside in Las Vegas.[335] The 90-minute $57-million production will combine Jackson’s music and choreography with the Cirque’s artistry, dance and aerial displays involving 65 artists.[336] The tour was written and directed by Jamie King[337] and centers on Jackson’s “inspirational Giving Tree – the wellspring of creativity where his love of music and dance, fairy tale and magic, and the fragile beauty of nature are unlocked.”[338] On October 3, 2011, the accompanying compilation soundtrack album Immortal was announced to have over 40 Jackson’s original recordings re-produced by Kevin Antunes.[339] A second, larger and more theatrical Cirque show,Michael Jackson: One, designed for residency at the Mandalay Bay resort in Las Vegas, was announced on February 21, 2013. This show, also produced, written and directed by King, began its run on May 23, 2013 in a newly renovated theater to critical and commercial success.[340][341][342][343]

In April 2011, billionaire businessman Mohamed Al-Fayed, chairman of Fulham Football Club and Jackson’s longtime friend, unveiled a statue of Michael Jackson outside the club’s stadium, Craven Cottage.[344] Fulham fans were bemused by the statue and failed to understand the relevance of Jackson to the club.[345] Al Fayed defended the statue and told the fans to “go to hell” if they did not appreciate it.[344] The statue was removed in September 2013[346] and moved to the National Football Museum in Manchester in May 2014.[347]

In 2012, in an attempt to end public family feuding, Jackson’s brother Jermaine Jackson retracted his signature on a public letter criticizing executors of Michael Jackson’s estate and his mother’s advisers concerning the legitimacy of his brother’s will.[348] T.J. Jackson, son of Tito Jackson, was given co-guardianship of Michael Jackson’s children after false reports surfaced of Katherine Jackson going missing.[349]

On May 16, 2013, choreographer Wade Robson alleged on The Today Show that Jackson “performed sexual acts on me and forced me to perform sexual acts on him” for 7 years, beginning when Robson was 7 years old.[350] Robson had previously testified in defence of Jackson at the singer’s 2005 child molestation trial.[351] The attorney for Jackson’s estate described Robson’s claim as “outrageous and pathetic”.[352] The date for the hearing which will determine whether Robson can sue Jackson’s estate was scheduled for June 2, 2014.[353] In February 2014, the Internal Revenue Service reported that Jackson’s estate owed $702 million, including $505 million in taxes and $197 million in penalties after they claimed the estate undervalued Jackson’s fortune.[354]

On March 31, 2014, Epic Records announced Xscape, an album of eight songs of unreleased material culled from past recording sessions.[355] It was released on May 13, 2014.[356] On May 12, 2014, another young man, Jimmy Safechuck, sued Jackson’s estate, claiming Jackson sexually abused him “from the age of 10 to about 14 or 15” in the 1980s.[357] During the 2014 Billboard Music Awards on May 18, a “Pepper’s ghost” likeness of Jackson appeared, dancing to “Slave to the Rhythm“, one of the tracks fromXscape.[358] Later that year, Queen released three duets that Freddie Mercury had recorded with Jackson in the 1980s.[72]

Jackson’s earnings have exponentially increased following his sudden death in comparison to his final years alive. According to Forbes, he has been the top-earning dead celebrity each year since his death, with triple-digit millions per annum ($115 million in 2015).[22] In December 2015, Jackson’s album Thriller became the first album in the United States to surpass 30 million shipments, certifying it 30× platinum by the RIAA.[82] Two months later, Billboard reported that the album was certified again at 32× platinum, surpassing 32 million shipments after Soundscan added streams and audio downloads to album certifications.[359]

Artistry

Influences

Silver-colored statue of Jackson standing up with his arms bent inward and both legs spaced apart.

One of many identical statues, based on Diana Walczak‘s original HIStory statue, positioned throughout Europe to promote HIStory.

Jackson was influenced by musicians including Little Richard, James Brown,[360] Jackie Wilson, Diana Ross, Fred Astaire,[360] Sammy Davis Jr.,[360] Gene Kelly,[360][361] David Ruffin,[362] the Isley Brothers, and the Bee Gees.[363] According to choreographer David Winters, who met and befriended Jackson while choreographing the 1971 Diana Ross TV special Diana!, Jackson watched the musical West Side Story almost every week, and it was his favorite film; he paid tribute to it in “Beat It” and the “Bad” video.[363][364][365] While Little Richard had a substantial influence on Jackson,[366] James Brown was Jackson’s greatest inspiration. In reference to Brown, Jackson declared: “Ever since I was a small child, no more than like six years old, my mother would wake me no matter what time it was, if I was sleeping, no matter what I was doing, to watch the television to see the master at work. And when I saw him move, I was mesmerized. I had never seen a performer perform like James Brown, and right then and there I knew that was exactly what I wanted to do for the rest of my life because of James Brown.”[367]

Jackson’s wax statue at theMadame Tussauds

The young Jackson owed his vocal technique in large part to Diana Ross. Not only a mother figure to him, she was often observed in rehearsal as an accomplished performer.[clarification needed] He later said: “I got to know her well. She taught me so much. I used to just sit in the corner and watch the way she moved. She was art in motion. I studied the way she moved, the way she sang – just the way she was.” He told her: “I want to be just like you, Diana.” She said: “You just be yourself.”[368] Jackson owed part of his enduring style—especially his use of the oooh interjection—to Ross. From a young age, Jackson often punctuated his verses with a sudden exclamation of oooh. Diana Ross had used this effect on many of the songs recorded with the Supremes.[369]

Musical themes and genres

Jackson explored a variety of music genres, including pop, soul, rhythm and blues, funk, rock, disco, post-disco, dance-pop and new jack swing.[4][155][370][371][372][373] Unlike many artists, Jackson did not write his songs on paper and instead dictated into a sound recorder.[374] When composing music, he preferred to beatbox and imitate instruments vocally rather than use instruments.[375]

Black and white photo of Jackson holding a microphone and singing.

Jackson in 1988, in Vienna, Austria, during his Bad World Tour.

According to Steve Huey of AllMusic,[4] Thriller refined the strengths of Off the Wall; the dance and rock tracks were more aggressive, while the pop tunes and ballads were softer and more soulful.[4] Its tracks included the ballads “The Lady in My Life”, “Human Nature“, and “The Girl Is Mine“, the funk pieces “Billie Jean” and “Wanna Be Startin’ Somethin’“, and the disco set “Baby Be Mine” and “P.Y.T. (Pretty Young Thing)“.[4][376][377][378] With Thriller, Christopher Connelly of Rolling Stone commented that Jackson developed his long association with the subliminal theme of paranoia and darker imagery.[378] AllMusic’sStephen Thomas Erlewine noted this is evident on the songs “Billie Jean” and “Wanna Be Startin’ Somethin'”.[376] In “Billie Jean”, Jackson sings about an obsessive fan who alleges he has fathered a child of hers.[4] In “Wanna Be Startin’ Somethin'” he argues against gossip and the media.[378] “Beat It” decried gang violence in an homage to West Side Story, and was Jackson’s first successful rock cross-over piece, according to Huey.[4][48] He also observed that the title track “Thriller” began Jackson’s interest with the theme of the supernatural, a topic he revisited in subsequent years.[4] In 1985, Jackson co-wrote the charity anthem “We Are the World“; humanitarian themes later became a recurring theme in his lyrics and public persona.[4]

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Jackson’s song “Thriller”, released as a single in 1984, utilizes cinematic sound effects, horror film motifs, and vocal trickery to convey a sense of danger.[59]

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A single from the album Bad, released 1988, “Smooth Criminal” features digital drum sounds, keyboard-created bass lines, and other percussion elements designed to give the impression of a pulsing heart.[379]

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The lead single from Dangerous, “Black or White” is a danceable rock song with hard rock elements. It was one of Jackson’s most successful recordings.[380][381]

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In Bad, Jackson’s concept of the predatory lover can be seen on the rock song “Dirty Diana“.[382] The lead single “I Just Can’t Stop Loving You” is a traditional love ballad, while “Man in the Mirror” is an anthemic ballad of confession and resolution. “Smooth Criminal” was an evocation of bloody assault, rape and likely murder.[135] AllMusic’s Stephen Thomas Erlewinestates that Dangerous presents Jackson as a very paradoxical individual.[383] He comments the album is more diverse than his previous Bad, as it appeals to an urban audience while also attracting the middle class with anthems like “Heal the World“.[383] The first half of the record is dedicated to new jack swing, including songs like “Jam” and “Remember the Time“.[384] The album is Jackson’s first where social ills become a primary theme; “Why You Wanna Trip on Me”, for example, protests against world hunger, AIDS, homelessness and drugs.[384] Dangerous contains sexually charged efforts such as the multifaceted love song, “In the Closet“.[384] The title track continues the theme of the predatory lover and compulsive desire.[384] The second half includes introspective, pop-gospel anthems such as “Will You Be There“, “Heal the World” and “Keep the Faith”; these songs show Jackson opening up about various personal struggles and worries.[384] In the ballad “Gone Too Soon“, Jackson gives tribute to his friend Ryan White and the plight of those with AIDS.[385]

HIStory creates an atmosphere of paranoia.[386] Its content focuses on the hardships and public struggles Jackson went through just prior to its production. In the new jack swing-funk-rock efforts “Scream” and “Tabloid Junkie”, along with the R&B ballad “You Are Not Alone“, Jackson retaliates against the injustice and isolation he feels, and directs much of his anger at the media.[387] In the introspective ballad “Stranger in Moscow“, Jackson laments over his “fall from grace”, while songs like “Earth Song“, “Childhood“, “Little Susie” and “Smile” are all operatic pop pieces.[386][387] In the track “D.S.“, Jackson launched a verbal attack against Tom Sneddon. He describes Sneddon as an antisocial, white supremacist who wanted to “get my ass, dead or alive”. Of the song, Sneddon said, “I have not—shall we say—done him the honor of listening to it, but I’ve been told that it ends with the sound of a gunshot”.[388]Invincible found Jackson working heavily with producer Rodney Jerkins.[4] It is a record made up of urban soul like “Cry” and “The Lost Children”, ballads such as “Speechless“, “Break of Dawn”, and “Butterflies” and mixes hip hop, pop, and R&B in “2000 Watts”, “Heartbreaker” and “Invincible”.[389][390]

Vocal style

Jackson sang from childhood, and over time his voice and vocal style changed noticeably. Between 1971 and 1975, Jackson’s voice descended from boy soprano to high tenor.[391] His vocal range as an adult was F2-E6. Jackson first used a technique called the “vocal hiccup” in 1973, starting with the song “It’s Too Late to Change the Time” from the Jackson 5‘s G.I.T.: Get It Together album.[392] Jackson did not use the hiccup technique—somewhat like a gulping for air or gasping—fully until the recording of Off the Wall: it can be seen in full force in the “Shake Your Body (Down to the Ground)” promotional video.[54] With the arrival of Off the Wall in the late 1970s, Jackson’s abilities as a vocalist were well regarded. At the time, Rolling Stone compared his vocals to the “breathless, dreamy stutter” of Stevie Wonder. Their analysis was also that “Jackson’s feathery-timbred tenor is extraordinarily beautiful. It slides smoothly into a startling falsetto that’s used very daringly”.[370][393] 1982 saw the release of Thriller, and Rolling Stonewas of the opinion that Jackson was then singing in a “fully adult voice” that was “tinged by sadness”.[378]

A distinctive deliberate mispronunciation of “come on”, used frequently by Jackson, occasionally spelled “c’mon”, “cha’mone”, or “shamone”, is also a staple in impressions and caricatures of him.[394] The turn of the 1990s saw the release of the introspective album Dangerous. The New York Times noted that on some tracks, “he gulps for breath, his voice quivers with anxiety or drops to a desperate whisper, hissing through clenched teeth” and he had a “wretched tone”.[384] When singing of brotherhood or self-esteem the musician would return to “smooth” vocals.[384] When commenting on Invincible, Rolling Stone were of the opinion that—at the age of 43—Jackson still performed “exquisitely voiced rhythm tracks and vibrating vocal harmonies”.[395] Nelson George wrote: “The grace, the aggression, the growling, the natural boyishness, the falsetto, the smoothness—that combination of elements mark him as a major vocalist”.[379] Cultural critic Joseph Vogel notes that Jackson had a “distinctive styles is his ability to convey emotion without the use of language: there are his trademark gulps, grunts, gasps, cries, exclamations; he also frequently scats or twists and contorts words until they are barely discernible.”[396]Neil McCormick notes that Jackson’s unorthodox singing style “was original and utterly distinctive, from his almost ethereal falsetto to his soft, sweet mid-tones; his fluid, seamless control of often very fast moving series of notes; his percussive yet still melodic outbursts, ululations and interjections (from those spooky “tee-hee-hees” to grunts and wails). Unusually for someone coming from a black American soul tradition, he did not often sing straight, unadorned ballads, though when he did (from ‘Ben‘ to ‘She’s Out of My Life‘) the effect was of a powerful simplicity and truth.”[397]

Music videos and choreography

Jackson has been called the King of Music Videos.[398] Steve Huey of AllMusic observed how Jackson transformed the music video into an art form and a promotional tool through complex story lines, dance routines, special effects and famous cameo appearances, simultaneously breaking down racial barriers.[4] Before Thriller, Jackson struggled to receive coverage on MTV, allegedly because he was African American.[399] Pressure from CBS Records persuaded MTV to start showing “Billie Jean” and later “Beat It”, leading to a lengthy partnership with Jackson, also helping other black music artists gain recognition.[400] MTV employees deny any racism in their coverage, or pressure to change their stance. MTV maintains that they played rock music, regardless of race.[401] The popularity of his videos on MTV helped to put the relatively young channel “on the map”; MTV’s focus shifted in favor of pop and R&B.[400][402] His performance on Motown 25: Yesterday, Today, Forever changed the scope of live stage show; “That Jackson lip-synced ‘Billie Jean’ is, in itself, not extraordinary, but the fact that it did not change the impact of the performance is extraordinary; whether the performance was live or lip-synced made no difference to the audience” thus creating an era in which artists re-create the spectacle of music video imagery on stage.[403] Short films like Thriller largely remained unique to Jackson, while the group dance sequence in “Beat It” has frequently been imitated.[404] The choreography in Thriller has become a part of global pop culture, replicated everywhere from Indian films to prisons in the Philippines.[405] The Thriller short film marked an increase in scale for music videos, and has been named the most successful music video ever by the Guinness World Records.[158]

In the 19-minute music video for “Bad“—directed by Martin Scorsese—Jackson began using sexual imagery and choreography not previously seen in his work. He occasionally grabbed or touched his chest, torso and crotch. When asked by Oprah in the 1993 interview about why he grabbed his crotch, he replied, “I think it happens subliminally” and he described it as something that was not planned, but rather, as something that was compelled by the music. “Bad” garnered a mixed reception from both fans and critics; Timemagazine described it as “infamous”. The video also featured Wesley Snipes; in the future Jackson’s videos would often feature famous cameo roles.[127][406] For the “Smooth Criminal” video, Jackson experimented with an anti-gravity lean where the performer leans forward at a 45 degree angle, beyond the performer’s center of gravity. To accomplish this move live, Jackson and designers developed a special shoe that locks the performer’s feet to the stage, allowing them to lean forward. They were granted U.S. Patent 5,255,452 for the device.[407] Although the music video for “Leave Me Alone” was not officially released in the US, in 1989 it was nominated for three Billboard Music Video Awards;[408] the same year it won a Golden Lion Award for the quality of the special effects used in its production. In 1990, “Leave Me Alone” won a Grammy for Best Music Video, Short Form.[153]

He received the MTV Video Vanguard Award in 1988 and the MTV Video Vanguard Artist of the Decade Award in 1990 to celebrate his accomplishments in the art form in the 1980s; in 1991 the first award was renamed in his honor.[169]Black or White” was accompanied by a controversial music video, which, on November 14, 1991, simultaneously premiered in 27 countries with an estimated audience of 500 million people, the largest viewing ever for a music video at that time.[168] It featured scenes construed as having a sexual nature as well as depictions of violence. The offending scenes in the final half of the 14-minute version were edited out to prevent the video from being banned, and Jackson apologized.[409] Along with Jackson, it featured Macaulay Culkin, Peggy Lipton, and George Wendt. It helped usher in morphing as an important technology in music videos.[410]

Remember the Time” was an elaborate production, and became one of his longest videos at over nine minutes. Set in ancient Egypt, it featured groundbreaking visual effectsand appearances by Eddie Murphy, Iman, and Magic Johnson, along with a distinct complex dance routine.[411] The video for “In the Closet” was Jackson’s most sexually provocative piece. It featured supermodel Naomi Campbell in a courtship dance with Jackson. The video was banned in South Africa because of its imagery.[169]

The music video for “Scream“, directed by Mark Romanek and production designer Tom Foden, is one of Jackson’s most critically acclaimed. In 1995, it gained eleven MTV Video Music Award Nominations—more than any other music video—and won “Best Dance Video”, “Best Choreography”, and “Best Art Direction”.[412] The song and its accompanying video are a response to the backlash Jackson received from the media after being accused of child molestation in 1993.[413] A year later, it won a Grammy for Best Music Video, Short Form; shortly afterwards Guinness World Records listed it as the most expensive music video ever made, at a cost of $7 million.[222][414]

Earth Song” was accompanied by an expensive and well-received music video, which gained a Grammy nomination for Best Music Video, Short Form in 1997. The video had an environmental theme, showing images of animal cruelty, deforestation, pollution and war. Using special effects, time is reversed so that life returns, wars end, and the forests re-grow.[222][415] Released in 1997 and premiering at the 1996 Cannes Film Festival, Michael Jackson’s Ghosts was a short film written by Jackson and Stephen King and directed by Stan Winston. The video for Ghosts is over 38 minutes long and holds the Guinness World Record as the world’s longest music video.[222][231][416][417]

The music video for “You Rock My World“, which is thirteen and a half minutes long, was directed by Paul Hunter, and was released in 2001. The video features appearances from Chris Tucker and Marlon Brando.[418] The video won an NAACP Image Award for Outstanding Music Video at the award shows 2002 ceremony.[419]

Legacy and influence

Pink star with a gold colored rim and the writing "Michael Jackson" in its center. The star is indented into the ground and is surrounded by a marble-colored floor.

Jackson’s star on theHollywood Walk of Fame, set in 1984.

The media has commonly referred to Jackson as the “King of Pop” because, throughout his career, he transformed the art of music videos and paved the way for modern pop music. For much of Jackson’s career, he had an unparalleled worldwide influence over the younger generation through his musical and humanitarian contributions.[224] His music and videos, such as Thriller, fostered racial diversity in MTV’s roster and steered its focus from rock to pop music and R&B, shaping the channel into a form that proved enduring. Jackson’s work continues to influence numerous artists of various music genres.

Danyel Smith, the chief content officer of Vibe Media Group and the editor-in-chief of Vibe describes Jackson as “The Greatest Star”.[420]AllMusic‘s Steve Huey describes Jackson as “an unstoppable juggernaut, possessed of all the skills to dominate the charts seemingly at will: an instantly identifiable voice, eye-popping dance moves, stunning musical versatility and loads of sheer star power”.[4] BET described Jackson “as quite simply the greatest entertainer of all time” and someone who “revolutionized the music video and brought dances like the moonwalk to the world. Jackson’s sound, style, movement and legacy continues to inspire artists of all genres.”[421]

In 1984, Time magazine’s pop critic Jay Cocks wrote that “Jackson is the biggest thing since the Beatles. He is the hottest single phenomenon since Elvis Presley. He just may be the most popular black singer ever.”[89] In 1990, Vanity Fair cited Jackson as the most popular artist in the history of show business.[153] In 2003, Daily Telegraph writer Tom Utley described Jackson as “extremely important” and a “genius”.[422] In 2007, Jackson said: “Music has been my outlet, my gift to all of the lovers in this world. Through it, my music, I know I will live forever.”[423]

At Jackson’s memorial service on July 7, 2009, Motown founder Berry Gordy proclaimed Jackson “the greatest entertainer that ever lived”.[424][425][426] In a June 28, 2009Baltimore Sun article titled “7 Ways Michael Jackson Changed The World”, Jill Rosen wrote that Jackson’s legacy was “as enduring as it is multi-faceted”, influencing fields including sound, dance, fashion, music videos and celebrity.[427] On December 19, 2014, the British Council of Cultural Relations named Jackson’s life one of the 80 most important cultural moments of the 20th century.[428]

In July 2009, the Lunar Republic Society, which promotes the exploration, settlement and development of the Moon, named a Moon crater after Jackson.[429] In the same year, for Jackson’s 51st birthday, Google dedicated their Google Doodle to him.[430] In 2010, two university librarians found that Jackson’s influence extended to academia, with references to Jackson in reports concerning music, popular culture, chemistry and an array of other topics.[431][432][433]

Honors and awards

Thriller platinum record on display at the Hard Rock Cafe, Hollywood in Universal City, California.

Michael Jackson was inducted onto the Hollywood Walk of Fame in 1980 as member of the Jacksons and in 1984 as solo artist. Throughout his career he received numerous honors and awards, including the World Music Awards‘ Best-Selling Pop Male Artist of the Millennium, theAmerican Music Award‘s Artist of the Century Award and the Bambi Pop Artist of the Millennium Award.[238][434] He was a double-inductee of theRock and Roll Hall of Fame, once as a member of The Jackson 5 in 1997 and later as a solo artist in 2001. Jackson was also inducted in several other halls of fame, including Vocal Group Hall of Fame (as a Jackson 5 member) in 1999 and the Songwriters Hall of Fame in 2002.[238] In 2010, Jackson was inducted into the Dance Hall of Fame as the first (and currently only) dancer from the world of pop and rock ‘n’ roll.[435] In 2014, Jackson was inducted into the second class of inductees to the Rhythm and Blues Music Hall of Fame; his father Joe Jackson accepted on his behalf.[436]

His awards include many Guinness World Records (eight in 2006 alone), including for the Most Successful Entertainer of All Time,[15][16] 13Grammy Awards[437] (as well as the Grammy Legend Award[438] and the Grammy Lifetime Achievement Award),[439] 26 American Music Awards(including the “Artist of the Century” and “Artist of the 1980s”),[235][440]—more than any artist—13 number-one singles in the US in his solo career—more than any other male artist in the Hot 100 era[441]—and estimated sales of over 350 million records worldwide[442][Note 1] making him one of the best-selling artists in modern music history.[443] On December 29, 2009, the American Film Institute recognized Jackson’s death as a “moment of significance” saying, “Michael Jackson’s sudden death in June at age 50 was notable for the worldwide outpouring of grief and the unprecedented global eulogy of his posthumous concert rehearsal movie This Is It.”[444] Michael Jackson also received an Honorary Doctor of Humane Letters Degree from the United Negro College Fund[445] and also an Honorary Doctorate of Humane Letters from Fisk University.[446]

Earnings and wealth

It is estimated that Michael Jackson earned about $750 million in his lifetime.[447] Sales of his recordings through Sony’s music unit earned him an estimated $300 million in royalties. He may have also earned an additional $400 million from concerts, music publishing (including his share of the Beatles catalog), endorsements, merchandising and music videos. Estimating how much of these earnings Jackson was able to personally pocket is difficult because one has to account for taxes, recording costs and production costs.[448]

Net worth during Jackson’s life

There have also been several detailed estimates of Jackson’s net worth during his life, which range from negative $285 million to positive $350 million for the years 2002, 2003 and 2007.

Michael Jackson’s estimated net-worth over the years
Year Assets Debt Net worth Source
2002 $130 million $415 million -$285 million Forensic accountant in 2005 recalling Jackson’s 2002 balance sheet under oath[449]
2003 $550 million ($100 million in properties including Neverland ranch; Encino and Las Vegas homes and other properties and $450 million in music holdings including 50% stake in Sony ATV and other music publishing) $200 million $350 million Forbes, November 21, 2003[450]
2007 $567.6 million (includes 50% share of the Sony/ATV catalog valued at $390.6 million, Neverland valued at $33 million, cars, antiques, collectibles and other property valued at $20 million, and $668,215 in cash) $331 million $236 million Michael Jackson’s March 2007 statement of financial condition prepared by Washington-based accounting firm Thompson, Cobb, Bazilio & Associates; described by CBS News as the clearest account yet of Jackson’s finances.[451]

Net worth at time of death; U.S. federal estate tax problems

On July 26, 2013, the executors of the Estate of Michael Jackson filed a petition in the United States Tax Court as a result of a dispute with the Internal Revenue Service (IRS) over U.S. federal estate taxes imposed on the value of Jackson’s Estate at the time of his death.[452] The executors of the Estate claim that the Estate was worth about $7 million. The IRS asserts that the Estate was worth over $1.1 billion, and that over $700 million in federal estate taxes (including penalties) are due.[354] A trial date of February 6, 2017 has been set.[453]

In 2016, Forbes magazine estimated annual gross earnings by the Jackson Estate at $825 million, the largest ever recorded for a celebrity. The majority was due to the sale of the Sony/ATV catalog. It marked the eighth consecutive year since his death where Jackson’s annual earnings were over $100 million.[22]

Blues Rock

Blues rock

From Wikipedia, the free encyclopedia

Blues rock is a fusion genre combining elements of blues and rock. It is mostly an electric ensemble-style music with instrumentation similar to electric blues and rock. From its beginnings in the early- to mid-1960s, blues rock has gone through several stylistic shifts and along the way inspired hard rock, Southern rock, and heavy metal. Blues rock continues to be an influence, with performances and recordings by several popular artists.

Blues rock started with rock musicians in the United Kingdom and the United States performing American blues songs. They typically recreated electric Chicago-style blues songs, such as those by Muddy Waters, Jimmy Reed, Howlin’ Wolf, and Albert King, at faster tempos and with a more aggressive sound common to rock. In the UK, the style was popularized by groups such as the Rolling Stones, the Yardbirds, and the Animals, who managed to place blues songs into the pop charts. In the US, Lonnie Mack, thePaul Butterfield Blues Band, and Canned Heat were among the earliest exponents and “attempted to play long, involved improvisations which were commonplace on jazz records”.[3] John Mayall & the Bluesbreakers and Peter Green‘s Fleetwood Macalso developed this more instrumental, but traditional-based style in the UK, while late-1960s/early 1970s groups, including Ten Years After, Savoy Brown, and Foghat became more hard rock oriented. In the US, Johnny Winter, the Allman Brothers Band, andZZ Top represented a hard rock trend.

Although around this time, AllMusic commented, “the lines between blues rock and hard rock were barely visible”,[3] there was a return to more blues-influenced styles. In the 1980s, the Fabulous Thunderbirds and Stevie Ray Vaughan, recorded their best-known works and 1990s saw guitarists Gary Moore, Jeff Healey, and Kenny Wayne Shepherd become popular concert attractions. Groups, such as the Jon Spencer Blues Explosion and the White Stripes, brought an edgier, more diverse style into the 2000s, as do contemporary artists the Black Keys.

Characteristics[edit]

Blues rock can be characterized by bluesy improvisation, the twelve-bar blues, extended boogie jams typically focused on the electric guitar player, and often a heavier, riff-oriented sound and feel to the songs than might be found in traditional Chicago-style blues. Blues rock bands “borrow[ed] the idea of an instrumental combo and loud amplification from rock & roll”.[3] It is also often played at a fast tempo, again distinguishing it from the blues.[3]

Instrumentation[edit]

The core blues rock sound is created by the electric guitar, bass guitar and drum kit. Often bands also included a harmonica, usually called “a harp.”

The electric guitar is usually amplified through a tube guitar amplifier or using an overdrive effect. Two guitars are commonplace in blues rock bands; one guitarist focused onrhythm guitar – playing riffs and chords as accompaniment — and the other focused on lead guitar – playing melodic lines and solos.

While 1950s-era blues bands would sometimes still use the upright bass, the blues rock bands of the 1960s used the electric bass, which was easier to amplify to loud volumes.

Keyboard instruments, such as the piano and Hammond organ, are also occasionally used. As with the electric guitar, the sound of the Hammond organ is typically amplified with a tube amplifier, which gives a growling, “overdriven” sound quality to the instrument.

Vocals also typically play a key role, although the vocals may be equal in importance or even subordinate to the lead guitar playing. As well, a number of blues rock pieces are instrumental-only.

Structure[edit]

Blues-rock pieces often follow typical blues structures, such as twelve-bar blues, sixteen-bar blues, etc. They also use the IIVV progression, though there are exceptions, some pieces having a “B” section, while others remain on the I. The Allman Brothers Band‘s version of “Stormy Monday“, which uses chord substitutions based on Bobby “Blue” Bland‘s 1961 rendition, adds a solo section where “the rhythm shifts effortlessly into an uptempo 6/8-time jazz feel”.[4] The key is usually major, but can also be minor, such as in “Black Magic Woman“.

One notable difference is the frequent use of a straight eighth-note or rock rhythm instead of triplets usually found in blues. An example is Cream‘s “Crossroads“. Although it was adapted from Robert Johnson‘s “Cross Road Blues“, the bass “combines with drums to create and continually emphasize continuity in the regular metric drive”.[5] Cream also uses some of the lyrics from “Traveling Riverside Blues” to create their own interpretation of the song.

History[edit]

Rock and blues have historically always been closely linked, and electric guitar techniques such as distortion and power chords were already used by 1950s blues guitarists, particularly Memphis bluesmen such as Joe Hill Louis, Willie Johnson and Pat Hare.[6][7] In 1963, American Lonnie Mack used an idiosyncratic, fast-paced electric blues guitar style which confounded his contemporaries, but which later came to be identified with blues rock. His instrumentals from that period were recognizable as blues or R&B tunes, but he relied heavily upon fast-picking techniques derived from traditional American country and bluegrass genres. The best-known of these are the hit singles “Memphis” (Billboard #5) and “Wham!” (Billboard #24).[8] However, blues rock was not named as such, or widely recognized as a distinct movement within rock, until several years later in the late 1960s, with the advent of British bands as Free, Savoy Brown and the earliest incarnations of Fleetwood Mac. The musicians in those bands had honed their skills in a handful of British blues bands, primarily those of John Mayall and Alexis Korner.[9] At that point, Mack’s earlier recordings were rediscovered and he soon came to be regarded as a blues rock pioneer. Other American performers, such as Johnny Winter, Paul Butterfield and the group Canned Heat are now also considered blues rock pioneers.

The blues rock genre was defined when John Mayall released the album Blues Breakers with Eric Clapton in 1966, which included guitarist Eric Clapton.[10] Blues rock was a kind of rhythm’n’blues played by British musicians.[11] Cream created a hybrid of blues with jazz experimentation which was the most innovative to date.[12] British bandFleetwood Mac had initially blues roots inspired by Mayall and then evolved:[13] their guitarist Peter Green brought many innovations to their music.[14] Their music became successful in “white America”[15] thanks in part to the operatic overtones in the vocals that captivated the audience.[16]

The electric guitar playing of Jimi Hendrix (a veteran of many American rhythm and blues and soul groups from the early-mid-1960s) and his power trios, The Jimi Hendrix Experience and Band of Gypsys, has had broad and lasting influence on the development of blues rock, especially for guitarists.[9] Eric Clapton was another guitarist with a lasting influence on the genre; his work in the 1960s and 1970s with John Mayall and the Bluesbreakers, The Yardbirds, supergroups Blind Faith, Cream and Derek and the Dominos, and an extensive solo career has been seminal in bringing blues rock into the mainstream.[9] By this time, American acts such as The Doors and Janis Joplin further introduced mainstream audiences to the genre. David Gilmour of Pink Floyd is known for incorporating a mixture of blues rock, progressive rock and psychedelic rock into his guitar work. Gilmour, who has received universal acclaim (from both critics and fans alike) for his guitar work, has described Hendrix as a huge inspiration for his style of playing.

In the late 1960s, Jeff Beck, a former member of The Yardbirds, revolutionized blues rock into a form of heavy rock, taking the UK and the US by storm with his band, The Jeff Beck Group.[9] Jimmy Page, a third alumnus of The Yardbirds, went out to form the New Yardbirds which would soon become known as Led Zeppelin and would become a major force in the 1970s heavy metal scene.[9] The Who during their early run was a blues rock standard group, with their posters for their performances including their catch phrase “Maximum R&B”. During this period the band covered songs from Bo Diddley, Sonny Boy Williamson, and Mose Allison. The Australian band AC/DC were also influenced by blues rock. Other blues rock musicians influential on the scene in the 1970s included Dr. Feelgood, Rory Gallagher and Robin Trower.

Beginning in the early 1970s, American bands such as Aerosmith fused blues with a hard rock edge. Blues rock grew to include Southern rock bands, like the Allman Brothers Band, ZZ Top and Lynyrd Skynyrd, while the British scene, except for the advent of groups such as Status Quo and Foghat, became focused on heavy metal innovation.[17]

Blues rock had a rebirth in the early 1990s – 2000s, with many artists such as Gary Moore, Mad Season, John Norum, Gary Clark Jr., The White Stripes,[18] Jack White, Rival Sons, John Mayer,[19] Blues Traveler, The Black Crowes,[20] The Black Keys,[21] Jeff Healey,[22] Clutch,[23] The Jon Spencer Blues Explosion[24] Joe Bonamassa,[25] and Guy Forsyth.[26]

Blues Music

Blues

From Wikipedia, the free encyclopedia
This article is about the music genre. For other uses, see Blues (disambiguation).

Blues is a genre[2] and musical form originated by African Americans in the Deep South of the United States around the end of the 19th century. The genre developed from roots in African musical traditions, African-American work songs and European-Americanfolk music.[1] Blues incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads.[3] The blues form, ubiquitous in jazz, rhythm and blues and rock and roll, is characterized by the call-and-response pattern, the blues scaleand specific chord progressions, of which the twelve-bar blues is the most common. Blue notes (or “worried notes”), usually thirds or fifths flattened in pitch, are also an essential part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect known as the groove.

Blues as a genre is also characterized by its lyrics, bass lines, and instrumentation. Early traditional blues verses consisted of a single line repeated four times. It was only in the first decades of the 20th century that the most common current structure became standard: the AAB pattern, consisting of a line sung over the four first bars, its repetition over the next four, and then a longer concluding line over the last bars. Early blues frequently took the form of a loose narrative, often relating the troubles experienced in African-American society.

Many elements, such as the call-and-response format and the use of blue notes, can be traced back to the music of Africa. The origins of the blues are also closely related to the religious music of the Afro-American community, the spirituals. The first appearance of the blues is often dated to after the ending of slavery and, later, the development of juke joints. It is associated with the newly acquired freedom of the former slaves. Chroniclers began to report about blues music at the dawn of the 20th century. The first publication of blues sheet music was in 1908. Blues has since evolved from unaccompanied vocal music and oral traditions of slaves into a wide variety of styles and subgenres. Blues subgenres include country blues, such as Delta blues and Piedmont blues, as well as urban blues styles such as Chicago blues and West Coast blues. World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience, especially white listeners. In the 1960s and 1970s, a hybrid form called blues rock evolved.

Etymology[edit]

The term blues may have come from “blue devils”, meaning melancholy and sadness; an early use of the term in this sense is inGeorge Colman‘s one-act farce Blue Devils (1798).[4] The phrase blue devils may also have been derived from Britain in the 1600s, when the term referred to the “intense visual hallucinations that can accompany severe alcohol withdrawal”.[5] As time went on, the phrase lost the reference to devils, and “it came to mean a state of agitation or depression.” By the 1800s in the United States, the term blues was associated with drinking alcohol, a meaning which survives in the phrase blue law, which prohibit the sale of alcohol on Sunday.[5] Though the use of the phrase in African-American music may be older, it has been attested to in print since 1912, when Hart Wand‘s “Dallas Blues” became the first copyrighted blues composition.[6][7] In lyrics the phrase is often used to describe adepressed mood.[8] Some sources state that the term blues is related to “blue notes“, the flatted, often microtonal notes used in blues, but the Oxford English Dictionary claims that the term blues came first and led to the naming of “blue notes”.

Lyrics[edit]

American blues singer Ma Rainey (1886–1939), the “Mother of the Blues”

The lyrics of early traditional blues verses probably often consisted of a single line repeated four times. It was only in the first decades of the 20th century that the most common current structure became standard: the so-called AAB pattern, consisting of a line sung over the four first bars, its repetition over the next four, and then a longer concluding line over the last bars.[9] Two of the first published blues songs, “Dallas Blues” (1912) and “Saint Louis Blues” (1914), were 12-bar blues with the AAB lyric structure. W. C. Handy wrote that he adopted this convention to avoid the monotony of lines repeated three times.[10] The lines are often sung following a pattern closer to rhythmic talk than to a melody.

Early blues frequently took the form of a loose narrative. African-American singers voiced his or her “personal woes in a world of harsh reality: a lost love, the cruelty of police officers, oppression at the hands of white folk, [and] hard times.”[11] This melancholy has led to the suggestion of an Igbo origin for blues because of the reputation the Igbo had throughout plantations in the Americas for their melancholic music and outlook on life when they were enslaved.[12][13]

The lyrics often relate troubles experienced within African American society. For instance Blind Lemon Jefferson‘s “Rising High Water Blues” (1927) tells of the Great Mississippi Flood of 1927:

“Backwater rising, Southern peoples can’t make no time
I said, backwater rising, Southern peoples can’t make no time
And I can’t get no hearing from that Memphis girl of mine.”

Although the blues gained an association with misery and oppression, the lyrics could also be humorous and raunchy:[14]

“Rebecca, Rebecca, get your big legs off of me,
Rebecca, Rebecca, get your big legs off of me,
It may be sending you baby, but it’s worrying the hell out of me.”
From Big Joe Turner‘s “Rebecca”, a compilation of traditional blues lyrics

Hokum blues celebrated both comedic lyrical content and a boisterous, farcical performance style.[15] Tampa Red‘s classic “Tight Like That” (1928) is a sly wordplay with the double meaning of being “tight” with someone coupled with a more salacious physical familiarity. Blues songs with sexually explicit lyrics were known as dirty blues. The lyrical content became slightly simpler in postwar blues, which tended to focus on relationship woes or sexual worries. Lyrical themes that frequently appeared in prewar blues, such as economic depression, farming, devils, gambling, magic, floods and drought, were less common in postwar blues.[16]

The writer Ed Morales claimed that Yoruba mythology played a part in early blues, citing Robert Johnson‘s “Cross Road Blues” as a “thinly veiled reference to Eleggua, theorisha in charge of the crossroads”.[17] However, the Christian influence was far more obvious.[18] The repertoires of many seminal blues artists, such as Charley Patton and Skip James, included religious songs or spirituals.[19] Reverend Gary Davis[20] and Blind Willie Johnson[21] are examples of artists often categorized as blues musicians for their music, although their lyrics clearly belong to spirituals.

Form[edit]

The blues form is a cyclic musical form in which a repeating progression of chords mirrors the call and response scheme commonly found in African and African-American music. During the first decades of the 20th century blues music was not clearly defined in terms of a particular chord progression.[22] With the popularity of early performers, such as Bessie Smith, use of the twelve-bar blues spread across the music industry during the 1920s and 30s.[23] Other chord progressions, such as 8-bar forms, are still considered blues; examples include “How Long Blues,” “Trouble in Mind,” and Big Bill Broonzy‘s “Key to the Highway.” There are also 16-bar blues, such as Ray Charles‘s instrumental “Sweet 16 Bars” and Herbie Hancock‘s “Watermelon Man.” Idiosyncratic numbers of bars are occasionally used, such as the 9-bar progression in “Sitting on Top of the World“, by Walter Vinson.

Chords played over a 12-bar scheme: Chords for a blues in C:
I I or IV I I7
IV IV I I7
V V or IV I I or V
C C or F C C7
F F C C7
G G or F C C or G

The basic 12-bar lyric framework of a blues composition is reflected by a standard harmonic progression of 12 bars in a 4/4 time signature. The blues chords associated to a twelve-bar blues are typically a set of three different chords played over a 12-bar scheme. They are labeled by Roman numbers referring to the degrees of the progression. For instance, for a blues in the key of C, C is the tonic chord (I) and F is the subdominant (IV).

The last chord is the dominant (V) turnaround, marking the transition to the beginning of the next progression. The lyrics generally end on the last beat of the tenth bar or the first beat of the 11th bar, and the final two bars are given to the instrumentalist as a break; the harmony of this two-bar break, the turnaround, can be extremely complex, sometimes consisting of single notes that defy analysis in terms of chords.

Much of the time, some or all of these chords are played in the harmonic seventh (7th) form. The use of the harmonic seventh interval is characteristic of blues and is popularly called the “blues seven”.[24] Blues seven chords add to the harmonic chord a note with a frequency in a 7:4 ratio to the fundamental note. At a 7:4 ratio, it is not close to any interval on the conventional Western diatonic scale.[25] For convenience or by necessity it is often approximated by a minor seventh interval or a dominant seventh chord.

A minor pentatonic scale; About this sound play 

In melody, blues is distinguished by the use of the flattened third, fifth and seventh of the associated major scale.[26]These specialized notes are called the blue or bent notes. These scale tones may replace the natural scale tones, or they may be added to the scale, as in the case of the minor blues scale, in which the flattened third replaces the natural third, the flattened seventh replaces the natural seventh and the flattened fifth is added between the natural fourth and natural fifth. While the 12-bar harmonic progression had been intermittently used for centuries, the revolutionary aspect of blues was the frequent use of the flattened third, flattened seventh, and even flattened fifth in the melody, together with crushing—playing directly adjacent notes at the same time (i.e., minor second)—and sliding, similar to using grace notes.[27] The blue notes allow for key moments of expression during the cadences, melodies, and embellishments of the blues.

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Example of Detroit blues rock shuffle

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Example of Chicago blues shuffle

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Blues shuffles or walking bass reinforce the trance-like rhythm and call-and-response, and they form a repetitive effect called a groove. Characteristic of the blues since its Afro-American origins, the shuffles played a central role in swing music.[28] The simplest shuffles, which were the clearest signature of the R&B wave that started in the mid-1940s,[29] were a three-note riffon the bass strings of the guitar. When this riff was played over the bass and the drums, the groove “feel” was created. Shuffle rhythm is often vocalized as “dow, da dow, da dow, da” or “dump, da dump, da dump, da”:[30] it consists of uneven, or “swung,” eighth notes. On a guitar this may be played as a simple steady bass or it may add to that stepwise quarter note motion from the fifth to the sixth of the chord and back.

Blues shuffle or boogie in E major (About this sound Play ).

Guitar tablature for a blues shuffle in E major. [31][32]

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The Memphis Blues, composed by W. C. Handy in 1912 and recorded by theVictor Military Band, the first known commercial recording of Handy’s first commercially successful blues composition

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The first commercial recording of vocal blues by an African-American singer:Mamie Smith‘s performance of Perry Bradford‘s “Crazy Blues” in 1920

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Traditional spiritual performed by Texas gospel singer Blind Willie Johnson(vocal and guitar) and Willie B. Harris(vocal) in 1927, an example of the close relationship between gospel and blues music

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Piedmont blues, performed in 1930 byBlind Willie Walker

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Bluegrass, performed in 1930 by Charlie Poole, a bluesman of Irish descent

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Chicago blues of the late prewar era, the so-called Bluebird sound, recorded byBig Bill Broonzy

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Rockabilly version of a traditional blues recorded by Jerry Lee Lewis in 1956 or 1957

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History[edit]

Origins[edit]

Main article: Origins of the blues

The first publication of blues sheet music was in 1908: Antonio Maggio’s “I Got the Blues” is the first published song to use the word blues. Hart Wand‘s “Dallas Blues” followed in 1912; W. C. Handy‘s “The Memphis Blues” followed in the same year. The first recording by an African American singer was Mamie Smith‘s 1920 rendition ofPerry Bradford‘s “Crazy Blues”. But the origins of the blues were some decades earlier, probably around 1890.[33] This music is poorly documented, partly because of racial discrimination in U.S. society, including academic circles,[34] and partly because of the low rate of literacy among rural African Americans at the time.[35]

Reports of blues music in southern Texas and the Deep South were written at the dawn of the 20th century. Charles Peabody mentioned the appearance of blues music at Clarksdale, Mississippi, and Gate Thomas reported similar songs in southern Texas around 1901–1902. These observations coincide more or less with the recollections of Jelly Roll Morton, who said he first heard blues music in New Orleans in 1902; Ma Rainey, who remembered first hearing the blues in the same year in Missouri; and W.C. Handy, who first heard the blues in Tutwiler, Mississippi, in 1903. The first extensive research in the field was performed by Howard W. Odum, who published an anthology of folk songs from Lafayette County, Mississippi, and Newton County, Georgia, between 1905 and 1908.[36]The first noncommercial recordings of blues music, termed proto-blues by Paul Oliver, were made by Odum for research purposes at the very beginning of the 20th century. They are now lost.[37]

Other recordings that are still available were made in 1924 by Lawrence Gellert. Later, several recordings were made by Robert W. Gordon, who became head of the Archive of American Folk Songs of the Library of Congress. Gordon’s successor at the library wasJohn Lomax. In the 1930s, Lomax and his son Alan made a large number of non-commercial blues recordings that testify to the huge variety of proto-blues styles, such as field hollers and ring shouts.[38] A record of blues music as it existed before 1920 can also be found in the recordings of artists such as Lead Belly[39] and Henry Thomas.[40] All these sources show the existence of many different structures distinct from twelve-, eight-, or sixteen-bar.[41][42]

John Lomax (left) shaking hands with musician “Uncle” Rich Brown in Sumterville, Alabama

The social and economic reasons for the appearance of the blues are not fully known.[43] The first appearance of the blues is usually dated after the Emancipation Act of 1863,[34] between 1870 and 1900, a period that coincides with post-emancipation and later, the establishment of juke joints as places where blacks went to listen to music, dance, or gamble after a hard day’s work.[44] This period corresponds to the transition from slavery to sharecropping, small-scale agricultural production, and the expansion of railroads in the southern United States. Several scholars characterize the development of blues music in the early 1900s as a move from group performance to individualized performance. They argue that the development of the blues is associated with the newly acquired freedom of the enslaved people.[45]

According to Lawrence Levine, “there was a direct relationship between the national ideological emphasis upon the individual, the popularity of Booker T. Washington’s teachings, and the rise of the blues.” Levine stated that “psychologically, socially, and economically, African-Americans were being acculturated in a way that would have been impossible during slavery, and it is hardly surprising that their secular music reflected this as much as their religious music did.”[45]

There are few characteristics common to all blues music, because the genre took its shape from the idiosyncrasies of individual performers.[46] However, there are some characteristics that were present long before the creation of the modern blues. Call-and-response shouts were an early form of blues-like music; they were a “functional expression … style without accompaniment or harmony and unbounded by the formality of any particular musical structure.”[47] A form of this pre-blues was heard in slave ring shoutsand field hollers, expanded into “simple solo songs laden with emotional content”.[48]

Blues has evolved from the unaccompanied vocal music and oral traditions of slaves imported from West Africa and rural blacks into a wide variety of styles and subgenres, with regional variations across the United States. Although blues (as it is now known) can be seen as a musical style based on both European harmonic structure and the African call-and-response tradition that transformed into an interplay of voice and guitar,[49][50] the blues form itself bears no resemblance to the melodic styles of the West African griots, and the influences are faint and tenuous.[51][52] Additionally, there are theories that the four-beats-per-measure structure of the blues might have its origins in the Native American tradition of pow wow drumming.[53]

No specific African musical form can be identified as the single direct ancestor of the blues.[54] However the call-and-response format can be traced back to the music of Africa. That blue notes predate their use in blues and have an African origin is attested to by “A Negro Love Song”, by the English composer Samuel Coleridge-Taylor, from his African Suite for Piano, written in 1898, which contains blue thirdand seventh notes.[55]

The Diddley bow (a homemade one-stringed instrument found in parts of the American South in the early twentieth century) and thebanjo are African-derived instruments that may have helped in the transfer of African performance techniques into the early blues instrumental vocabulary.[56] The banjo seems to be directly imported from West African music. It is similar to the musical instrument that griots and other Africans such as the Igbo[57] played (called halam or akonting by African peoples such as the Wolof, Fula and Mandinka).[58] However, in the 1920s, when country blues began to be recorded, the use of the banjo in blues music was quite marginal and limited to individuals such as Papa Charlie Jackson and later Gus Cannon.[59]

Blues music also adopted elements from the “Ethiopian airs”, minstrel shows and Negro spirituals, including instrumental and harmonic accompaniment.[60] The style also was closely related to ragtime, which developed at about the same time, though the blues better preserved “the original melodic patterns of African music.”[61]

Charley Patton, one of the originators of the Delta blues style, playing with a pick or abottleneck slide

The musical forms and styles that are now considered the blues as well as modern country music arose in the same regions of the southern United States during the 19th century. Recorded blues and country music can be found as far back as the 1920s, when the record industry created the marketing categories “race music” and “hillbilly music” to sell music by blacks for blacks and by whites for whites, respectively. At the time, there was no clear musical division between “blues” and “country,” except for the ethnicity of the performer, and even that was sometimes documented incorrectly by record companies.[62][63]

Though musicologists can now attempt to define the blues narrowly in terms of certain chord structures and lyric forms thought to have originated in West Africa, audiences originally heard the music in a far more general way: it was simply the music of the rural south, notably the Mississippi Delta. Black and white musicians shared the same repertoire and thought of themselves as “songsters” rather than blues musicians. The notion of blues as a separate genre arose during the black migration from the countryside to urban areas in the 1920s and the simultaneous development of the recording industry. Blues became a code word for a record designed to sell to black listeners.[64]

The origins of the blues are closely related to the religious music of Afro-American community, the spirituals. The origins of spirituals go back much further than the blues, usually dating back to the middle of the 18th century, when the slaves were Christianized and began to sing and play Christian hymns, in particular those of Isaac Watts, which were very popular.[65] Before the blues gained its formal definition in terms of chord progressions, it was defined as the secular counterpart of spirituals. It was the low-down music played by rural blacks.[18]

Depending on the religious community a musician belonged to, it was more or less considered a sin to play this low-down music: blues was the devil’s music. Musicians were therefore segregated into two categories: gospel singers and blues singers, guitar preachers and songsters. However, when rural black music began to be recorded in the 1920s, both categories of musicians used similar techniques: call-and-response patterns, blue notes, and slide guitars. Gospel music was nevertheless using musical forms that were compatible with Christian hymns and therefore less marked by the blues form than its secular counterpart.[18]

Prewar blues[edit]

The American sheet music publishing industry produced a great deal of ragtime music. By 1912, the sheet music industry had published three popular blues-like compositions, precipitating the Tin Pan Alley adoption of blues elements: “Baby Seals’ Blues”, by “Baby” F. Seals (arranged by Artie Matthews); “Dallas Blues”, by Hart Wand; and “The Memphis Blues“, by W. C. Handy.[66]

Sheet music from “Saint Louis Blues” (1914)

Handy was a formally trained musician, composer and arranger who helped to popularize the blues by transcribing and orchestrating blues in an almost symphonic style, with bands and singers. He became a popular and prolific composer, and billed himself as the “Father of the Blues”; however, his compositions can be described as a fusion of blues with ragtime and jazz, a merger facilitated using the Cubanhabanera rhythm that had long been a part of ragtime;[17][67] Handy’s signature work was the “Saint Louis Blues“.

In the 1920s, the blues became a major element of African American and American popular music, reaching white audiences via Handy’s arrangements and the classic female blues performers. The blues evolved from informal performances in bars to entertainment in theaters. Blues performances were organized by the Theater Owners Bookers Association in nightclubs such as the Cotton Club and juke joints such as the bars along Beale Street in Memphis. Several record companies, such as the American Record Corporation, Okeh Records, andParamount Records, began to record African-American music.

As the recording industry grew, country blues performers like Bo Carter, Jimmie Rodgers (country singer), Blind Lemon Jefferson, Lonnie Johnson, Tampa Red and Blind Blake became more popular in the African American community. Kentucky-born Sylvester Weaver was in 1923 the first to record the slide guitar style, in which a guitar is fretted with a knife blade or the sawed-off neck of a bottle.[68] The slide guitar became an important part of the Delta blues.[69] The first blues recordings from the 1920s are categorized as a traditional, rural country blues and a more polished city or urban blues.

Country blues performers often improvised, either without accompaniment or with only a banjo or guitar. Regional styles of country blues varied widely in the early 20th century. The (Mississippi) Delta blues was a rootsy sparse style with passionate vocals accompanied by slide guitar. The little-recorded Robert Johnson[70] combined elements of urban and rural blues. In addition to Robert Johnson, influential performers of this style included his predecessors Charley Patton and Son House. Singers such as Blind Willie McTell and Blind Boy Fuller performed in the southeastern “delicate and lyrical” Piedmont blues tradition, which used an elaborate ragtime-based fingerpicking guitar technique. Georgia also had an early slide tradition,[71] with Curley Weaver, Tampa Red, “Barbecue Bob” Hicks and James “Kokomo” Arnold as representatives of this style.[72]

The lively Memphis blues style, which developed in the 1920s and 1930s near Memphis, Tennessee, was influenced by jug bands such as the Memphis Jug Band or the Gus Cannon’s Jug Stompers. Performers such as Frank Stokes, Sleepy John Estes, Robert Wilkins, Joe McCoy, Casey Bill Weldon and Memphis Minnie used a variety of unusual instruments such as washboard, fiddle, kazoo or mandolin. Memphis Minnie was famous for her virtuoso guitar style. Pianist Memphis Slim began his career in Memphis, but his distinct style was smoother and had some swing elements. Many blues musicians based in Memphis moved to Chicago in the late 1930s or early 1940s and became part of the urban blues movement.[73][74]

Bessie Smith, an early blues singer, known for her powerful voice

Urban blues[edit]

City or urban blues styles were more codified and elaborate, as a performer was no longer within their local, immediate community, and had to adapt to a larger, more varied audience’s aesthetic.[75] Classic female urban and vaudeville blues singers were popular in the 1920s, among them “the big three”—Gertrude “Ma” Rainey, Bessie Smith, and Lucille Bogan—and Victoria Spivey. Mamie Smith, more a vaudeville performer than a blues artist, was the first African American to record a blues song in 1920; her second record, “Crazy Blues”, sold 75,000 copies in its first month.[76] Ma Rainey, the “Mother of Blues”, and Bessie Smith each “[sang] around center tones, perhaps in order to project her voice more easily to the back of a room.” Smith would “sing a song in an unusual key, and her artistry in bending and stretching notes with her beautiful, powerful contralto to accommodate her own interpretation was unsurpassed.”[77]

In 1920 the vaudeville singer Lucille Hegamin became the second black woman to record blues when she recorded “The Jazz Me Blues”.[78]These recordings were typically labeled “race records” to distinguish them from records sold to white audiences. Nonetheless, the recordings of some of the classic female blues singers were purchased by white buyers as well.[79] These blueswomen’s contributions to the genre included “increased improvisation on melodic lines, unusual phrasing which altered the emphasis and impact of the lyrics, and vocal dramatics using shouts, groans, moans, and wails. The blues women thus effected changes in other types of popular singing that had spin-offs in jazz, Broadway musicals, torch songs of the 1930s and 1940s, gospel, rhythm and blues, and eventually rock and roll.”[80]

Urban male performers included popular black musicians of the era, such as Tampa Red, Big Bill Broonzy and Leroy Carr. An important label of this era was the Chicago-based Bluebird Records. Before World War II, Tampa Red was sometimes referred to as “the Guitar Wizard”. Carr accompanied himself on the piano with Scrapper Blackwell on guitar, a format that continued well into the 1950s with artists such as Charles Brown and even Nat “King” Cole.[69]

A typical boogie-woogie bass line

Boogie-woogie was another important style of 1930s and early 1940s urban blues. While the style is often associated with solo piano, boogie-woogie was also used to accompany singers and, as a solo part, in bands and small combos. Boogie-Woogie style was characterized by a regular bass figure, an ostinato or riff and shifts of level in the left hand, elaborating each chord and trills and decorations in the right hand. Boogie-woogie was pioneered by the Chicago-based Jimmy Yancey and the Boogie-Woogie Trio (Albert Ammons, Pete Johnson and Meade Lux Lewis).[81] Chicago boogie-woogie performers included Clarence “Pine Top” Smith and Earl Hines, who “linked the propulsive left-hand rhythms of the ragtime pianists with melodic figures similar to those of Armstrong’s trumpet in the right hand.”[75] The smooth Louisiana style of Professor Longhair and, more recently, Dr. John blends classic rhythm and blues with blues styles.

Another development in this period was big band blues. The “territory bands” operating out of Kansas City, the Bennie Moten orchestra, Jay McShann, and the Count Basie Orchestra were also concentrating on the blues, with 12-bar blues instrumentals such as Basie’s “One O’Clock Jump” and “Jumpin’ at the Woodside” and boisterous “blues shouting” by Jimmy Rushing on songs such as “Going to Chicago” and “Sent for You Yesterday.” A well-known big band blues tune is Glenn Miller‘s “In the Mood.” In the 1940s, the jump blues style developed. Jump blues grew up from the boogie woogie wave and was strongly influenced by big band music. It uses saxophone or other brass instruments and the guitar in the rhythm section to create a jazzy, up-tempo sound with declamatory vocals. Jump blues tunes by Louis Jordan and Big Joe Turner, based in Kansas City, Missouri, influenced the development of later styles such as rock and roll and rhythm and blues.[82] Dallas-born T-Bone Walker, who is often associated with the California blues style,[83] performed a successful transition from the early urban blues à la Lonnie Johnson and Leroy Carr to the jump blues style and dominated the blues-jazz scene at Los Angeles during the 1940s.[84]

1950s[edit]

The transition from country blues to urban blues that began in the 1920s was driven by the successive waves of economic crisis and booms which led many rural blacks to move to urban areas, in a movement known as the Great Migration. The long boom following World War II induced another massive migration of the African-American population, theSecond Great Migration, which was accompanied by a significant increase of the real income of the urban blacks. The new migrants constituted a new market for the music industry. The term race record, initially used by the music industry for African-American music, was replaced by the term rhythm and blues. This rapidly evolving market was mirrored by Billboard magazine’s Rhythm and Blues chart. This marketing strategy reinforced trends in urban blues music such as the use of electric instruments andamplification and the generalization of the blues beat, the blues shuffle, which became ubiquitous in R&B. This commercial stream had important consequences for blues music, which, together with jazz and gospel music, became a component of R&B.[85]

Muddy Waters, described as “the guiding light of the modern blues school”[86]

Jimmy Reed, a pioneer ofelectric blues, who influenced the Rolling Stones and others

Otis Rush, an originator of the “West Side sound”

After World War II, new styles of electric blues became popular in cities such as Chicago,[87] Memphis,[88]Detroit[89][90] and St. Louis. Electric blues used electric guitars, double bass (gradually replaced by bass guitar),drums, and harmonica (or “blues harp”) played through a microphone and a PA system or an overdriven guitar amplifier. Chicago became a center for electric blues from 1948 on, when Muddy Waters recorded his first success, “I Can’t Be Satisfied”.[91] Chicago blues is influenced to a large extent by Delta blues, because many performers had migrated from the Mississippi region.

Howlin’ Wolf, Muddy Waters, Willie Dixon and Jimmy Reed were all born in Mississippi and moved to Chicago during the Great Migration. Their style is characterized by the use of electric guitar, sometimes slide guitar,harmonica, and a rhythm section of bass and drums.[92] The saxophonist J. T. Brown played in bands led by Elmore James and by J. B. Lenoir, but the saxophone was used as a backing instrument for rhythmic support more than as a lead instrument.

Little Walter, Sonny Boy Williamson (Rice Miller) and Sonny Terry are well known harmonica (called “harp” by blues musicians) players of the early Chicago blues scene. Other harp players such as Big Walter Horton were also influential. Muddy Waters and Elmore James were known for their innovative use of slide electric guitar. Howlin’ Wolf and Muddy Waters were known for their deep, “gravelly” voices.

The bassist and prolific songwriter and composer Willie Dixon played a major role on the Chicago blues scene. He composed and wrote many standard blues songs of the period, such as “Hoochie Coochie Man,” “I Just Want to Make Love to You” (both penned for Muddy Waters) and, “Wang Dang Doodle” and “Back Door Man” for Howlin’ Wolf. Most artists of the Chicago blues style recorded for the Chicago-based Chess Records and Checker Records labels. Smaller blues labels of this era included Vee-Jay Records and J.O.B. Records. During the early 1950s, the dominating Chicago labels were challenged by Sam PhillipsSun Records company in Memphis, which recorded B. B. King and Howlin’ Wolf before he moved to Chicago in 1960.[93] After Phillips discovered Elvis Presley in 1954, the Sun label turned to the rapidly expanding white audience and started recording mostly rock ‘n’ roll.[94]

In the 1950s, blues had a huge influence on mainstream American popular music. While popular musicians likeBo Diddley[89] and Chuck Berry,[95] both recording for Chess, were influenced by the Chicago blues, their enthusiastic playing styles departed from the melancholy aspects of blues. Chicago blues also influenced Louisiana‘s zydeco music,[96] with Clifton Chenier[97] using blues accents. Zydeco musicians used electric solo guitar and cajun arrangements of blues standards.

In England, electric blues took root there during a much acclaimed Muddy Waters tour. Waters, unsuspecting of his audience’s tendency towards skiffle, an acoustic, softer brand of blues, turned up his amp and started to play his Chicago brand of electric blues. Although the audience was largely jolted by the performance, the performance influenced local musicians such as Alexis Korner and Cyril Davies to emulate this louder style, inspiring the British invasion of the Rolling Stones and the Yardbirds.[98]

In the late 1950s, a new blues style emerged on Chicago’s West Side pioneered by Magic Sam, Buddy Guy and Otis Rush on Cobra Records.[99] The “West Side sound” had strong rhythmic support from a rhythm guitar, bass guitar and drums and as perfected by Guy, Freddie King, Magic Slim and Luther Allison was dominated by amplified electric lead guitar.[100][101] Expressive guitar solos were a key feature of this music.

Other blues artists, such as John Lee Hooker had influences not directly related to the Chicago style. John Lee Hooker’s blues is more “personal,” based on Hooker’s deep rough voice accompanied by a single electric guitar. Though not directly influenced by boogie woogie, his “groovy” style is sometimes called “guitar boogie”. His first hit, “Boogie Chillen,” reached number 1 on the R&B charts in 1949.[102]

By the late 1950s, the swamp blues genre developed near Baton Rouge, with performers such as Lightnin’ Slim,[103] Slim Harpo,[104] Sam Myers and Jerry McCain around the producer J. D. “Jay” Miller and the Excello label. Strongly influenced by Jimmy Reed, Swamp blues has a slower pace and a simpler use of the harmonica than the Chicago blues style performers such as Little Walter or Muddy Waters. Songs from this genre include “Scratch my Back”, “She’s Tough” and “I’m a King Bee.” Alan Lomax‘s recordings ofMississippi Fred McDowell would eventually bring him wider attention on both the blues and folk circuit, with McDowell’s droning style influencing North Mississippi hill country blues musicians.[105]

1960s and 1970s[edit]

By the beginning of the 1960s, genres influenced by African American music such as rock and roll and soul were part of mainstream popular music. White performers had brought African-American music to new audiences, both within the U.S. and abroad. However, the blues wave that brought artists such as Muddy Waters to the foreground had stopped. Bluesmen such as Big Bill Broonzy and Willie Dixon started looking for new markets in Europe. Dick Waterman and the blues festivals he organized in Europe played a major role in propagating blues music abroad. In the UK, bands emulated U.S. blues legends, and UK blues rock-based bands had an influential role throughout the 1960s.[106]

Blues legend B.B. King with his guitar, “Lucille”

Blues performers such as John Lee Hooker and Muddy Waters continued to perform to enthusiastic audiences, inspiring new artists steeped in traditional blues, such as New York–born Taj Mahal. John Lee Hooker blended his blues style with rock elements and playing with younger white musicians, creating a musical style that can be heard on the 1971 album Endless Boogie. B. B. King‘s virtuoso guitar technique earned him the eponymous title “king of the blues”. King introduced a sophisticated style of guitar soloing based on fluid string bending and shimmeringvibrato that influenced many later electric blues guitarists.[107] In contrast to the Chicago style, King’s band used strong brass support from a saxophone, trumpet, and trombone, instead of using slide guitar or harp. Tennessee-born Bobby “Blue” Bland, like B. B. King, also straddled the blues and R&B genres. During this period, Freddie King and Albert King often played with rock and soul musicians (Eric Clapton and Booker T & the MGs) and had a major influence on those styles of music.

Eric Clapton performing at Hyde Park, London, in June 2008

The music of the Civil Rights[108] and Free Speech movements in the U.S. prompted a resurgence of interest in American roots music and early African American music. As well festivals such as the Newport Folk Festival[109] brought traditional blues to a new audience, which helped to revive interest in prewar acoustic blues and performers such as Son House, Mississippi John Hurt, Skip James, and Reverend Gary Davis.[108]Many compilations of classic prewar blues were republished by the Yazoo Records. J. B. Lenoir from the Chicago blues movement in the 1950s recorded several LPs using acoustic guitar, sometimes accompanied by Willie Dixon on the acoustic bass or drums. His songs, originally distributed only in Europe,[110] commented on political issues such as racism or Vietnam War issues, which was unusual for this period. His album Alabama Blues contained a song with the following lyric:

I never will go back to Alabama, that is not the place for me (2x)
You know they killed my sister and my brother,
and the whole world let them peoples go down there free

Texas blues guitaristStevie Ray Vaughan

White audiences’ interest in the blues during the 1960s increased due to the Chicago-based Paul Butterfield Blues Band featuring guitaristMichael Bloomfield, and the British blues movement. The style of British blues developed in the UK, when bands such as the Animals, Fleetwood Mac, John Mayall & the Bluesbreakers, the Rolling Stones, the Yardbirds, the supergroup Cream and the Irish musician Rory Gallagherperformed classic blues songs from the Delta or Chicago blues traditions.[111]

The Argentine power trio Manalin 1970, the first blues group to perform in Spanish

In 1970 the trio Manal established in Argentina the basics of blues sung in Castilian. Influenced poetically by the tango and generate Beatnik,[112] and musically by the blues, rock, jazz and African music of River Plate, the trio composed of Alejandro Medina, Javier Martinez and Claudio Gabis created a music that fused the roots of a genre born in the Mississippi Delta with elements of idiosyncrasy and local geography Porteña.[112]

The British and blues musicians of the early 1960s inspired a number of American blues rock fusion performers, including the Doors, Canned Heat, the early Jefferson Airplane, Janis Joplin, Johnny Winter, The J. Geils Band, Ry Cooder, and the Allman Brothers Band. One blues rock performer, Jimi Hendrix, was a rarity in his field at the time: a black man who played psychedelic rock. Hendrix was a skilled guitarist, and a pioneer in the innovative use of distortion and audio feedback in his music.[113] Through these artists and others, blues music influenced the development of rock music.[114]

Santana, which was originally called the Carlos Santana Blues Band, also experimented with Latin-influenced blues and blues rock music around this time. At the end of the 1950s appeared the bluesy Tulsa Sound merging rock’n’roll, jazz and country influences. This particular music style was popularized in the 1970s by J. J. Cale and the cover versions performed by Eric Clapton of “After Midnight” and “Cocaine“.

In the early 1970s, The Texas rock-blues style emerged, which used guitars in both solo and rhythm roles. In contrast with the West Side blues, the Texas style is strongly influenced by the British rock-blues movement. Major artists of the Texas style are Johnny Winter, Stevie Ray Vaughan, the Fabulous Thunderbirds (led by harmonica player and singer-songwriter Kim Wilson), and ZZ Top. These artists all began their musical careers in the 1970s but they did not achieve international success until the next decade.[115]

1980s to the present[edit]

Denise LaSalle

Since the 1980s there has been a resurgence of interest in the blues among a certain part of the African-American population, particularly around Jackson, Mississippi and other deep South regions. Often termed “soul blues” or “Southern soul“, the music at the heart of this movement was given new life by the unexpected success of two particular recordings on the Jackson-based Malaco label:[116] Z. Z. Hill‘s Down Home Blues(1982) and Little Milton‘s The Blues is Alright (1984). Contemporary African-American performers who work in this style of the blues includeBobby Rush, Denise LaSalle, Sir Charles Jones, Bettye LaVette, Marvin Sease, Peggy Scott-Adams, Mel Waiters, Clarence Carter, Dr. “Feelgood” Potts, O.B. Buchana, Ms. Jody, Shirley Brown, and dozens of others.

During the 1980s blues also continued in both traditional and new forms. In 1986 the album Strong Persuader announced Robert Cray as a major blues artist. The first Stevie Ray Vaughan recording Texas Flood was released in 1983, and the Texas-based guitarist exploded onto the international stage. John Lee Hooker‘s popularity was revived with the album The Healer in 1989. Eric Clapton, known for his performances withthe Blues Breakers and Cream, made a comeback in the 1990s with his album Unplugged, in which he played some standard blues numbers on acoustic guitar.

However, beginning in the 1990s, digital multitrack recording and other technological advances and new marketing strategies including video clipproduction increased costs, challenging the spontaneity and improvisation that are an important component of blues music.[117]

In the 1980s and 1990s, blues publications such as Living Blues and Blues Revue were launched, major cities began forming blues societies, outdoor blues festivals became more common, and[118] more nightclubs and venues for blues emerged.[119]

In the 1990s, the largely ignored hill country blues gained minor recognition in both blues and alternative rock music circles with northern Mississippi artists R. L. Burnside andJunior Kimbrough.[105] Blues performers explored a range of musical genres, as can be seen, for example, from the broad array of nominees of the yearly Blues Music Awards, previously named W. C. Handy Awards[120] or of the Grammy Awards for Best Contemporary and Traditional Blues Album. The Billboard Blues Album chart provides an overview of current blues hits. Contemporary blues music is nurtured by several blues labels such as: Alligator Records, Ruf Records, Severn Records, Chess Records (MCA), Delmark Records, NorthernBlues Music, Fat Possum Records and Vanguard Records (Artemis Records). Some labels are famous for rediscovering and remastering blues rarities, including Arhoolie Records, Smithsonian Folkways Recordings (heir of Folkways Records), and Yazoo Records (Shanachie Records).[121]

From the late 2000s to the present day, blues rock has gained a cultural following, especially after the rise of the Internet, when artists started creating YouTube channels, forums, and Facebook pages. Notable blues rock musicians of this period include Joe Bonamassa, Gary Clark Jr., Shemekia Copeland, Eric Gales, Beth Hart, Warren Haynes,Jason Ricci, Susan Tedeschi, Derek Trucks, Ben Harper (in collaboration with Charlie Musselwhite) and Orianthi. Alternative rock artists still combine strong elements of blues in their music, especially ZZ Ward, Cage the Elephant, Jack White, and the Black Keys.

Musical impact[edit]

Blues musical styles, forms (12-bar blues), melodies, and the blues scale have influenced many other genres of music, such as rock and roll, jazz, and popular music.[122]Prominent jazz, folk or rock performers, such as Louis Armstrong, Duke Ellington, Miles Davis, and Bob Dylan have performed significant blues recordings. The blues scale is often used in popular songs like Harold Arlen‘s “Blues in the Night”, blues ballads like “Since I Fell for You” and “Please Send Me Someone to Love”, and even in orchestral works such as George Gershwin‘s “Rhapsody in Blue” and “Concerto in F”. Gershwin’s second “Prelude” for solo piano is an interesting example of a classical blues, maintaining the form with academic strictness. The blues scale is ubiquitous in modern popular music and informs many modal frames, especially the ladder of thirds used in rock music (for example, in “A Hard Day’s Night“). Blues forms are used in the theme to the televised Batman, teen idol Fabian Forte‘s hit, “Turn Me Loose”, country music star Jimmie Rodgers‘ music, and guitarist/vocalist Tracy Chapman‘s hit “Give Me One Reason”.

Early country bluesmen such as Skip James, Charley Patton, Georgia Tom Dorsey played country and urban blues and had influences from spiritual singing. Dorsey helped to popularize Gospel music.[123] Gospel music developed in the 1930s, with the Golden Gate Quartet. In the 1950s, soul music by Sam Cooke, Ray Charles and James Brown used gospel and blues music elements. In the 1960s and 1970s, gospel and blues were these merged in soul blues music. Funk music of the 1970s was influenced by soul; funk can be seen as an antecedent of hip-hop and contemporary R&B.

R&B music can be traced back to spirituals and blues. Musically, spirituals were a descendant of New England choral traditions, and in particular of Isaac Watts‘s hymns, mixed with African rhythms and call-and-response forms. Spirituals or religious chants in the African-American community are much better documented than the “low-down” blues. Spiritual singing developed because African-American communities could gather for mass or worship gatherings, which were called camp meetings.

Edward P. Comentale has noted how the blues was often used as a medium for art or self-expression, stating: “As heard from Delta shacks to Chicago tenements to Harlem cabarets, the blues proved—despite its pained origins—a remarkably flexible medium and a new arena for the shaping of identity and community.”[124]

Duke Ellington straddled the big band and bebop genres. Ellington extensively used the blues form.[125]

Before World War II, the boundaries between blues and jazz were less clear. Usually jazz had harmonic structures stemming from brass bands, whereas blues had blues forms such as the 12-bar blues. However, the jump blues of the 1940s mixed both styles. After WWII, blues had a substantial influence on jazz. Bebop classics, such as Charlie Parker‘s “Now’s the Time”, used the blues form with the pentatonic scale and blue notes.

Bebop marked a major shift in the role of jazz, from a popular style of music for dancing, to a “high-art,” less-accessible, cerebral “musician’s music”. The audience for both blues and jazz split, and the border between blues and jazz became more defined.[125][126]

The blues’ 12-bar structure and the blues scale was a major influence on rock and roll music. Rock and roll has been called “blues with abackbeat“; Carl Perkins called rockabilly “blues with a country beat”. Rockabillies were also said to be 12-bar blues played with abluegrass beat. “Hound Dog“, with its unmodified 12-bar structure (in both harmony and lyrics) and a melody centered on flatted third of the tonic (and flatted seventh of the subdominant), is a blues song transformed into a rock and roll song. Jerry Lee Lewis‘s style of rock and roll was heavily influenced by the blues and its derivative boogie woogie. His style of music was not exactly rockabilly but it has been often called real rock and roll (this is a label he shares with several African American rock and roll performers).[127][128]

Many early rock and roll songs are based on blues: “That’s All Right Mama,” “Johnny B. Goode,” “Blue Suede Shoes,” “Whole Lotta Shakin’ Goin On,” “Shake, Rattle, and Roll,” and “Long Tall Sally.” The early African American rock musicians retained the sexual themes and innuendos of blues music: “Got a gal named Sue, knows just what to do” (“Tutti Frutti,” Little Richard) or “See the girl with the red dress on, She can do the Birdland all night long” (“What’d I Say,” Ray Charles). The 12-bar blues structure can be found even in novelty pop songs, such as Bob Dylan‘s “Obviously Five Believers” and Esther and Abi Ofarim‘s “Cinderella Rockefella.”

Early country music was infused with the blues.[129] Jimmie Rodgers, Moon Mullican, Bob Wills, Bill Monroe and Hank Williams have all described themselves as blues singers and their music has a blues feel that is different, at first glance at least, from the later country pop of artists like Eddy Arnold. Yet, if one looks back further, Arnold also started out singing bluesy songs like ‘I’ll hold you in my heart’. A lot of the 1970s-era “outlaw” country music by Willie Nelson and Waylon Jennings also borrowed from the blues. WhenJerry Lee Lewis returned to country after the decline of 1950s style rock and roll, he sang his country with a blues feel and often included blues standards on his albums.

In popular culture[edit]

The music of Taj Mahalfor the 1972 movieSounder marked a revival of interest in acoustic blues.

Like jazz, rock and roll, heavy metal music, hip hop music, reggae, rap, country music, and pop music, blues has been accused of being the “devil‘s music” and of inciting violence and other poor behavior.[130] In the early 20th century, the blues was considered disreputable, especially as white audiences began listening to the blues during the 1920s.[67] In the early twentieth century, W.C. Handy was the first to popularize blues-influenced music among non-black Americans.

During the blues revival of the 1960s and ’70s, acoustic blues artist Taj Mahal and legendary Texas bluesman Lightnin’ Hopkins wrote and performed music that figured prominently in the popularly and critically acclaimed film Sounder (1972). The film earned Mahal a Grammy nomination for Best Original Score Written for a Motion Picture and a BAFTA nomination.[131] Almost 30 years later, Mahal wrote blues for, and performed a banjo composition, claw-hammer style, in the 2001 movie release Songcatcher, which focused on the story of the preservation of the roots music of Appalachia.

Perhaps the most visible example of the blues style of music in the late 20th century came in 1980, when Dan Aykroyd and John Belushi released the film The Blues Brothers. The film drew many of the biggest living influencers of the Rhythm and blues genre together, such as Ray Charles,James Brown, Cab Calloway, Aretha Franklin, and John Lee Hooker. The band formed also began a successful tour under the Blues Brothersmarquee. 1998 brought a sequel, Blues Brothers 2000 that, while not holding as great a critical and financial success, featured a much larger number of blues artists, such as B.B. King, Bo Diddley, Erykah Badu, Eric Clapton, Steve Winwood, Charlie Musselwhite, Blues Traveler, Jimmie Vaughan, and Jeff Baxter.

In 2003, Martin Scorsese made significant efforts to promote the blues to a larger audience. He asked several famous directors such as Clint Eastwood and Wim Wenders to participate in a series of documentary films for PBS called The Blues.[132] He also participated in the rendition of compilations of major blues artists in a series of high-quality CDs. Blues guitarist and vocalist Keb’ Mo’ performed his blues rendition of “America, the Beautiful” in 2006 to close out the final season of the television series The West Win

JOHANN SEBASTIAN BACH

Johann Sebastian Bach

From Wikipedia, the free encyclopedia
This article is about the Baroque composer. For his grandson of the same name, see Johann Sebastian Bach (painter). For other uses of Bach, see Bach (disambiguation).
Johann Sebastian Bach
Johann Sebastian Bach.jpg

Portrait of Bach, aged 61, by E. G. Haussmann, 1748
Born 21 March 1685 (O.S.)
31 March 1685 (N.S.)
Eisenach
Died 28 July 1750 (aged 65)
Leipzig
Works List of compositions
Signature
Johann Sebastian Bach signature.svg

Johann Sebastian Bach[a] (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of theBaroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach’s compositionsinclude the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and over three hundredcantatas of which around two hundred survive.[3] His music is revered for its technical command, artistic beauty, and intellectual depth.

Bach’s abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.[4]

Life

Places where Bach lived

Johann Ambrosius Bach, Bach’s father

Bach was born in Eisenach, in the duchy of Saxe-Eisenach, into a great musical family. His father Johann Ambrosius Bach was the director of the town musicians, and all of his uncles were professional musicians. His father probably taught him to play the violin andharpsichord, and his brother Johann Christoph Bach taught him the clavichord and exposed him to much contemporary music.[5]Apparently at his own initiative, Bach attended St. Michael’s School in Lüneburg for two years. After graduating he held several musical posts across Germany: he served as Kapellmeister (director of music) to Leopold, Prince of Anhalt-Köthen, and as Thomaskantor in Leipzig, a position of music director at the main Lutheran churches and educator at the Thomasschule. He received the title of “Royal Court Composer” from Augustus III in 1736.[6][7] Bach’s health and vision declined in 1749, and he died on 28 July 1750.

Childhood (1685–1703)

St. George’s Church in Eisenach, where Bach was baptised. Portal inscription: “Ein feste Burg ist unser Gott

The Wender organ Bach played in Arnstadt

See also: Bach family

Johann Sebastian Bach was born in Eisenach, the capital of the duchy of Saxe-Eisenach, in present-day Germany, on 21 March 1685O.S. (31 March 1685 N.S.). He was the son of Johann Ambrosius Bach, the director of the town musicians, and Maria Elisabeth Lämmerhirt.[8] He was the eighth and youngest child of Johann Ambrosius,[9] who probably taught him violin and the basics of music theory.[10] His uncles were all professional musicians, whose posts included church organists, court chamber musicians, and composers. One uncle, Johann Christoph Bach (1645–93), introduced him to the organ, and an older second cousin, Johann Ludwig Bach (1677–1731), was a well-known composer and violinist.[11]

Bach’s mother died in 1694, and his father died eight months later.[7] The 10-year-old Bach moved in with his eldest brother, Johann Christoph Bach (1671–1721), the organist at St. Michael’s Church in Ohrdruf, Saxe-Gotha-Altenburg.[12] There he studied, performed, and copied music, including his own brother’s, despite being forbidden to do so because scores were so valuable and private and blank ledger paper of that type was costly.[13][14] He received valuable teaching from his brother, who instructed him on the clavichord. J.C. Bach exposed him to the works of great composers of the day, including South German composers such as Johann Pachelbel (under whom Johann Christoph had studied) andJohann Jakob Froberger; North German composers;[5] Frenchmen, such as Jean-Baptiste Lully, Louis Marchand, and Marin Marais; and the Italian clavierist Girolamo Frescobaldi. Also during this time he was taught theology, Latin, Greek, French and Italian at the local gymnasium.[15]

By 3 April 1700 Bach and his schoolfriend Georg Erdmann–who was two years Bach’s elder–were enrolled in the prestigious St. Michael’s School in Lüneburg, some two weeks’ travel north of Ohrdruf.[16][17] Their journey was probably undertaken mostly on foot.[15][17] His two years there were critical in exposing Bach to a wider range of European culture. In addition to singing in the choir, he played the School’s three-manual organ and harpsichords.[15] He came into contact with sons of aristocrats from northern Germany, sent to the highly selective school to prepare for careers in other disciplines.

While in Lüneburg, Bach had access to St. John’s Church and possibly used the church’s famous organ from 1553, since it was played by his organ teacher Georg Böhm.[18] Because of his musical talent Bach had significant contact with Böhm while a student in Lüneburg, and also took trips to nearby Hamburg where he observed “the great North German organist Johann Adam Reincken“.[18][19] Stauffer reports the discovery in 2005 of the organ tablatures that Bach wrote out when still in his teens of works by Reincken and Dieterich Buxtehude, showing “a disciplined, methodical, well-trained teenager deeply committed to learning his craft”.[18]

Weimar, Arnstadt, and Mühlhausen (1703–08)

St. Mary’s Church of Lübeck

Portrait of the young Bach (disputed).[20]

In January 1703, shortly after graduating from St. Michael’s and being turned down for the post of organist at Sangerhausen,[21] Bach was appointed court musician in the chapel of Duke Johann Ernst III in Weimar.[22] His role there is unclear, but it probably included menial, non-musical duties. During his seven-month tenure at Weimar, his reputation as a keyboardist spread so much that he was invited to inspect the new organ, and give the inaugural recital, at the New Church (now Bach Church) in Arnstadt, located about 30 kilometres (19 mi) southwest of Weimar.[23] In August 1703, he became the organist at the New Church, with light duties, a relatively generous salary, and a fine new organ tuned in the modern tempered system that allowed a wide range of keys[clarification needed] to be used.

Despite strong family connections and a musically enthusiastic employer, tension built up between Bach and the authorities after several years in the post. Bach was dissatisfied with the standard of singers in the choir, while his employer was upset by his unauthorised absence from Arnstadt; Bach was gone for several months in 1705–06, to visit the great organist and composerDieterich Buxtehude and his Abendmusiken at St. Mary’s Church in the northern city of Lübeck. The visit to Buxtehude involved a 450-kilometre (280 mi) journey each way, reportedly on foot.[24]

In 1706, Bach applied for a post as organist at the Blasius Church (also known as St Blasius or as Divi Blasii) in Mühlhausen.[25][26] As part of his application he had a cantata performed on Easter, 24 April 1707, likely an early version of his Christ lag in Todes Banden.[27] A month later Bach’s application was accepted and he took up the post in July.[25] The position included a significantly higher remuneration, improved conditions, and a better choir. Four months after arriving at Mühlhausen, Bach married Maria Barbara Bach, his second cousin. Bach was able to convince the church and town government at Mühlhausen to fund an expensive renovation of the organ at the Blasius Church. In 1708 Bach wrote Gott ist mein König, a festive cantata for the inauguration of the new Council, which was published at the Council’s expense.[15]

Return to Weimar (1708–17)

Bach’s autograph of the first movement of the Sonata No. 1 in G minor for solo violin (BWV 1001)About this sound Audio.

In 1708, Bach left Mühlhausen, returning to Weimar this time as organist and from 1714 Konzertmeister (director of music) at the ducal court, where he had an opportunity to work with a large, well-funded contingent of professional musicians.[15] Bach and his wife moved into a house close to the ducal palace.[28] Later the same year, their first child, Catharina Dorothea, was born, and Maria Barbara’s elder, unmarried sister joined them. She remained to help run the household until her death in 1729. Three sons were also born in Weimar: Wilhelm Friedemann, Carl Philipp Emanuel and Johann Gottfried Bernhard. Johann Sebastian and Maria Barbara had three more children who however did not live to their first birthday, including twins born in 1713.[29]

Bach’s time in Weimar was the start of a sustained period of composing keyboard and orchestral works. He attained the proficiency and confidence to extend the prevailing structures and to include influences from abroad. He learned to write dramatic openings and employ the dynamic motor rhythms and harmonic schemes found in the music of Italians such as Vivaldi, Corelli, and Torelli. Bach absorbed these stylistic aspects in part by transcribing Vivaldi’s string and wind concertos for harpsichord and organ; many of these transcribed works are still regularly performed. Bach was particularly attracted to the Italian style in which one or more solo instruments alternate section-by-section with the full orchestra throughout a movement.[30]

In Weimar, Bach continued to play and compose for the organ, and to perform concert music with the duke’s ensemble.[15] He also began to write the preludes and fugues which were later assembled into his monumental work The Well-Tempered Clavier (Das Wohltemperierte Klavier“Klavier” meaning clavichord or harpsichord),[31] consisting of two books, compiled in 1722 and 1744,[32]each containing 24 preludes and fugues in every major and minor key.

Also in Weimar Bach started work on the Little Organ Book, containing traditional Lutheran chorales (hymn tunes) set in complex textures. In 1713, Bach was offered a post in Halle when he advised the authorities during a renovation by Christoph Cuntzius of the main organ in the west gallery of the Market Church of Our Dear Lady. Johann Kuhnau and Bach played again when it was inaugurated in 1716.[33][34]

In the spring of 1714, Bach was promoted to Konzertmeister, an honour that entailed performing a church cantata monthly in the castle church.[35] The first three cantatas Bach composed in Weimar were Himmelskönig, sei willkommen, BWV 182, for Palm Sunday, which coincided with the Annunciation that year, Weinen, Klagen, Sorgen, Zagen, BWV 12, for Jubilate Sunday, and Erschallet, ihr Lieder, erklinget, ihr Saiten!  BWV 172 for Pentecost.[36] Bach’s first Christmas cantata Christen, ätzet diesen Tag, BWV 63 was premiered in 1714 or 1715.[37][38]

In 1717, Bach eventually fell out of favour in Weimar and was, according to a translation of the court secretary’s report, jailed for almost a month before being unfavourably dismissed: “On November 6, [1717], the quondam concertmaster and organist Bach was confined to the County Judge’s place of detention for too stubbornly forcing the issue of his dismissal and finally on December 2 was freed from arrest with notice of his unfavourable discharge.”[39]

Köthen (1717–23)

Bach’s seal, used throughout his Leipzig years. It contains the letters J S Bsuperimposed over their mirror image topped with a crown

Leopold, Prince of Anhalt-Köthen, hired Bach to serve as his Kapellmeister (director of music) in 1717. Prince Leopold, himself a musician, appreciated Bach’s talents, paid him well, and gave him considerable latitude in composing and performing. The prince wasCalvinist and did not use elaborate music in his worship; accordingly, most of Bach’s work from this period was secular,[40] including the orchestral suites, the cello suites, the sonatas and partitas for solo violin, and the Brandenburg Concertos.[41] Bach also composed secular cantatas for the court such as Die Zeit, die Tag und Jahre macht, BWV 134a. A significant influence upon Bach’s musical development during his years with the Prince is recorded by Stauffer as Bach’s “complete embrace of dance music, perhaps the most important influence on his mature style other than his adoption of Vivaldi’s music in Weimar”.[18]

Despite being born in the same year and only about 130 kilometres (81 mi) apart, Bach and Handel never met. In 1719, Bach made the 35-kilometre (22 mi) journey from Köthen to Halle with the intention of meeting Handel, however Handel had left the town.[42] In 1730, Bach’s oldest son Wilhelm Friedemann travelled to Halle to invite Handel to visit the Bach family in Leipzig, but the visit did not come to pass.[43]

On 7 July 1720, while Bach was away in Carlsbad with Prince Leopold, Bach’s wife suddenly died.[44] The following year, he met Anna Magdalena Wilcke, a young, highly gifted soprano sixteen years his junior, who performed at the court in Köthen; they married on 3 December 1721.[45] Together they had thirteen more children, six of whom survived into adulthood: Gottfried Heinrich; Elisabeth Juliane Friederica (1726–81), who married Bach’s pupil Johann Christoph Altnickol; Johann Christoph Friedrich and Johann Christian, who both, especially Johann Christian, became significant musicians; Johanna Carolina (1737–81); and Regina Susanna (1742–1809).[46]

Leipzig (1723–50)

Café Zimmermann, Leipzig, where the Collegium Musicum performed

Bach’s grave and altar in theSt. Thomas Church, Leipzig

In 1723, Bach was appointed Thomaskantor, Cantor of the Thomasschule at the Thomaskirche (St. Thomas Church) in Leipzig, which provided music for four churches in the city, the Thomaskirche, the Nikolaikirche (St. Nicholas Church), and to a lesser extent theNeue Kirche (New Church) and the Peterskirche (St. Peter’s Church).[47] This was “the leading cantorate in Protestant Germany”,[48]located in the mercantile city in the Electorate of Saxony, which he held for twenty-seven years until his death. During that time he gained further prestige through honorary appointments at the courts of Köthen and Weissenfels, as well as that of the ElectorFrederick Augustus (who was also King of Poland) in Dresden.[48] Bach frequently disagreed with his employer, Leipzig’s city council, who he thought were “penny-pinching”.[49] After having been offered the position, Bach was invited to Leipzig only after Georg Philipp Telemann indicated that he would not be interested in relocating to Leipzig.[50] Telemann went to Hamburg where he “had his own struggles with the city’s senate”.[51]

Bach was required to instruct the students of the Thomasschule in singing and to provide church music for the main churches in Leipzig. Bach was required to teach Latin, but he was allowed to employ four “prefects” (deputies) to do this instead. The prefects also aided with musical instruction.[52] A cantata was required for the church services on Sundays and additional church holidays during theliturgical year. Bach usually led performances of his cantatas, most of which were composed within three years of his relocation to Leipzig. The first was Die Elenden sollen essen, BWV 75, performed in the Nikolaikirche on 30 May 1723, the first Sunday after Trinity. Bach collected his cantatas in annual cycles. Five are mentioned in obituaries, three are extant.[36] Of the more than three hundred cantatas which Bach composed in Leipzig, over one hundred have been lost to posterity.[3] Most of these concerted works expound on the Gospel readings prescribed for every Sunday and feast day in the Lutheran year. Bach started a second annual cycle the first Sunday after Trinity of 1724, and composed only chorale cantatas, each based on a single church hymn. These include O Ewigkeit, du Donnerwort, BWV 20, Wachet auf, ruft uns die Stimme, BWV 140, Nun komm, der Heiden Heiland, BWV 62, and Wie schön leuchtet der Morgenstern, BWV 1.

Bach drew the soprano and alto choristers from the School, and the tenors and basses from the School and elsewhere in Leipzig. Performing at weddings and funerals provided extra income for these groups; it was probably for this purpose, and for in-school training, that he wrote at least six motets.[53] As part of his regular church work, he performed other composers’ motets, which served as formal models for his own.[54]

Bach’s predecessor as Cantor, Johann Kuhnau, had also been music director for the Paulinerkirche, the church of Leipzig University. But when Bach was installed as Cantor in 1723, he was put in charge only of music for “festal” (church holiday) services at thePaulinerkirche; his petition to provide music also for regular Sunday services there (for a corresponding salary increase) went all the way up to the Elector but was denied. After this, in 1725, Bach “lost interest” in working even for festal services at the Paulinerkircheand appeared there only on “special occasions”.[55] The Paulinerkirche had a much better and newer (1716) organ than did theThomaskirche or the Nikolaikirche. Bach had been consulted officially about the 1716 organ after its completion, came from Köthen, and submitted a report.[56] Bach was not required to play any organ in his official duties, but it is believed he liked to play on thePaulinerkirche organ “for his own pleasure”.[57]

Bach broadened his composing and performing beyond the liturgy by taking over, in March 1729, the directorship of the Collegium Musicum, a secular performance ensemble started by Telemann. This was one of the dozens of private societies in the major German-speaking cities that was established by musically active university students; these societies had become increasingly important in public musical life and were typically led by the most prominent professionals in a city. In the words of Christoph Wolff, assuming the directorship was a shrewd move that “consolidated Bach’s firm grip on Leipzig’s principal musical institutions”.[58] Year round, the Leipzig’s Collegium Musicum performed regularly in venues such as the Café Zimmermann, a coffeehouse on Catherine Street off the main market square. Many of Bach’s works during the 1730s and 1740s were written for and performed by theCollegium Musicum; among these were parts of his Clavier-Übung (Keyboard Practice) and many of his violin and keyboard concertos.[15]

In 1733, Bach composed a mass for the Dresden court (Kyrie and Gloria) which he later incorporated in his Mass in B Minor. He presented the manuscript to the Elector in an eventually successful bid to persuade the prince to give him the title of Court Composer.[6] He later extended this work into a full mass, by adding a Credo, Sanctus, and Agnus Dei, the music for which was partly based on his own cantatas, partly newly composed. Bach’s appointment as Court Composer was part of his long-term struggle to achieve greater bargaining power with the Leipzig council. Between 1737 and 1739, Bach’s former pupil Carl Gotthelf Gerlach held the directorship of the Collegium Musicum.

In 1747, Bach visited the court of King Frederick II of Prussia at Potsdam. The king played a theme for Bach and challenged him to improvise a fugue based on his theme. Bach improvised a three-part fugue on one of Frederick’s fortepianos, then a novelty, and later presented the king with a Musical Offering consisting of fugues, canons, and a trio based on this theme. Its six-part fugue includes a slightly altered subject more suitable for extensive elaboration.

In the same year, Bach joined the Corresponding Society of the Musical Sciences (Correspondierende Societät der musikalischen Wissenschafften) of Lorenz Christoph Mizler. On the occasion of his entry into the Society, Bach composed the Canonic Variations on “Vom Himmel hoch da komm’ ich her” (BWV 769).[59] A portrait had to be submitted by each member of the Society, so in 1746, during the preparation of Bach’s entry, the famous Bach portrait was painted by Elias Gottlob Haussmann.[60] The Canon triplex á 6 Voc(BWV 1076) on this portrait was dedicated to the Society.[61] Other late works by Bach may also have a connection with the music theory based Society.[62] One of those works was The Art of Fugue, which consists of 18 complex fugues and canons based on a simple theme.[63] The Art of Fugue was only published posthumously in 1751.[64]

Bach’s last large work was the Mass in B minor (1748–49) which Stauffer describes as “Bach’s most universal church work. Consisting mainly of recycled movements from cantatas written over a thirty-five-year period, it allowed Bach to survey his vocal pieces one last time and pick select movements for further revision and refinement.”[18] Although the complete mass was never performed during the composer’s lifetime, it is considered to be among the greatest choral works of all time.[65]

Death (1750)

Bach’s health declined in 1749; on 2 June, Heinrich von Brühl wrote to one of the Leipzig burgomasters to request that his music director, Johann Gottlob Harrer, fill the Thomaskantor and Director musices posts “upon the eventual … decease of Mr. Bach”.[66] Bach was becoming blind, so the British eye surgeon John Taylor twice operated on Bach while visiting Leipzig in March and April 1750.[67]

On 28 July 1750, Bach died at the age of 65.[68] A contemporary newspaper reported “the unhappy consequences of the very unsuccessful eye operation” as the cause of death.[69] Spitta gives some details. He says that Bach died of “apoplexy”, a stroke. He, along with the newspaper, says that “Medical treatment associated with the [failed eye] operation had such bad effects that his health … was severely shaken” and Bach was left totally blind.[70] His son Carl Philipp Emanuel and his pupil Johann Friedrich Agricolaco-authored Bach’s obituary, which was published in 1754 in Mizler’s Musikalische Bibliothek.[71]

Bach’s estate included five harpsichords, two lute-harpsichords, three violins, three violas, two cellos, a viola da gamba, a lute and a spinet, along with 52 “sacred books”, including books by Martin Luther and Josephus.[72] He was originally buried at Old St. John’s Cemetery in Leipzig. His grave went unmarked for nearly 150 years, but in 1894, his remains were located and moved to a vault in St. John’s Church. This building was destroyed by Allied bombing during World War II, so in 1950 Bach’s remains were taken to their present grave in St. Thomas Church.[15] Later research has called into question whether the remains in the grave are actually those of Bach.[73]

Musical style

A handwritten note by Bach in his copy of the Calov Bible. The note next to 2 Chronicles 5:13 reads: “NB Bey einer andächtigen Musiq ist allezeit Gott mit seiner Gnaden Gegenwart” (N(ota) B(ene) In a music of worship God is always present with his grace)

O Haupt voll Blut und Wunden“: the four-part chorale setting as included in the St. Matthew Passion

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Bach re-interpreting older genres tied to the modal system

Bach’s guide on ornaments as contained in theKlavierbüchlein für Wilhelm Friedemann Bach

“Aria” of the Goldberg Variations, showing Bach’s use of ornaments – About this sound Audio

Sonata No. 3 in G minor for viola da gamba and harpsichord BWV 1029 performed by John Michel
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Continuo instruments moving to the front (here performed on cello and piano)

Keyboard Concerto No. 1 in D minor, BWV 1052 performed by the Fulda Symphonic Orchestra conducted by Simon Schindler with Johannes Volker Schmidt (piano)
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Keyboard concerto

Chaconne, 5th movement of Partita for Violin No. 2, BWV 1004
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written for violin like no other…

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…not less impressive as a piano piece

The Art of Fugue (title page) – Performed by Mehmet Okonsar on organ and harpsichord: About this sound Nos. 1–12About this sound Nos. 13–20

Double Violin Concerto in D minor BWV 1043 performed by the Advent Chamber Orchestra with David Perry and Roxana Pavel Goldstein (violins)
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A strictly contrapuntal composition (the two violins playing in canon throughout) in the guise of an Italian type of concerto

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Analysis of the counterpoint of the chorale prelude Herr Jesu Christ, dich zu uns wend’, BWV 632 (Orgelbüchlein)
File:Anàlisi contrapuntística fragment BWV 632 Herr Jesu Christ, dich zu uns wend'.ogv
the images of this video show the intertwining of melodies and motives, including the melody of the chorale “Herr Jesu Christ, dich zu uns wend’ (de)” (About this sound Audio)

To a large extent Bach’s musical style fits in the conventions of his day, which is the final stage of the baroque style. When his contemporaries, such as Handel, Telemann and Vivaldi wrote concertos he did so too. When they wrote suites, he did so too. Similar with recitatives followed by da capo arias, four-part choral music, use of basso continuo etc. The specifics of his style lie with characteristics such as his skill in contrapuntal invention and motivic control and his talent for writing tightly woven music of powerful sonority. From an early age he imbued himself with the compositions of his contemporaries and of prior generations, all of what was available from European composers, such as the French, the Italian, and those from all parts of Germany, and there is little of it that didn’t appear in his own music.[74]

Religious music was at the centre of Bach’s output for much of his life. The hundreds of sacred works he created are usually seen as manifesting not just his craft but a truly devout relationship with God.[75][76] He had taught Luther’s Small Catechismas the Thomaskantor in Leipzig, and some of his pieces represent it.[77] The Lutheran chorale was the basis of much of his work. In elaborating these hymns into his chorale preludes, he wrote more cogent and tightly integrated works than most, even when they were massive and lengthy.[citation needed] The large-scale structure of every major Bach sacred vocal work is evidence of subtle, elaborate planning to create a religiously and musically powerful expression. For example, the St Matthew Passion, like other works of its kind, illustrated the Passion with Bible text reflected in recitatives, arias, choruses, and chorales; but in crafting this work, Bach created an overall experience that has been found over the centuries since to be both musically thrilling and spiritually profound.[78]

Bach published or carefully compiled in manuscript many collections of pieces that explored the range of artistic and technical possibilities inherent in almost every genre of his time except opera. For example, the The Well-Tempered Claviercomprises two books, each of which presents a prelude and fugue in every major and minor key, displaying a dizzying variety of structural, contrapuntal and fugal techniques.[79]

Four-part harmony

Four-part harmonies predate Bach, but he lived during a time when modal music in Western tradition was largely supplanted in favour of the tonal system. In this system a piece of music progresses from one chord to the next according to certain rules, each chord being characterised by four notes. The principles of four-part harmony cannot only be found in Bach’s four-part choral music, but he also prescribes it for instance for the figured bass accompaniment.[80] The new system was at the core of Bach’s style, and his compositions are to a large extent considered as laying down the rules for the evolving scheme that would dominate musical expression in the next centuries. Some examples of this characteristic of Bach’s style and its influence:

  • When in the 1740s Bach staged his arrangement of Pergolesi‘s Stabat Mater he upgraded the viola part (that in the original composition plays unisono with the bass part) to fill out the harmony, thus conforming the composition to his four-part harmony style.[81]
  • When from the 19th century in Russia there was a discussion about the authenticity of four-part Court chant settings, compared to earlier Russian traditions, Bach’s four-part Chorale settings, such as those ending his Chorale cantatas, were considered as the model of the foreign influence: such influence was however deemed unavoidable.[82]

Bach putting his foot down on the tonal system, and contributing to its shaping, did not imply he was less at ease with the older modal system, and the genres associated with it: more than his contemporaries (who had “moved on” to the tonal system without much exception) Bach often returned to the then antiquated modi and genres. His Chromatic Fantasia and Fugue, re-emulating the chromatic fantasia genre, as used by earlier composers such as Dowland and Sweelinck, in D dorian mode (comparable to D minor in the tonal system), is an example of this.

Modulations

Modulations, changing key in the course of a piece, is another style characteristic where Bach goes beyond what was usual in his time. Baroque instruments vastly limited modulation possibilities: keyboard instruments, prior to a workable system oftemperament, limited the keys that could be modulated to, and wind instruments, especially brass instruments such astrumpets and horns, about a century before they were fitted with valves, were tied to the key of their tuning. Bach pushed the limits: he added “strange tones” in his organ playing, confusing the singing, according to an indictment he had to face in Arnstadt,[83] and Louis Marchand, another early experimenter with modulation, seems to have avoided confrontation with Bach because the latter went further than anyone had done before.[84] In the “Suscepit Israel” of his 1723 Magnificat he had the trumpets in E-flat play a melody in the enharmonic scale of C minor.[85]

The major development taking place in Bach’s time, and to which he contributed in no small way, was the development of a temperament for keyboard instruments that allowed to use these in all available keys (12 major and 12 minor), and which allowed modulating without retuning. Already his Capriccio on the departure of a beloved brother, a very early work, showed a gusto for modulation incomparable to any contemporary work this composition has been compared to,[86] but the full expansion came with The Well-Tempered Clavier, using all keys, which Bach seems to have been developing from around 1720, with the Klavierbüchlein für Wilhelm Friedemann Bach as one of its earliest witnesses.[87]

Ornamentation

The second page of the Klavierbüchlein für Wilhelm Friedemann Bach is an ornament notation and performance guide that Bach wrote for his eldest son, who was nine years old at the time. Bach was generally quite specific on ornamentation in his compositions (where in his time much of the ornamentation was not written out by composers, rather being considered a liberty of the performer),[88] and his ornamentation was often quite elaborate. For instance, the “Aria” of the Goldberg Variations has rich ornamentation in nearly every measure. Bach’s dealing with ornamentation can also be seen in a keyboard arrangement he made of Marcello‘s Oboe Concerto: he added written out ornamentation, which, some centuries later, is played by oboists when performing the concerto.

Although Bach did not write any opera, he was not averse to the genre, nor to its ornamented vocal style. In church music, Italian composers had imitated the operatic vocal style in genres such as the Neapolitan mass. In Protestant surroundings there was more reticence to adopt such style for liturgical music. For instance Kuhnau, Bach’s predecessor in Leipzig, had notoriously written against opera and Italianate virtuoso vocal music.[89] Bach was less imbued; one of the comments after a performance of his St Matthew Passion was that it all sounded much like opera.[90]

Giving soloist roles to continuo instruments

In concerted playing in Bach’s time the basso continuo, consisting of instruments such as organ, and/or viola da gamba and harpsichord, usually had the role of accompaniment: providing the harmonic and rhythmic foundation of a piece. From the late 1720s Bach had the organ play concertante (i.e. as soloist) with the orchestra in instrumental cantata movements,[91] a decade before Handel published his first organ concertos.[92] Apart from the 5th Brandenburg Concerto and the Triple Concerto, which already had harpsichord soloists in the 1720s, Bach wrote and arranged his harpsichord concertos in the 1730s,[93] and in his sonatas for viola da gamba and harpsichord neither instrument plays a continuo part: they are treated as equal soloists, way beyond the figured bass role. In this sense Bach played a key role in the development of genres such as the keyboard concerto.[94]

Instrumentation

Bach wrote virtuoso music for specific instruments, as well as music independent of instrumentation. For instance theSonatas and partitas for solo violin are considered the pinnacle of what has been written for this instrument, only within reach of accomplished players: the music fits the instrument, pushing it to the full scale of its possibilities, requiring virtuosity of the player, but without bravura. Notwithstanding that the music and the instrument seem inseparable, Bach made transcriptions for other instruments of some pieces of this collection. Similarly for the cello suites, the virtuoso music seems tailored for the instrument, the best of what is on offer for it, yet Bach made an arrangement for lute of one of these suites. Likewise for much of his most virtuoso keyboard music. Bach exploited the capabilities of an instrument to the fullest, while keeping the core of such music independent of the instrument on which it is performed.

In this sense it is no surprise that Bach’s music is easily and often performed on instruments it was not necessarily written for, that it is transcribed so often, and that his melodies turn up in unexpected places such as jazz music. Apart from that, Bach left a number of compositions without specified instrumentation: the Canons BWV 1072–1078 fall in that category, as well as the bulk of The Musical Offering and The Art of Fugue.[95]

Counterpoint

Another characteristic of Bach’s style is his extensive use of counterpoint (as opposed to the homophony used, for instance, in his four-part Chorale settings). Bach’s Canons and, most of all, his Fugues are most characteristic of this style: also here Bach did not invent the style, but his contribution to it was so fundamental that he defined it to a large extent. Fugues are as characteristic to Bach’s style, as, for instance, the Sonata form is characteristic to the composers of the Classical period.[96]

Not only these strictly contrapuntal compositions, but most of Bach’s music is characterised by distinct melodic lines for each of the voices, where the chords formed by the notes sounding at a given point follow the rules of four-part harmony. Forkel, Bach’s first biographer, gives this description of this feature of Bach’s music, that sets it apart from most other music:[97]

If the language of music is merely the utterance of a melodic line, a simple sequence of musical notes, it can justly be accused of poverty. The addition of a Bass puts it upon a harmonic foundation and clarifies it, but defines rather than gives it added richness. A melody so accompanied—even though all the notes are not those of the true Bass—or treated with simple embellishments in the upper parts, or with simple chords, used to be called “homophony.” But it is a very different thing when two melodies are so interwoven that they converse together like two persons upon a footing of pleasant equality. In the first case the accompaniment is subordinate, and serves merely to support the first or principal part. In the second case the two parts are not similarly related. New melodic combinations spring from their interweaving, out of which new forms of musical expression emerge. If more parts are interwoven in the same free and independent manner, the apparatus of language is correspondingly enlarged, and becomes practically inexhaustible if, in addition, varieties of form and rhythm are introduced. Hence harmony becomes no longer a mere accompaniment of melody, but rather a potent agency for augmenting the richness and expressiveness of musical conversation. To serve that end a simple accompaniment will not suffice. True harmony is the interweaving of several melodies, which emerge now in the upper, now in the middle, and now in the lower parts.

From about the year 1720, when he was thirty-five, until his death in 1750, Bach’s harmony consists in this melodic interweaving of independent melodies, so perfect in their union that each part seems to constitute the true melody. Herein Bach excels all the composers in the world. At least, I have found no one to equal him in music known to me. Even in his four-part writing we can, not infrequently, leave out the upper and lower parts and still find the middle parts melodious and agreeable.

Structure, lyrics

Bach devoted more attention than his contemporaries to the structure of compositions. This can be seen in minor adjustments he made when adopting someone else’s composition, for example his earliest version of the “Keiser” St Mark Passion, where he enhances scene transitions,[98] and in the architecture of his own compositions such as his Magnificat,[85]and his Leipzig Passions. In the last years of his life Bach would revise several of his prior compositions, often the recasting of such previously composed music in an enhanced structure being the most visible change, for example the Mass in B minor. Bach’s known preoccupation with structure led, peaking around the 1970s, to various numerological analyses of his compositions, although many such over-interpretations were later rejected, especially when wandering off in symbolism-ridden hermeneutics.[99][100]

The librettos, that is the lyrics, for his vocal compositions played an important role for Bach: he sought collaboration with various text authors for his cantatas and major vocal compositions, eventually writing or adapting such texts himself to make them fit in the structure of the composition he was designing, when he could not lean on the talents of other text authors. His collaboration with Picander for the St Matthew Passion libretto is best known, but there was a similar process to come to a multi-layered structure for his St John Passion libretto a few years earlier.[101]

Compositions

Bach’s autograph of the recitative with the gospel text of Christ’s death from St Matthew Passion. (Matthew 27:45–47a)

Christmas Oratorio: printed edition of the libretto

Cantata Wachet auf, ruft uns die Stimme, BWV 140 performed by the MIT Concert Choir conducted by W. Cutter







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performed by Solomija Drozd (voice), Petro Titiajev (violin) and Ivan Ostapovych (organ)

Prelude and Fugue in A minor, BWV 543 performed by Noah Horn on the 1974 Dirk A. Flentrop organ at the Oberlin Conservatory of Music
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Title page of The Well-Tempered Clavier, book 1 –About this sound Prelude No. 1 in C major BWV 846 performed on harpsichord by Robert Schröter

Italian Concerto BWV 971 performed by Martha Goldstein
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Title page of the Goldberg Variations – performed by Mehmet Okonsar, piano: About this sound Aria and Variation 1–9About this sound Variation 10–22About this sound Variation 23–30 and Aria da capo

Title page of Anna Magdalena Bach‘s copy of the cello suites – Cello Suite No. 1 BWV 1007 performed by John Michel: About this sound 1. PreludeAbout this sound 2. AllemandeAbout this sound 3. CouranteAbout this sound 4. SarabandeAbout this sound 5. MinuetsAbout this sound 6. Gigue

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Some of Bach’s most popular melodies are, more often than not, heard in various arrangements:
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“Air”, 2nd movement from Orchestral Suite No. 3 in D major, BWV 1068, performed in a Air on the G Stringadaptation by Capella Istropolitanaconducted by Oliver von Dohnányi(courtesy of Naxos)

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The Aria “Schafe können sicher weiden” (Sheep May Safely Graze), No. 9 from the Hunting Cantata, BWV 208: composed for soprano, recorders and continuo the music of this movement exists in a variety of instrumental arrangements.

In 1950 Wolfgang Schmieder published a thematic catalogue called Bach-Werke-Verzeichnis (Bach Works Catalogue).[102]Schmieder largely followed the Bach-Gesellschaft-Ausgabe, a comprehensive edition of the composer’s works that was produced between 1850 and 1900. In the original catalogue BWV 1–224 are cantatas, BWV 225–231 are motets, BWV 232–243 are liturgical compositions in Latin, BWV 232–243 are Passions and Oratorios, BWV 250–438 are four-part chorales,BWV 439–524 are small vocal works, BWV 525–771 are organ compositions, BWV 772–994 are other keyboard works, BWV 995–1000 are lute compositions, BWV 1001–1040 is other chamber music, BWV 1041–1071 is orchestral music, BWV 1072–1078 are canons and BWV 1079–1080 are late contrapuntal works. BWV 1081–1126 were added to the catalogue in the second half of the 20th century and BWV 1127 and higher were still later additions.[103]

Passions and oratorios

Bach composed Passions for Good Friday services and oratorios such as the Christmas Oratorio, which is a set of six cantatas for use in the liturgical season of Christmas.[104][105][106] Shorter oratorios are the Easter Oratorio and theAscension Oratorio.

St Matthew Passion

With its double choir and orchestra the St Matthew Passion is one of Bach’s most extended works.

St John Passion

See also: St John Passion

The St John Passion was the first Passion Bach composed during his tenure as Thomaskantor in Leipzig.

Cantatas

According to his obituary Bach would have composed five year cycles of sacred cantatas, and additional church cantatas for instance for weddings and funerals.[71] Of these sacred works around 200 are extant, which is estimated as around two thirds of the total number of church cantatas he composed.[3][107] The Bach Digital website lists 50 known secular cantatas by the composer,[108] about half of which are extant or largely reconstructable.[109]

Church cantatas

Bach’s cantatas vary greatly in form and instrumentation, including those for solo singers, single choruses, small instrumental groups, and grand orchestras. Many consist of a large opening chorus followed by one or more recitative-aria pairs for soloists (or duets) and a concluding chorale. The melody of the concluding chorale often appears as a cantus firmus in the opening movement.

Bach’s earliest cantatas date from his years in Arnstadt and Mühlhausen. The earliest one with a known date is Christ lag in Todes Banden, BWV 4, for Easter 1707, which is one of his chorale cantatas.[110] Gottes Zeit ist die allerbeste Zeit, BWV 106, a.k.a. Actus Tragicus, is a funeral cantata from the Mühlhausen period.[111] Around 20 church cantatas are extant from his later years in Weimar, for instance Ich hatte viel Bekümmernis, BWV 21.[112]

After taking up his office as Thomaskantor late May 1723, Bach performed a cantata each Sunday and feast day that corresponded to the lectionary readings of the week.[15] His first cantata cycle ran from the first Sunday after Trinity of 1723 to Trinity Sunday the next year. For instance the Visitation cantata Herz und Mund und Tat und Leben, BWV 147, containing the chorale that is known in English as “Jesu, Joy of Man’s Desiring”, belongs to this first cycle. The cantata cycle of his second year in Leipzig is called the chorale cantata cycle as it is mainly consisting of works in the chorale cantata format. His third cantata cycle was developed over a period of several years, followed by the Picander cycle of 1728–29.

Later church cantatas include the chorale cantatas Ein feste Burg ist unser Gott, BWV 80 (final version)[113] and Wachet auf, ruft uns die Stimme, BWV 140.[114] Only the first three Leipzig cycles are more or less completely extant. Apart from his own work, Bach also performed cantatas by Telemann and by his distant relative Johann Ludwig Bach.[15]

Secular cantatas

Bach also wrote secular cantatas, for instance for members of the Royal-Polish and Prince-electoral Saxonian family (e.g.Trauer-Ode),[115] or other public or private occasions (e.g. Hunting Cantata).[116] The text of these cantatas was occasionally in dialect (e.g. Peasant Cantata)[117] or in Italian (e.g. Amore traditore).[118] Many of the secular cantatas went lost, but for some of these the text and the occasion are known, for instance when Picander later published their libretto (e.g. BWVAnh. 1112).[119] Some of the secular cantatas had a plot carried by mythological figures of Greek antiquity (e.g. Der Streit zwischen Phoebus und Pan),[120] others were almost miniature buffo operas (e.g. Coffee Cantata).[121]

A cappella music

Bach’s a cappella music includes motets and chorale harmonisations.

Motets

Main article: Motets (Bach)

Bach’s motets (BWV 225–231) are pieces on sacred themes for choir and continuo, with instruments playing colla parte. Several of them were composed for funerals.[122] The six motets certainly composed by Bach are Singet dem Herrn ein neues Lied, Der Geist hilft unser Schwachheit auf, Jesu, meine Freude, Fürchte dich nicht, Komm, Jesu, komm, and Lobet den Herrn, alle Heiden. The motet Sei Lob und Preis mit Ehren (BWV 231) is part of the composite motet Jauchzet dem Herrn, alle Welt (BWV Anh. 160), other parts of which may be based on work by Telemann.[123]

Chorale harmonisations

Bach wrote hundreds of four-part harmonisations of Lutheran chorals.

Church music in Latin

Bach church music in Latin includes his Magnificat, four Kyrie–Gloria Masses, and his Mass in B minor.

Magnificat

The first version of Bach’s Magnificat dates from 1723, but the work is best known in its D major version of 1733.

Mass in B minor

See also: Mass in B minor

In 1733 Bach composed a Kyrie–Gloria Mass for the Dresden court. Near the end of his life, around 1748–49 he expanded this composition into the large scale Mass in B minor. The work was never performed in full during Bach’s lifetime.[124][125]

Keyboard music

Bach wrote for the organ and other keyboard instruments of his day, mainly the harpsichord, but also the clavichord and his personal favourite: the lute-harpsichord (the compositions listed as works for the lute, BWV 995-1000 and 1006a were probably written for this instrument).

Organ works

Bach was best known during his lifetime as an organist, organ consultant, and composer of organ works in both the traditional German free genres—such as preludes, fantasias, and toccatas—and stricter forms, such as chorale preludes and fugues.[15]At a young age, he established a reputation for his great creativity and ability to integrate foreign styles into his organ works. A decidedly North German influence was exerted by Georg Böhm, with whom Bach came into contact in Lüneburg, and Dieterich Buxtehude, whom the young organist visited in Lübeck in 1704 on an extended leave of absence from his job in Arnstadt. Around this time, Bach copied the works of numerous French and Italian composers to gain insights into their compositional languages, and later arranged violin concertos by Vivaldi and others for organ and harpsichord. During his most productive period (1708–14) he composed about a dozen pairs of preludes and fugues, five toccatas and fugues, and the Little Organ Book, an unfinished collection of forty-six short chorale preludes that demonstrates compositional techniques in the setting of chorale tunes. After leaving Weimar, Bach wrote less for organ, although some of his best-known works (the six trio sonatas, the German Organ Mass in Clavier-Übung III from 1739, and the Great Eighteen chorales, revised late in his life) were composed after his leaving Weimar. Bach was extensively engaged later in his life in consulting on organ projects, testing newly built organs, and dedicating organs in afternoon recitals.[126][127] The Canonic Variations on “Vom Himmel hoch da komm’ ich her” and the Schübler Chorales are organ works Bach published in the last years of his life.

Harpsichord and clavichord

Bach wrote many works for harpsichord, some of which may have been played on the clavichord. The larger works are usually intended for a harpsichord with two manuals, while performing them on a keyboard instrument with a single manual (like a piano) may provide technical difficulties for the crossing of hands. Many of his keyboard works are anthologies that encompass whole theoretical systems in an encyclopaedic fashion.

  • The Well-Tempered Clavier, Books 1 and 2 (BWV 846–893). Each book consists of a prelude and fugue in each of the 24 major and minor keys in chromatic order from C major to B minor (thus, the whole collection is often referred to as “the 48”). “Well-tempered” in the title refers to the temperament (system of tuning); many temperaments before Bach’s time were not flexible enough to allow compositions to utilise more than just a few keys.[128][129]
  • The Inventions and Sinfonias (BWV 772–801). These short two- and three-part contrapuntal works are arranged in the same chromatic order as The Well-Tempered Clavier, omitting some of the rarer keys. These pieces were intended by Bach for instructional purposes.[130]
  • Three collections of dance suites: the English Suites (BWV 806–811), the French Suites (BWV 812–817), and the Partitas for keyboard (Clavier-Übung I, BWV 825–830). Each collection contains six suites built on the standard model (AllemandeCouranteSarabande–(optional movement)–Gigue). The English Suites closely follow the traditional model, adding a prelude before the allemande and including a single movement between the sarabande and the gigue.[131] The French Suites omit preludes, but have multiple movements between the sarabande and the gigue.[132] The partitas expand the model further with elaborate introductory movements and miscellaneous movements between the basic elements of the model.[133]
  • The Goldberg Variations (BWV 988), an aria with thirty variations. The collection has a complex and unconventional structure: the variations build on the bass line of the aria, rather than its melody, and musical canons are interpolated according to a grand plan. There are nine canons within the thirty variations, every third variation is a canon.[134] These variations move in order from canon at the unison to canon at the ninth. The first eight are in pairs (unison and octave, second and seventh, third and sixth, fourth and fifth). The ninth canon stands on its own due to compositional dissimilarities. The final variation, instead of being the expected canon at the tenth, is a quodlibet.
  • Miscellaneous pieces such as the Overture in the French Style (French Overture, BWV 831) and the Italian Concerto(BWV 971) (published together as Clavier-Übung II), and the Chromatic Fantasia and Fugue (BWV 903).

Among Bach’s lesser known keyboard works are seven toccatas (BWV 910–916), four duets (BWV 802–805), sonatas for keyboard (BWV 963–967), the Six Little Preludes (BWV 933–938), and the Aria variata alla maniera italiana (BWV 989).

Orchestral and chamber music

Bach wrote for single instruments, duets, and small ensembles. Many of his solo works, such as his six sonatas and partitas for violin (BWV 1001–1006) and his six cello suites (BWV 1007–1012), are widely considered among the most profound in the repertoire.[135] He wrote sonatas for a solo instrument such as the viola de gamba accompanied by harpsichord or continuo, as well as trio sonatas (two instruments and continuo).

The Musical Offering and The Art of Fugue are late contrapuntal works containing pieces for unspecified (combinations of) instruments.

Violin concertos

Surviving works in the concerto form include two violin concertos (BWV 1041 in A minor and BWV 1042 in E major) and a concerto for two violins in D minor, BWV 1043, often referred to as Bach’s “double” concerto.

Brandenburg Concertos

For more details on this topic, see Brandenburg Concertos.

Bach’s best-known orchestral works are the Brandenburg Concertos, so named because he submitted them in the hope of gaining employment from Margrave Christian Ludwig of Brandenburg-Schwedt in 1721; his application was unsuccessful.[15]These works are examples of the concerto grosso genre.

Keyboard concertos

For more details on this topic, see Keyboard concertos by Johann Sebastian Bach.

Bach composed and transcribed concertos for one to four harpsichords. Many of the harpsichord concertos were not original works, but arrangements of his concertos for other instruments now lost.[136] A number of violin, oboe, and flute concertos have been reconstructed from these.

Orchestral suites

In addition to concertos, Bach wrote four orchestral suites, each suite being a series of stylised dances for orchestra, preceded by a French overture.[137]

Copies, arrangements and works with an uncertain attribution

See also: BWV Anh.

In his early youth Bach copied pieces by other composers to learn from them.[138] Later he copied and arranged music for performance and/or as study material for his pupils. Some of these pieces, like “Bist du bei mir” (not even copied by Bach but by Anna Magdalena), became famous before being dissociated with Bach. Bach copied and arranged Italian masters such as Vivaldi (e.g. BWV 1065), Pergolesi (BWV 1083) and Palestrina (Missa Sine nomine), French masters such as François Couperin (BWV Anh. 183), and closer to home various German masters, including Telemann (e.g. BWV 824=TWV 32:14) and Handel (arias from Brockes Passion), and music from members of his own family. Then he also often copied and arranged his own music (e.g. BWV 233–236), as likewise his music was copied and arranged by others. Some of these arrangements, like the late 19th-century “Air on the G string” helped in popularising Bach’s music.

Sometimes it wasn’t clear who copied who. For instance, Forkel mentions a Mass for double chorus among the works composed by Bach. The work was published and performed in the early 19th century, and although a score partially in Bach’s handwriting exists, the work was later considered spurious.[139] In 1950 the setup of the Bach-Werke-Verzeichnis was to keep such works out of the main catalogue: if there was a strong association with Bach they could be listed in its appendix (in German: Anhang, abbreviated as Anh.), so, for instance, the aforementioned Mass for double chorus became BWV Anh. 167. This was however far from the end of attribution issues, for instanceSchlage doch, gewünschte Stunde, BWV 53 was later re-attributed to Melchior Hoffmann. For other works, Bach’s authorship was put in doubt without a generally accepted answer to the question whether or not he composed it: the best known organ composition in the BWV catalogue, the Toccata and Fugue in D minor, BWV 565 was indicated as one of these uncertain works in the late 20th century.[140]

Reception

First page of Bach’s Nekrolog by Carl Philipp Emanuel Bach and Johann Friedrich Agricola, as published in Mizler’sMusikalische Bibliothek, Volume IV Part 1 (1754). Despite the errors contained in it, this obituary of less than 20 pages is arguably “the richest and most trustworthy” source on Bach produced before the 19th century.[141]

Throughout the 18th century the appreciation of Bach’s music was mostly limited to distinguished connoisseurs. The 19th century started with the first biography of the composer being published and ended with the completion of the publication of all of Bach’s known works by the Bach Gesellschaft. A Bach Revival had started from Mendelssohn‘s performance of the St. Matthew Passion in 1829. Soon after the 1829 performance Bach started to become regarded as one of the greatest composers of all times, if not the greatest, a reputation he kept ever since. A new extensive Bach biography was published in the second half of the 19th century.

In the 20th century Bach’s music was widely performed and recorded, while, among others, the Neue Bachgesellschaft published its research on the composer. Modern adaptations of Bach’s music contributed greatly to Bach’s popularisation in the second half of the 20th century. Among these were the Swingle Singers‘ versions of Bach pieces (for instance, the “Air” from Orchestral Suite No. 3, or the Wachet Auf… chorale prelude) and Wendy Carlos‘ 1968 Switched-On Bach, which used the Moog electronic synthesiser.

By the end of the 20th century more classical performers were gradually moving away from the performance style and instrumentation that were established in the romantic era: they started to perform Bach’s music on period instruments of the baroque era, studied and practised playing techniques and tempi as established in Bach’s time, and reduced the size of instrumental ensembles and choirs to what Bach would have used. The BACH motif, used by the composer in his own compositions, was used in dozens of tributes to the composer from the 19th century to the 21st. In the 21st century the complete extant output of the composer became available on-line with several websites exclusively dedicated to him.

18th century

Image of the Bach memorial (de) Felix Mendelssohn had erected in Leipzig in 1843

1908 Statue of Bach in front of the Thomaskirche in Leipzig

In his own time Bach’s reputation equalled those of Telemann, Graun and Handel.[142] During his life Bach received public recognition such as the title of court composer by Augustus III of Poland, and the appreciation he was shown by Frederick the Great and Herman Karl von Keyserling. Such high placed appreciation contrasted with the humiliations he had to cope with for instance in his hometown Leipzig.[143] Also in the contemporary press Bach had his detractors such as Johann Adolf Scheibe, suggesting he write less complex music, and his supporters such as Johann Mattheson and Lorenz Christoph Mizler.[144][145][146]

After his death, Bach’s reputation as a composer at first declined: his work was regarded as old-fashioned compared to the emerginggalant style.[147] Initially he was remembered more as a virtuoso player of the organ and as a teacher. The bulk of the music that had been printed during the composer’s lifetime, at least the part that was remembered, was music for organ and harpsichord. Thus his reputation as a composer was initially mostly limited to his keyboard music, and that even fairly limited to its value in music education.

Bach’s surviving family members, who inherited a large part of his manuscripts, were not all equally concerned with preserving them, leading to considerable losses.[148] Carl Philipp Emanuel, his second eldest son, was most active in safeguarding his father’s legacy: he co-authored his father’s obituary, contributed to the publication of his four-part chorales,[149] staged some of his works, and the bulk of previously unpublished works of his father were preserved through his hands.[150] Wilhelm Friedemann, the eldest son, performed several of his father’s cantatas in Halle, but after becoming unemployed sold part of the large collection of his father’s works he owned.[151][152][153] Several students of the old master, such as his son-in-law Johann Christoph Altnickol, Johann Friedrich Agricola, Johann Kirnberger and Johann Ludwig Krebs, contributed to the dissemination of his legacy. The early devotees weren’t all musicians, for example in Berlin, Daniel Itzig, a high official of Frederick the Great’s court, venerated Bach.[154] His eldest daughters took lessons from Kirnberger; their sister Sara from Wilhelm Friedemann Bach who was in Berlin from 1774 to 1784.[154][155] Sara Itzig Levy became an avid collector of works by Johann Sebastian Bach and his sons and was a “patron” of CPE Bach.[155]

While in Leipzig performances of Bach’s church music were limited to some of his motets and, under cantor Doles, some of his Passions,[156] a new generation of Bach aficionados emerged: they studiously collected and copied his music, including some of his large-scale works such as the Mass in B minor, and performed it privately. One such connoisseur was Gottfried van Swieten, a high-ranked Austrian official who was instrumental in passing Bach’s legacy to the composers of the Viennese school. Haydn owned manuscript copies of the Well-Tempered Clavier and the Mass in B minor, and was influenced by Bach’s music. Mozart owned a copy of one of Bach’s motets,[157] transcribed some of his instrumental works (K. 404a, 405),[158][159] and wrote contrapuntal music influenced by his style.[160][161] Beethoven played the entire Well-Tempered Clavier by the time he was eleven, and described Bach as “Urvater der Harmonie” (progenitor of harmony).[162][163][164][165][166]

19th century

The church in Arnstadt where Bach had been the organist from 1703 to 1707. In 1935 the church was renamed to “Bachkirche”

28 July 1950: memorial service for Bach in Leipzig’s Thomaskirche, on the 200th anniversary of the composer’s death

In 1802 Johann Nikolaus Forkel published Ueber Johann Sebastian Bachs Leben, Kunst und Kunstwerke, the first biography of the composer, which contributed to the composer becoming known to a wider public.[167] In 1805 Abraham Mendelssohn, who had married one of Itzig’s granddaughters, bought a substantial collection of Bach manuscripts that had come down from C. P. E. Bach, and donated these to the Berlin Sing-Akademie.[154] The Sing-Akademie occasionally performed Bach’s works in public concerts, for instance his first keyboard concerto, with Sara Itzig Levy at the piano.[154]

The first decades of the 19th century saw an increasing number of first publications of Bach’s music: Breitkopf started publishing chorale preludes,[168] Hoffmeister harpsichord music,[169] and the Well-Tempered Clavier was printed concurrently by Simrock (Germany), Nägeli (Switzerland) and Hoffmeister (Germany and Austria) in 1801.[170] Also vocal music: Motets in 1802 and 1803, followed by the E major version of the Magnificat, the Kyrie-Gloria Mass in A major, and the cantata Ein feste Burg ist unser Gott(BWV 80).[171] In 1818 Hans Georg Nägeli called the Mass in B Minor the greatest composition ever.[162] Bach’s influence was felt in the next generation of early Romantic composers.[163] When Felix Mendelssohn, Abraham’s son, aged 13, produced his firstMagnificat setting in 1822 it was clear that he was inspired by the then unpublished D major version of Bach’s Magnificat.[172]

Felix Mendelssohn significantly contributed to the renewed interest in Bach’s work with his 1829 Berlin performance of the St Matthew Passion, instrumental in setting off what has been called the Bach Revival. The St John Passion saw its 19th-century premiere in 1833, and the first performance of the Mass in B minor followed in 1844. Besides these and other public performances and an increased coverage on the composer and his compositions in printed media, the 1830s and 40s also saw the first publication of more vocal works by Bach: six cantatas, the St Matthew Passion and the Mass in B minor. A series of organ compositions saw their first publication in 1833.[173] Chopin started composing his 24 Preludes, Op. 28, inspired by the Well-Tempered Clavier, in 1835, andSchumann published his Sechs Fugen über den Namen B-A-C-H in 1845. Bach’s music was transcribed and arranged to suit contemporary taste and performance practice by composers such as Carl Friedrich Zelter, Robert Franz, and Franz Liszt, or combined with new music such as the melody line of Charles Gounod‘s Ave Maria.[162][174] Brahms, Bruckner, and Wagner were among the composers that promoted Bach’s music or wrote glowingly about it.

In 1850, the Bach-Gesellschaft (Bach Society) was founded to promote Bach’s music. In the second half of the 19th century the Society published a comprehensive edition of the composer’s works. Also in the second half of the 19th century, Philipp Spittapublished Johann Sebastian Bach, the standard work on Bach’s life and music.[175] By that time Bach was known as the first of thethree Bs in music. Throughout the 19th century 200 books were published on Bach. By the end of the century local Bach societies were initiated in several cities, and Bach’s music had been performed in all major musical centres.[162]

In Germany all throughout the century Bach had been coupled to nationalist feelings, and the composer was inscribed in a religious revival. In England, Bach was coupled to an already existing revival of religious and baroque music. By the end of the century, Bach was firmly established as one of the greatest composers, recognised for both his instrumental and his vocal music.[162]

20th century

Bosehaus in Leipzig where the Bach Archive has been housed since 1985

During the 20th century, the process of recognising the musical as well as the pedagogic value of some of the works continued, perhaps most notably in the promotion of the cello suites by Pablo Casals, the first major performer to record these suites.[176]Leading performers of classical music, such as Herbert von Karajan, Arthur Grumiaux, Helmut Walcha, Wanda Landowska, Karl Richter, I Musici, Dietrich Fischer-Dieskau, Glenn Gould, and many others recorded music of Bach.

A significant development in the later part of the 20th century was the momentum gained by the historically informed performancepractice, with forerunners such as Nikolaus Harnoncourt acquiring prominence by their performances of Bach’s music. Bach’s keyboard music was again rather performed on the instruments Bach knew instead of on modern pianos and 19th century romantic organs. Ensembles playing and singing Bach’s music not only kept to the instruments and the performance style of Bach’s day, they were also reduced to the size of the groups Bach used for his performances.[177] But that was far from the only way Bach’s music came to the forefront in the 20th century: his music was heard in versions ranging from Ferruccio Busoni‘s late romantic piano transcriptions, jazzy interpretations such as those by the Swingle Singers, and orchestrations such as the one opening Walt Disney‘sFantasia movie, to synthesiser performances such as Wendy CarlosSwitched-On Bach recordings.

Bach’s music has been taken up in other genres. For instance, jazz musicians have adopted Bach’s music, with Jacques Loussier, Ian Anderson, Uri Caine, and the Modern Jazz Quartet among those creating jazz versions of Bach works.[178] Several 20th century composers referred to Bach or his music, for instance Eugène Ysaÿe in his Six Sonatas for solo violin, Dmitri Shostakovich in his 24 Preludes and Fugues and Heitor Villa-Lobos in his Bachianas Brasileiras. All kinds of publications involved Bach: not only were there the Bach Jahrbuch publications of the Neue Bachgesellschaft, various other studies and biographies, by among others Albert Schweitzer, Charles Sanford Terry, John Butt, Christoph Wolff, and the 1950 first edition of the Bach Werke Verzeichnis, but also books such as Gödel, Escher, Bach put the composer’s art in a wider perspective. Bach’s music was extensively listened to, performed, broadcast, arranged, adapted, and commented upon in the 1990s.[179] Around 2000, the 250th anniversary of Bach’s death, three record companies issued box sets with complete recordings of Bach’s music.[180][181][182]

Bach’s music features three times—more than that of any other composer—on the Voyager Golden Record, a gramophone record containing a broad sample of the images, common sounds, languages, and music of Earth, sent into outer space with the two Voyagerprobes.[183] Tributes to Bach in the 20th century include statues erected in his honour, and a variety of things, such as streets and space objects, being named after him.[184][185] Also a multitude of musical ensembles such as the Bach Aria Group, the Deutsche Bachsolisten, the Bachchor Stuttgart, and the Bach Collegium Japan adopted the composer’s name. Bach festivals were held in several continents, and competitions and prizes such as the International Johann Sebastian Bach Competition and the Royal Academy of Music Bach Prize were named after the composer. Where by the end of the 19th century Bach had been inscribed in nationalism and religious revival, the late 20th century saw Bach as the subject of a secularised Art-as-religion (Kunstreligion).[162][179]

21st century

Mark Rutte, prime minister of the Netherlands, along with the rest of the public awaiting the start of a 2011 performance of the St. Matthew Passion

In the 21st century Bach’s compositions became available on-line, for instance at the International Music Score Library Project.[186]High resolution facsimiles of Bach’s autographs became available at the Bach digital website.[187] Websites dedicated exclusively to the composer or parts of his music include jsbach.org,[188] and the Bach Cantatas Website.[189]

21st-century biographers include Peter Williams and the conductor John Eliot Gardiner.[190][191][192] Also in this century, overviews of what is best in classical music typically include a lot of Bach. For example, in The Telegraph‘s list of the 168 best classical music recordings, Bach’s music is featured in more recordings than that of any other composer.[193]

Recognition in Protestant churches

The liturgical calendar of the Episcopal Church remembers Bach annually with a feast day on 28 July, together with George Frideric Handel and Henry Purcell; the Calendar of Saints of the Lutheran Church, on the same day remembers Bach and Handel withHeinrich Schütz.

Classical Music

Classical music

From Wikipedia, the free encyclopedia
This article is about Western art music from c. 1000 AD to the present. For Western art music from 1750 to 1820, see Classical period (music). For other “classical” and art music traditions, see List of classical and art music traditions. For the magazine, see Classical Music (magazine).

Classical music is art music produced or rooted in the traditions of Western music, including both liturgical(religious) and secular music. While a more accurate term is also used to refer to the period from 1750 to 1820 (theClassical period), this article is about the broad span of time from roughly the 11th century to the present day, which includes the Classical period and various other periods.[1] The central norms of this tradition became codified between 1550 and 1900, which is known as the common practice period. The major time divisions of Western art music are as follows: the early music period, which includes the Medieval (500–1400) and the Renaissance (1400–1600) eras; the Common practice period, which includes the Baroque (1600–1750), Classical (1750–1820), andRomantic eras (1804–1910); and the 20th century (1901–2000) which includes the modern (1890–1930) that overlaps from the late 19th-century, the high modern (mid 20th-century), and contemporary or postmodern (1975–present) eras.[citation needed]

European art music is largely distinguished from many other non-European and some popular musical forms by its system of staff notation, in use since about the 16th century.[2] Western staff notation is used by composers to indicate to the performer the pitches (e.g., melodies, basslines, chords), tempo, meter and rhythms for a piece of music. This can leave less room for practices such as improvisation and ad libitum ornamentation, which are frequently heard in non-European art music and in popular-music[3][4][5] styles such as jazz and blues. Another difference is that whereas most popular styles adopt the song (strophic) form, classical music has been noted for its development of highly sophisticated forms of instrumental music such as the concerto, symphony, sonata, and mixed vocal and instrumental styles such as opera[6] which, since they are written down, can sustain larger forms and attain a high level of complexity.[7]

The term “classical music” did not appear until the early 19th century, in an attempt to distinctly canonize the period from Johann Sebastian Bach to Beethoven as a golden age.[8] The earliest reference to “classical music” recorded by the Oxford English Dictionary is from about 1836.[1][9]

Characteristics[edit]

Given the wide range of styles in classical music, from Medieval plainchant sung by monks to Classical and Romantic symphonies for orchestra from the 1700s and 1800s to avant-garde atonal compositions for solo piano from the 1900s, it is difficult to list characteristics that can be attributed to all works of that type. However, there are characteristics that classical music contains that few or no other genres of music contain,[10] such as the use of a printed score and the performance of very complex instrumental works (e.g., the fugue). As well, although the symphony did not exist through the entire classical music period, from the mid-1700s to the 2000s the symphony ensemble—and the works written for it—have become a defining feature of classical music.

Literature[edit]

The key characteristic of classical music that distinguishes it from popular music and folk music is that the repertoire tends to be written down in musical notation, creating a musical part or score. This score typically determines details of rhythm, pitch, and, where two or more musicians (whether singers or instrumentalists) are involved, how the various parts are coordinated. The written quality of the music has enabled a high level of complexity within them: J.S. Bach‘s fugues, for instance, achieve a remarkable marriage of boldly distinctive melodic lines weaving in counterpoint yet creating a coherent harmonic logic that would be impossible in the heat of live improvisation.[7] The use of written notation also preserves a record of the works and enables Classical musicians to perform music from many centuries ago. Musical notation enables 2000s-era performers to sing a choral work from the 1300s Renaissance era or a 1700s Baroque concerto with many of the features of the music (the melodies, lyrics, forms, and rhythms) being reproduced.

That said, the score does not provide complete and exact instructions on how to perform a historical work. Even if the tempo is written with an Italian instruction (e.g., Allegro), we do not know exactly how fast the piece should be played. As well, in the Baroque era, many works that were designed for basso continuo accompaniment do not specify which instruments should play the accompaniment or exactly how the chordal instrument (harpsichord, lute, etc.) should play the chords, which are not notated in the part (only afigured bass symbol beneath the bass part is used to guide the chord-playing performer). The performer and the conductor have a range of options for musical expression and interpretation of a scored piece, including the phrasing of melodies, the time taken during fermatas (held notes) or pauses, and the use (or choice not to use) of effects such as vibrato or glissando (these effects are possible on various stringed, brass and woodwind instruments and with the human voice).

Although Classical music in the 2000s has lost most of its tradition for musical improvisation, from the Baroque era to the Romantic era, there are examples of performers who could improvise in the style of their era. In the Baroque era, organ performers would improvise preludes, keyboard performers playing harpsichord would improvise chords from the figured bass symbols beneath the bass notes of the basso continuo part and both vocal and instrumental performers would improvise musical ornaments.[11] J.S. Bach was particularly noted for his complex improvisations.[12] During the Classical era, the composer-performer Mozart was noted for his ability to improvise melodies in different styles.[13] During the Classical era, some virtuoso soloists would improvise the cadenza sections of a concerto. During the Romantic era, Beethoven would improvise at the piano.[14] For more information, see Improvisation.

Instrumentation and vocal practices[edit]

The instruments currently used in most classical music were largely invented before the mid-19th century (often much earlier) and codified in the 18th and 19th centuries. They consist of the instruments found in an orchestra or in a concert band, together with several other solo instruments (such as the piano, harpsichord, and organ). The symphony orchestra is the most widely known medium for classical music[15] and includes members of the string, woodwind, brass, and percussion families of instruments. The concert band consists of members of the woodwind, brass, and percussion families. It generally has a larger variety and amount of woodwind and brass instruments than the orchestra but does not have a string section. However, many concert bands use a double bass. The vocal practices changed over the classical period, from the single line monophonicGregorian chant done by monks in the Medieval period to the complex, polyphonic choral works of the Renaissance and subsequent periods, which used multiple independent vocal melodies at the same time.

Medieval music[edit]

Many of the instruments used to perform medieval music still exist, but in different forms. Medieval instruments included the wood flute (which in the 21st century is made of metal), the recorder and plucked string instruments like the lute. As well, early versions of the organ, fiddle (or vielle), and trombone (called the sackbut) existed. Medieval instruments in Europe had most commonly been used singly, often self accompanied with a drone note, or occasionally in parts. From at least as early as the 13th century through the 15th century there was a division of instruments into haut (loud, shrill, outdoor instruments) and bas (quieter, more intimate instruments).[16] During the earlier medieval period, the vocal music from the liturgical genre, predominantly Gregorian chant, was monophonic, using a single, unaccompanied vocal melody line.[17] Polyphonicvocal genres, which used multiple independent vocal melodies, began to develop during the high medieval era, becoming prevalent by the later 13th and early 14th century.

Renaissance music[edit]

Many instruments originated during the Renaissance; others were variations of, or improvements upon, instruments that had existed previously. Some have survived to the present day; others have disappeared, only to be recreated in order to perform music of the period on authentic instruments. As in the modern day, instruments may be classified as brass, strings, percussion, and woodwind. Brass instruments in the Renaissance were traditionally played by professionals who were members of Guilds and they included the slide trumpet, the wooden cornet, the valveless trumpet and the sackbut. Stringed instruments included the viol, the harp-like lyre, the hurdy-gurdy, the cittern and the lute. Keyboard instruments with strings included the harpsichord and the virginal. Percussion instruments include the triangle, the Jew’s harp, the tambourine, the bells, the rumble-pot, and various kinds of drums. Woodwind instruments included the double reed shawm, the reed pipe, the bagpipe, the transverse flute and the recorder. Vocal music in the Renaissance is noted for the flourishing of an increasingly elaborate polyphonic style. The principal liturgical forms which endured throughout the entire Renaissance period were masses and motets, with some other developments towards the end, especially as composers of sacred music began to adopt secular forms (such as the madrigal) for their own designs. Towards the end of the period, the early dramatic precursors of opera such as monody, the madrigal comedy, and the intermedio are seen.

Baroque music[edit]

Baroque instruments included some instruments from the earlier periods (e.g., the hurdy-gurdy and recorder) and a number of new instruments (e.g, the cello, contrabass and fortepiano). Some instruments from previous eras fell into disuse, such as the shawm and the wooden cornet. The key Baroque instruments for strings included the violin, viol,viola, viola d’amore, cello, contrabass, lute, theorbo (which often played the basso continuo parts), mandolin, cittern, Baroque guitar, harp and hurdy-gurdy. Woodwinds included the Baroque flute, Baroque oboe, rackett, recorder and the bassoon. Brass instruments included the cornett, natural horn, Baroque trumpet, serpent and the trombone. Keyboard instruments included the clavichord, tangent piano, the fortepiano (an early version of the piano), the harpsichord and the pipe organ. Percussion instruments included the timpani, snare drum, tambourine and the castanets.

One major difference between Baroque music and the classical era that followed it is that the types of instruments used in ensembles were much less standardized. Whereas a classical era string quartet consists almost exclusively of two violins, a viola and a cello, a Baroque group accompanying a soloist or opera could include one of several different types of keyboard instruments (e.g., pipe organ, harpsichord, or clavichord), additional stringed chordal instruments (e.g., a lute) and an unspecified number of bass instruments performing the basso continuo bassline, including bowed strings, woodwinds and brass instruments (e.g., a cello, contrabass, viol, bassoon, serpent, etc.).

Vocal developments in the Baroque era included the development of opera types such as opera seria and opéra comique, oratorios, cantatas and chorale.

Classical music[edit]

The term “classical music” has two meanings: the broader meaning includes all Western art music from the Medieval era to the 2000s, and the specific meaning refers to the art music from the 1750s to the early 1830s—the era of Mozart and Haydn. This section is about the more specific meaning. Classical era musicians continued to use many of instruments from the Baroque era, such as the cello, contrabass, recorder, trombone, timpani, fortepiano (the precursor to the modern piano) and organ. While some Baroque instruments fell into disuse (e.g., the theorbo and rackett), many Baroque instruments were changed into the versions that are still in use today, such as the Baroque violin (which became the violin), the Baroque oboe (which became the oboe) and the Baroque trumpet, which transitioned to the regular valved trumpet. During the Classical era, the stringed instruments used in orchestra and chamber music such as string quartets were standardized as the four instruments which form the string section of the orchestra: the violin, viola, cello and double bass. Baroque-era stringed instruments such as fretted, bowed viols were phased out. Woodwinds included the basset clarinet, basset horn,clarinette d’amour, the Classical clarinet, the chalumeau, the flute, oboe and bassoon. Keyboard instruments included the clavichord and the fortepiano. While the harpsichordwas still used in basso continuo accompaniment in the 1750s and 1760s, it fell out of use in the end of the century. Brass instruments included the buccin, the ophicleide (a replacement for the bass serpent, which was the precursor of the tuba) and the natural horn.

The “standard complement” of double winds and brass in the orchestra from the first half of the 19th century is generally attributed to Beethoven. The exceptions to this are hisSymphony No. 4, Violin Concerto, and Piano Concerto No. 4, which each specify a single flute. The composer‘s instrumentation usually included paired flutes, oboes, clarinets,bassoons, horns and trumpets. Beethoven carefully calculated the expansion of this particular timbral “palette” in Symphonies 3, 5, 6, and 9 for an innovative effect. The third horn in the “Eroica” Symphony arrives to provide not only some harmonic flexibility, but also the effect of “choral” brass in the Trio. Piccolo, contrabassoon, and trombones add to the triumphal finale of his Symphony No. 5. A piccolo and a pair of trombones help deliver “storm” and “sunshine” in the Sixth. The Ninth asks for a second pair of horns, for reasons similar to the “Eroica” (four horns has since become standard); Beethoven’s use of piccolo, contrabassoon, trombones, and untuned percussion—plus chorus and vocal soloists—in his finale, are his earliest suggestion that the timbral boundaries of symphony should be expanded. For several decades after he died, symphonic instrumentationwas faithful to Beethoven’s well-established model, with few exceptions.

Romantic music[edit]

In the Romantic era, the modern piano, with a more powerful, sustained tone and a wider range took over from the more delicate-sounding fortepiano. In the orchestra, the existing Classical instruments and sections were retained (string section, woodwinds, brass and percussion), but these sections were typically expanded to make a fuller, bigger sound. For example, while a Baroque orchestra may have had two double bass players, a Romantic orchestra could have as many as ten. “As music grew more expressive, the standard orchestral palette just wasn’t rich enough for many Romantic composers.” [18] New woodwind instruments were added, such as the contrabassoon, bass clarinet andpiccolo and new percussion instruments were added, including xylophones, snare drums, celestes (a bell-like keyboard instrument), bells, and triangles,[18] large orchestral harps, and even wind machines for sound effects. Saxophones appear in some scores from the late 19th century onwards. While appearing only as featured solo instruments in some works, for example Maurice Ravel‘s orchestration of Modest Mussorgsky‘s Pictures at an Exhibition and Sergei Rachmaninoff‘s Symphonic Dances, the saxophone is included in other works, such as Ravel’s Boléro, Sergei Prokofiev‘s Romeo and Juliet Suites 1 and 2 and many other works as a member of the orchestral ensemble. Theeuphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked “tenor tuba”, including Gustav Holst‘s The Planets, and Richard Strauss‘s Ein Heldenleben.

The Wagner tuba, a modified member of the horn family, appears in Richard Wagner‘s cycle Der Ring des Nibelungen and several other works by Strauss, Béla Bartók, and others; it has a prominent role in Anton Bruckner‘s Symphony No. 7 in E Major.[19] Cornets appear in Pyotr Ilyich Tchaikovsky‘s ballet Swan Lake, Claude Debussy‘s La Mer, and several orchestral works by Hector Berlioz. Unless these instruments are played by members doubling on another instrument (for example, a trombone player changing to euphonium for a certain passage), orchestras will use freelance musicians to augment their regular rosters.

The Dublin Philharmonic Orchestra performsTchaikovsky‘s Fourth Symphony

Modern music[edit]

Modern music is a philosophical and aesthetic stance underlying the period of change and development in musical language that occurred from 1890 to 1930, a period of diverse reactions in challenging and reinterpreting older categories of music, innovations that lead to new ways of organizing and approaching harmonic, melodic, sonic, and rhythmic aspects of music, and changes in aesthetic worldviews in close relation to the larger identifiable period of modernism in the arts of the time. The operative word most associated with it is “innovation” (Metzer 2009, 3). Its leading feature is a “linguistic plurality”, which is to say that no single music genre ever assumed a dominant position (Morgan 1984, 443).

High modern music[edit]

High modern music was developed from 1930 to 1975. Electric instruments such as the amplified electric guitar, the electric bass and the ondes Martenot appear occasionally in the classical music of the 20th and 21st centuries. Both classical and popular musicians have experimented in recent decades with electronic instruments such as the synthesizer, electric and digital techniques such as the use of sampled or computer-generated sounds, and instruments from other cultures such as the gamelan.

Contemporary classical music[edit]

Contemporary classical music is the period that came into prominence in the mid-1970s. It includes different variations of modernist, postmodern, neoromantic, and pluralist music.[20] However, the term may also be employed in a broader sense to refer to all post-1945 musical forms.[21]

Postmodern music[edit]

Postmodern music is a period of music that appeared at about the same time as other types of contemporary classical music; i.e around 1975. It shares characteristics withpostmodernist art—that is, art that comes after and reacts against modernism.

Many instruments that in the 2010s are associated with popular music filled important roles in early classical music, such as bagpipes, vihuelas, hurdy-gurdies (hand-cranked string instruments), and some woodwind instruments. On the other hand, instruments such as the acoustic guitar, once associated mainly with popular music, gained prominence in classical music in the 19th and 20th centuries in the form of the classical guitar. While equal temperament gradually accepted as the dominant musical temperament during the 18th century, different historical temperaments are often used for music from earlier periods. For instance, music of the English Renaissance is often performed in meantone temperament. As well, while professional orchestras and pop bands all around the world tune to an A fixed at 440 Hz in the 2010s, during the 17th and 18th century, there was a great variety in the tuning pitch, as attested to in historical pipe organs that still exist.

Performance[edit]

Youth concert band in performance

Performers who have studied classical music extensively are said to be “classically trained”. This training may be from private lessons from instrument or voice teachers or from completion of a formal program offered by a Conservatory, college or university, such as a B.mus. or M.mus. degree (which includes individual lessons from professors). In classical music, “…extensive formal music education and training, often to postgraduate [Master’s degree] level” is required.[22]

Performance of classical music repertoire requires a proficiency in sight-reading and ensemble playing, harmonic principles, strong ear training (to correct and adjust pitches by ear), knowledge of performance practice (e.g., Baroque ornamentation), and a familiarity with the style/musical idiom expected for a given composer or musical work (e.g., a Brahms symphony or a Mozart concerto).

Some “popular” genre musicians have had significant classical training, such as Billy Joel, Elton John, the Van Halenbrothers, Randy Rhoads and Ritchie Blackmore. Moreover, formal training is not unique to the classical genre. Many rock and pop musicians have completed degrees in commercial music programs such as those offered by the Berklee College of Music and many jazz musicians have completed degrees in music from universities with jazz programs, such as the Manhattan School of Music and McGill University.

Gender of performers[edit]

Main article: Women in music

Historically, major professional orchestras have been mostly or entirely composed of male musicians. Some of the earliest cases of women being hired in professional orchestraswas in the position of harpist. The Vienna Philharmonic, for example, did not accept women to permanent membership until 1997, far later than the other orchestras ranked among the world’s top five by Gramophone in 2008.[23] The last major orchestra to appoint a woman to a permanent position was the Berlin Philharmonic.[24] As late as February 1996, the Vienna Philharmonic’s principal flute, Dieter Flury, told Westdeutscher Rundfunk that accepting women would be “gambling with the emotional unity (emotionelle Geschlossenheit) that this organism currently has”.[25] In April 1996, the orchestra’s press secretary wrote that “compensating for the expected leaves of absence” of maternity leave would be a problem.[26]

In 1997, the Vienna Philharmonic was “facing protests during a [US] tour” by the National Organization for Women and the International Alliance for Women in Music. Finally, “after being held up to increasing ridicule even in socially conservative Austria, members of the orchestra gathered [on 28 February 1997] in an extraordinary meeting on the eve of their departure and agreed to admit a woman, Anna Lelkes, as harpist.”[27] As of 2013, the orchestra has six female members; one of them, violinist Albena Danailova became one of the orchestra’s concertmasters in 2008, the first woman to hold that position.[28] In 2012, women still made up just 6% of the orchestra’s membership. VPO president Clemens Hellsberg said the VPO now uses completely screened blind auditions.[29]

In 2013, an article in Mother Jones stated that while “[m]any prestigious orchestras have significant female membership—women outnumber men in the New York Philharmonic‘s violin section—and several renowned ensembles, including the National Symphony Orchestra, the Detroit Symphony, and the Minnesota Symphony, are led by women violinists”, the double bass, brass, and percussion sections of major orchestras “…are still predominantly male.”[30] A 2014 BBC article stated that the “…introduction of‘blind’ auditions, where a prospective instrumentalist performs behind a screen so that the judging panel can exercise no gender or racial prejudice, has seen the gender balance of traditionally male-dominated symphony orchestras gradually shift.”[31]

Complexity[edit]

Works of classical repertoire often exhibit complexity in their use of orchestration, counterpoint, harmony, musical development, rhythm, phrasing, texture, and form. Whereas most popular styles are usually written in song forms, classical music is noted for its development of highly sophisticated instrumental musical forms,[6] like the concerto,symphony and sonata. Classical music is also noted for its use of sophisticated vocal/instrumental forms, such as opera. In opera, vocal soloists and choirs perform staged dramatic works with an orchestra providing accompaniment. Longer instrumental works are often divided into self-contained pieces, called movements, often with contrasting characters or moods. For instance, symphonies written during the Classical period are usually divided into four movements: (1) an opening Allegro in sonata form, (2) a slow movement, (3) a minuet or scherzo (in a triple meter, such as 3/4), and (4) a final Allegro. These movements can then be further broken down into a hierarchy of smaller units: first sections, then periods, and finally phrases.

History[edit]

Periods and eras of
Western classical music
Early
Medieval c. 500–1400
Renaissance c. 1400–1600
Common practice
Baroque c. 1600–1750
Classical c. 1730–1820
Romantic c. 1780–1910
Impressionist c. 1875–1925
Modern and contemporary
c. 1890–1975
20th century (1900–2000)
c. 1975–present
21st century (2000–present)
Main article: History of music

The major time divisions of classical music up to 1900 are the early music period, which includes Medieval (500–1400) andRenaissance (1400–1600) eras, and the Common practice period, which includes the Baroque (1600–1750), Classical (1750–1830) and Romantic (1804–1910) eras. Since 1900, classical periods have been reckoned more by calendar century than by particular stylistic movements that have become fragmented and difficult to define. The 20th century calendar period (1901–2000) includes most of the early modern musical era (1890–1930), the entire high modern (mid 20th-century), and the first 25 years of thecontemporary or postmodern musical era (1975–current). The 21st century has so far been characterized by a continuation of the contemporary/postmodern musical era.

The dates are generalizations, since the periods and eras overlap and the categories are somewhat arbitrary, to the point that some authorities reverse terminologies and refer to a common practice “era” comprising baroque, classical, and romantic “periods”.[32]For example, the use of counterpoint and fugue, which is considered characteristic of the Baroque era (or period), was continued byHaydn, who is classified as typical of the Classical era. Beethoven, who is often described as a founder of the Romantic era, andBrahms, who is classified as Romantic, also used counterpoint and fugue, but other characteristics of their music define their era.

The prefix neo is used to describe a 20th-century or contemporary composition written in the style of an earlier era, such as Classical or Romantic. Stravinsky’s Pulcinella, for example, is a neoclassical composition because it is stylistically similar to works of the Classical era.

Roots[edit]

Main article: Ancient music

Burgh (2006), suggests that the roots of Western classical music ultimately lie in ancient Egyptian art music via cheironomy and the ancient Egyptian orchestra, which dates to 2695 BC.[33] The development of individual tones and scales was made by ancient Greeks such as Aristoxenus and Pythagoras.[34] Pythagoras created a tuning system and helped to codify musical notation. Ancient Greek instruments such as the aulos (a reed instrument) and the lyre (a stringed instrument similar to a small harp) eventually led to the modern-day instruments of a classical orchestra.[35] The antecedent to the early period was the era of ancient music before the fall of the Roman Empire (476 AD). Very little music survives from this time, most of it from ancient Greece.

Early period[edit]

Musician playing thevielle (fourteenth-centuryMedieval manuscript)

The Medieval period includes music from after the fall of Rome to about 1400. Monophonic chant, also called plainsong or Gregorian chant, was the dominant form until about 1100.[36] Polyphonic (multi-voiced) music developed from monophonic chant throughout the late Middle Ages and into the Renaissance, including the more complex voicings of motets. The Renaissance era was from 1400 to 1600. It was characterized by greater use of instrumentation, multiple interweaving melodic lines, and the use of the first bass instruments. Social dancing became more widespread, so musical forms appropriate to accompanying dance began to standardize. It is in this time that the notation of music on a staff and other elements ofmusical notation began to take shape.[37] This invention made possible the separation of the composition of a piece of music from its transmission; without written music, transmission was oral, and subject to change every time it was transmitted. With a musical score, a work of music could be performed without the composer’s presence.[36] The invention of the movable-type printing press in the 15th century had far-reaching consequences on the preservation and transmission of music.[38]

Johannes Ockeghem, Kyrie “Au travail suis,” excerpt

Typical stringed instruments of the early period include the harp, lute, vielle, and psaltery, while wind instruments included the flute family (including recorder), shawm (an early member of the oboe family), trumpet, and the bagpipes. Simple pipe organs existed, but were largely confined to churches, although there were portable varieties.[39] Later in the period, early versions of keyboard instruments like theclavichord and harpsichord began to appear. Stringed instruments such as the viol had emerged by the 16th century, as had a wider variety of brass and reed instruments. Printing enabled the standardization of descriptions and specifications of instruments, as well as instruction in their use.[40]

Common practice period[edit]

The common practice period is when many of the ideas that make up western classical music took shape, standardized, or were codified. It began with the Baroque era, running from roughly 1600 to the middle of the 18th century. The Classical era followed, ending roughly around 1820. The Romantic era ran through the 19th century, ending about 1910.

Baroque music[edit]

Main article: Baroque music

Baroque instruments includinghurdy-gurdy, harpsichord, bass viol,lute, violin, and baroque guitar

Baroque music is characterized by the use of complex tonal counterpoint and the use of a basso continuo, a continuous bass line. Music became more complex in comparison with the songs of earlier periods.[15] The beginnings of the sonata form took shape in the canzona, as did a more formalized notion of theme and variations. The tonalities of major and minor as means for managing dissonance andchromaticism in music took full shape.[41]

During the Baroque era, keyboard music played on the harpsichord and pipe organ became increasingly popular, and the violin family of stringed instruments took the form generally seen today. Opera as a staged musical drama began to differentiate itself from earlier musical and dramatic forms, and vocal forms like the cantata and oratorio became more common.[42] Vocalists began adding embellishments to melodies.[15] Instrumental ensembles began to distinguish and standardize by size, giving rise to the early orchestra for larger ensembles, with chamber music being written for smaller groups of instruments where parts are played by individual (instead of massed) instruments. The concerto as a vehicle for solo performance accompanied by an orchestra became widespread, although the relationship between soloist and orchestra was relatively simple.

The theories surrounding equal temperament began to be put in wider practice, especially as it enabled a wider range of chromatic possibilities in hard-to-tune keyboard instruments. Although Bach did not use equal temperament, as a modern piano is generally tuned, changes in the temperaments from the meantone system, common at the time, to various temperaments that made modulation between all keys musically acceptable, made possible Bach’s Well-Tempered Clavier.[43]

Classical era (or period) music[edit]

Joseph Haydn (1732–1809) c. 1770

The Classical era, from about 1750 to 1820, established many of the norms of composition, presentation, and style, and was also when the piano became the predominant keyboard instrument. The basic forces required for an orchestra became somewhat standardized (although they would grow as the potential of a wider array of instruments was developed in the following centuries). Chamber music grew to include ensembles with as many as 8 to 10 performers for serenades. Opera continued to develop, with regional styles in Italy, France, and German-speaking lands. Theopera buffa, a form of comic opera, rose in popularity. The symphony came into its own as a musical form, and the concerto was developed as a vehicle for displays of virtuoso playing skill. Orchestras no longer required a harpsichord (which had been part of the traditional continuo in the Baroque style), and were often led by the lead violinist (now called the concertmaster).[44]

Wind instruments became more refined in the Classical era. While double reeded instruments like the oboe and bassoon became somewhat standardized in the Baroque, the clarinet family of single reeds was not widely used until Mozart expanded its role in orchestral, chamber, and concerto settings.

Romantic era music[edit]

Main article: Romantic music

The music of the Romantic era, from roughly the first decade of the 19th century to the early 20th century, was characterized by increased attention to an extended melodic line, as well as expressive and emotional elements, paralleling romanticism in other art forms. Musical forms began to break from the Classical era forms (even as those were being codified), with free-form pieces like nocturnes, fantasias, and preludes being written where accepted ideas about the exposition and development of themes were ignored or minimized.[45] The music became more chromatic, dissonant, and tonally colorful, with tensions (with respect to accepted norms of the older forms) about key signatures increasing.[46] The art song (or Lied) came to maturity in this era, as did the epic scales of grand opera, ultimately transcended by Richard Wagner‘s Ring cycle.[47]

In the 19th century, musical institutions emerged from the control of wealthy patrons, as composers and musicians could construct lives independent of the nobility. Increasing interest in music by the growing middle classes throughout western Europe spurred the creation of organizations for the teaching, performance, and preservation of music. The piano, which achieved its modern construction in this era (in part due to industrial advances in metallurgy) became widely popular with the middle class, whose demands for the instrument spurred a large number of piano builders. Many symphony orchestras date their founding to this era.[46] Some musicians and composers were the stars of the day; some, like Franz Liszt and Niccolò Paganini, fulfilled both roles.[48]

The family of instruments used, especially in orchestras, grew. A wider array of percussion instruments began to appear. Brass instruments took on larger roles, as the introduction of rotary valves made it possible for them to play a wider range of notes. The size of the orchestra (typically around 40 in the Classical era) grew to be over 100.[46]Gustav Mahler‘s 1906 Symphony No. 8, for example, has been performed with over 150 instrumentalists and choirs of over 400.

European cultural ideas and institutions began to follow colonial expansion into other parts of the world. There was also a rise, especially toward the end of the era, of nationalism in music (echoing, in some cases, political sentiments of the time), as composers such as Edvard Grieg, Nikolai Rimsky-Korsakov, and Antonín Dvořák echoed traditional music of their homelands in their compositions.[49]

20th and 21st centuries[edit]

Modern, high modern, and post modern or contemporary music[edit]

Igor Stravinsky, by Pablo Picasso, collaborators onPulcinella (1920)

Encompassing a wide variety of post-Romantic styles composed through the year 2000, 20th century classical music includes late romantic, modern, high-modern, and postmodern styles of composition. Modernism (1890–1930) marked an era when many composers rejected certain values of the common practice period, such as traditional tonality, melody, instrumentation, and structure. The high-modern era saw the emergence of neo-classical and serial music. A few authorities have claimed high-modernism as the beginning of postmodern music from about 1930.[50][51] Others have more or less equated postmodern music with the “contemporary music” composed from the late 20th century through to the early 21st century.[52][53]

Women in classical music[edit]

Almost all of the composers who are described in music textbooks on classical music and whose works are widely performed as part of thestandard concert repertoire are male composers, even though there has been a large number of women composers throughout the classical music period. Musicologist Marcia Citron has asked “[w]hy is music composed by women so marginal to the standard ‘classical’ repertoire?”[54]Citron “examines the practices and attitudes that have led to the exclusion of women composers from the received ‘canon‘ of performed musical works.” She argues that in the 1800s, women composers typically wrote art songs for performance in small recitals rather than symphoniesintended for performance with an orchestra in a large hall, with the latter works being seen as the most important genre for composers; since women composers did not write many symphonies, they were deemed to be not notable as composers.[54] In the “…Concise Oxford History of Music, Clara S[c]humann is one of the only [sic] female composers mentioned.”[55] Abbey Philips states that “[d]uring the 20th century the women who were composing/playing gained far less attention than their male counterparts.”[55]

Timeline of composers[edit]

Philip Glass Steve Reich Arvo Pärt Karlheinz Stockhausen Benjamin Britten John Cage Olivier Messiaen Dmitri Shostakovich Aaron Copland Francis Poulenc Sergei Prokofiev Igor Stravinsky Béla Bartók Manuel de Falla Mauice Ravel Gustav Holst Arnold Schoenberg Sergei Rachmaninoff Ralph Vaughan Williams Enrique Granados Jean Sibelius Richard Strauss Claude Debussy Gustav Mahler Giacomo Puccini Edward Elgar Leoš Janáček Gabriel Fauré Nikolai Rimsky-Korsakov Edvard Grieg Antonin Dvorak Pyotr Ilyich Tchaikovsky Modest Mussorgsky Max Bruch Georges Bizet Camille Saint-Saëns Johannes Brahms Anton Bruckner Bedřich Smetana Charles Gounod Giuseppe Verdi Richard Wagner Franz Liszt Robert Schumann Frederic Chopin Felix Mendelssohn Hector Berlioz Gaetano Donizetti Franz Schubert Gioacchino Rossini Carl Maria von Weber Niccolo Paganini Ludwig van Beethoven Wolfgang Amadeus Mozart Luigi Boccherini Joseph Haydn Christoph Willibald Gluck Carl Philipp Emanuel Bach Giovanni Battista Pergolesi George Frideric Handel Domenico Scarlatti Johann Sebastian Bach Jean-Philippe Rameau Georg Philipp Telemann Antonio Vivaldi Tomaso Albinoni Alessandro Scarlatti Henry Purcell Arcangelo Corelli Johann Pachelbel Dieterich Buxtehude Jean-Baptiste Lully Giacomo Carissimi Heinrich Schütz Girolamo Frescobaldi Claudio Monteverdi Jan Pieterszoon Sweelinck Giovanni Gabrieli Tomás Luis de Victoria William Byrd Orlande de Lassus Giovanni Pierluigi da Palestrina Thomas Tallis Josquin Des Prez Johannes Ockeghem

Significance of written notation[edit]

Modernist view of the significance of the score[edit]

The modernist views hold that classical music is considered primarily a written musical tradition, preserved in music notation, as opposed to being transmitted orally, by rote, or by recordings of particular performances.[citation needed] While there are differences between particular performances of a classical work, a piece of classical music is generally held to transcend any interpretation of it. The use of musical notation is an effective method for transmitting classical music, since the written music contains the technical instructions for performing the work.

The written score, however, does not usually contain explicit instructions as to how to interpret the piece in terms of production or performance, apart from directions fordynamics, tempo and expression (to a certain extent). This is left to the discretion of the performers, who are guided by their personal experience and musical education, their knowledge of the work’s idiom, their personal artistic tastes, and the accumulated body of historic performance practices.

Criticism of the modernist view[edit]

Some critics express the opinion that it is only from the mid-19th century, and especially in the 20th century, that the score began to hold such a high significance. Previously, improvisation (in preludes, cadenzas and ornaments), rhythmic flexibility (e.g., tempo rubato), improvisatory deviation from the score and oral tradition of playing was integral to the style. Yet in the 20th century, this oral tradition and passing on of stylistic features within classical music disappeared. Instead, musicians tend to use just the score to play music. Yet, even with the score providing the key elements of the music, there is considerable controversy about how to perform the works. Some of this controversy relates to the fact that this score-centric approach has led to performances that emphasize metrically strict block-rhythms (just as the music is notated in the score).

Some quotes that highlight this criticism of modernist overvaluing of the score:

  • “… one of the most stubborn modern misconceptions concerning baroque music is that a metronomic regularity was intended” (Baroque Interpretation in Grove 5th edition byRobert Donington)
  • “The history of this particular idea is littered with dead ends and failed projects. It is high time these misconceptions are addressed with academic rigour.”[clarification needed]History of Metaphysics by Andrew Pyle
  • “Too many teachers, conditioned to 20th Century ideas, teach Bach and other Baroque music exactly the wrong way. This leads to what musicologist Sol Babitz calls ‘sewing machine Bach’.”[clarification needed][56]
  • “… tendency to look alike, sound alike and think alike. The conservatories are at fault and they have been at fault for many years now. Any sensitive musician going around the World has noted the same thing. The conservatories, from Moscow and Leningrad to Juilliard, Curtis and Indiana, are producing a standardized product.
    […] clarity, undeviating rhythm, easy technique, ‘musicianship’. I put the word musicianship in quotes, because as often as not, it is a false kind of musicianship – a musicianship that sees the tree and not the forest, that takes care of the detail but ignores the big picture; a musicianship that is tied to the printed note rather than to emotional meaning of a piece.
    The fact remains that there is a dreadful uniformity today and also an appalling lack of knowledge about the culture and performance traditions of the past.” (“Music Schools Turning out Robots?”[56] by Harold C. Schonberg)

Improvisation[edit]

Improvisation once played an important role in classical music. A remnant of this improvisatory tradition in classical music can be heard in the cadenza, a passage found mostly in concertos and solo works, designed to allow skilled performers to exhibit their virtuoso skills on the instrument. Traditionally this was improvised by the performer; however, it is often written for (or occasionally by) the performer beforehand. Improvisation is also an important aspect in authentic performances of operas of Baroque era and of bel canto (especially operas of Vincenzo Bellini), and is best exemplified by the da capo aria, a form by which famous singers typically perform variations of the thematic matter of the aria in the recapitulation section (‘B section’ / the ‘da capo’ part). An example is Beverly Sills‘ complex, albeit pre-written, variation of Da tempeste il legno infranto from Händel’sGiulio Cesare.[citation needed]

Its written transmission, along with the veneration bestowed on certain classical works, has led to the expectation that performers will play a work in a way that realizes in detail the original intentions of the composer. During the 19th century the details that composers put in their scores generally increased. Yet the opposite trend—admiration of performers for new “interpretations” of the composer’s work—can be seen, and it is not unknown for a composer to praise a performer for achieving a better realization of the original intent than the composer was able to imagine. Thus, classical performers often achieve high reputations for their musicianship, even if they do not compose themselves. Generally however, it is the composers who are remembered more than the performers.

The primacy of the composer’s written score has also led, today, to a relatively minor role played by improvisation in classical music, in sharp contrast to the practice of musicians who lived during the baroque, classical and romantic era. Improvisation in classical music performance was common during both the Baroque and early romantic eras, yet lessened strongly during the second half of the 19th and in the 20th centuries. During the classical era, Mozart and Beethoven often improvised the cadenzas to theirpiano concertos (and thereby encouraged others to do so), but they also provided written cadenzas for use by other soloists. In opera, the practice of singing strictly by the score, i.e. come scritto, was famously propagated by soprano Maria Callas, who called this practice ‘straitjacketing’ and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time.

Relationship to other music traditions[edit]

Popular music[edit]

Classical music has often incorporated elements or material from popular music of the composer’s time. Examples include occasional music such as Brahms’ use of student drinking songs in his Academic Festival Overture, genres exemplified by Kurt Weill‘s The Threepenny Opera, and the influence of jazz on early- and mid-20th-century composers including Maurice Ravel, exemplified by the movement entitled “Blues” in his sonata for violin and piano.[57] Certain postmodern, minimalist and postminimalistclassical composers acknowledge a debt to popular music.[58]

Numerous examples show influence in the opposite direction, including popular songs based on classical music, the use to which Pachelbel’s Canon has been put since the 1970s, and the musical crossover phenomenon, where classical musicians have achieved success in the popular music arena.[59] In heavy metal, a number of lead guitarists(playing electric guitar) modeled their playing styles on Baroque or Classical era instrumental music, including Ritchie Blackmore and Randy Rhoads.

Folk music[edit]

Composers of classical music have often made use of folk music (music created by musicians who are commonly not classically trained, often from a purely oral tradition). Some composers, like Dvořák and Smetana,[60] have used folk themes to impart a nationalist flavor to their work, while others like Bartók have used specific themes lifted whole from their folk-music origins.[61]

Commercialization[edit]

Certain staples of classical music are often used commercially (either in advertising or in movie soundtracks). In television commercials, several passages have become clichéd, particularly the opening of Richard StraussAlso sprach Zarathustra (made famous in the film 2001: A Space Odyssey) and the opening section “O Fortuna” of Carl Orff‘sCarmina Burana, often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg‘s In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven‘s Symphony No. 5, Wagner‘s Ride of the Valkyries from Die Walküre, Rimsky-Korsakov‘s Flight of the Bumblebee, and excerpts of Aaron Copland‘s Rodeo.[citation needed] Several works from the Golden Age of Animation matched the action to classical music. Notable examples are Walt Disney‘s Fantasia, Tom and Jerry‘s Johann Mouse, and Warner Bros.Rabbit of Seville and What’s Opera, Doc?.

Similarly, movies and television often revert to standard, clichéd excerpts of classical music to convey refinement or opulence: some of the most-often heard pieces in this category include Bach´s Cello Suite No. 1, Mozart‘s Eine kleine Nachtmusik, Vivaldi‘s Four Seasons, Mussorgsky‘s Night on Bald Mountain (as orchestrated by Rimsky-Korsakov), and Rossini‘s William Tell Overture. The same passages are often used by telephone call centres to induce a sense of calm in customers waiting in a queue.[citation needed] Shawn Vancour argues that the commercialization of classical music in the early 20th century may have harmed the music industry through inadequate representation.[62]

Public domain[edit]

Main article: Public domain music

Since the range of production of classical music is from 14th century to 21th century, most of this music (14th to early 20th century) belongs to the public domain, mainly sheet music and tablatures. Some projects like Musopen and Open Goldberg Variations were created to produce musical audio files of high quality and release them into the public domain, most of them are available at the Internet Archive website.

The Open Goldberg Variations project released a braille format into the public domain that can be used to produce paper or electronic scores, Braille e-books, for blind people.[63]

Education[edit]

Main article: Music education

During the 1990s, several research papers and popular books wrote on what came to be called the “Mozart effect“: an observed temporary, small elevation of scores on certain tests as a result of listening to Mozart’s works. The approach has been popularized in a book by Don Campbell, and is based on an experiment published in Nature suggesting that listening to Mozart temporarily boosted students’ IQ by 8 to 9 points.[64] This popularized version of the theory was expressed succinctly by the New York Times music columnist Alex Ross: “researchers… have determined that listening to Mozart actually makes you smarter.”[65] Promoters marketed CDs claimed to induce the effect. Florida passed a law requiring toddlers in state-run schools to listen to classical music every day, and in 1998 the governor of Georgia budgeted $105,000 per year to provide every child born in Georgia with a tape or CD of classical music. One of the co-authors of the original studies of the Mozart effect commented “I don’t think it can hurt. I’m all for exposing children to wonderful cultural experiences. But I do think the money could be better spent on music education programs.”[66]

In 1996/97, a research study was conducted on a large population of middle age students in the Cherry Creek School District in Denver, Colorado, USA. The study showed that students who actively listen to classical music before studying had higher academic scores. The research further indicated that students who listened to the music prior to an examination also had positively elevated achievement scores. Students who listened to rock-and-roll or Country music had moderately lower scores. The study further indicated that students who used classical music during the course of study had a significant leap in their academic performance; whereas, those who listened to other types of music had significantly lowered academic scores. The research was conducted over several schools within the Cherry Creek School District and was conducted through the University of Colorado. This study is reflective of several recent studies (i.e. Mike Manthei and Steve N. Kelly of the University of Nebraska at Omaha; Donald A. Hodges and Debra S. O’Connell of the University of North Carolina at Greensboro; etc.) and others[full citation needed] who had significant results through the discourse of their work.[67]

Indie Rock

Indie rock

From Wikipedia, the free encyclopedia

Indie rock is a genre of alternative rock that originated in the United States and the United Kingdom in the 1980s. Indie rock is extremely diverse, with subgenres that include indie pop and lo-fi among others. Originally used to describe record labels, the term became associated with the music they produced and was initially used interchangeably with alternative rock. As grunge and punk revival bands in the US, and then Britpop bands in the UK, broke into the mainstream in the 1990s, it came to be used to identify those acts that retained an outsider and underground perspective. In the 2000s, as a result of changes in the music industry and the growing importance of the Internet, some indie rock acts began to enjoy commercial success, leading to questions about its meaningfulness as a term.

In the mid-1980s, the term “indie” began to be used to describe the music produced on punk and post-punk labels.[1] Some prominent indie rock record labels were founded during the 1980s. During the 1990s, Grunge bands broke into the mainstream, and the term “alternative” lost its original counter-cultural meaning. The term “indie rock” became associated with the bands and genres that remained dedicated to their independent status.[2] By the end of the 1990s indie rock developed subgenres and related styles including lo-fi, noise pop, emo, slowcore, post-rock and math rock.[2] In the 2000s, changes in the music industry and in music technology enabled a new wave of indie rock bands to achieve mainstream success.[3]

In the early 2000s, a new group of bands that played a stripped-down and back-to-basics version of guitar rock emerged into the mainstream. The commercial breakthrough from these scenes was led by four bands: The Strokes, The White Stripes, The Hivesand The Vines. Emo also broke into mainstream culture in the early 2000s.[4] By the end of the 2000s the proliferation of indie bands was being referred to as “indie landfill”.[5] Indietronica took off in the new millennium as digital technology developed, with acts including Broadcast from the UK, Justice from France, Lali Puna from Germany and The Postal Service, Ratatat, and BOBBYfrom the USA.[6]

Characteristics[edit]

The term indie rock, which comes from “independent,” describes the small and relatively low-budget labels on which it is released and the do-it-yourself attitude of the bands and artists involved. Although distribution deals are often struck with major corporate companies, these labels and the bands they host have attempted to retain their autonomy, leaving them free to explore sounds, emotions and subjects of limited appeal to large, mainstream audiences.[2] The influences and styles of the artists have been extremely diverse, including punk, psychedelia, post-punk and country.[1] The terms “alternative rock” and “indie rock” were used interchangeably in the 1980s, but after many alternative bands followed Nirvana into the mainstream in the early 1990s, “indie rock” began to be used to describe those bands, working in a variety of styles, that did not pursue or achieve commercial success.[2] Aesthetically speaking, indie rock is characterized as having a careful balance of pop accessibility with noise, experimentation with pop music formulae, sensitive lyrics masked by ironic posturing, a concern with “authenticity,” and the depiction of a simple guy or girl.[7]

Allmusic identifies indie rock as including a number of “varying musical approaches [not] compatible with mainstream tastes”.[8] Linked by an ethos more than a musical approach, the indie rock movement encompassed a wide range of styles, from hard-edged, grunge-influenced bands, through do-it-yourself experimental bands like Pavement, to punk-folk singers such as Ani DiFranco.[9] In fact, there is an everlasting list of genres and subgenres of indie rock.[10] Many countries have developed an extensive local indiescene, flourishing with bands with enough popularity to survive inside the respective country, but virtually unknown elsewhere. However, there are still indie bands that start off locally, but eventually attract an international audience.[11][12]

Indie rock has been identified as a reaction against the macho culture that developed in alternative rock in the aftermath of Nirvana‘s success.[2] Indie rock is noted for having a relatively high proportion of female artists compared with preceding rock genres, a tendency exemplified by the development of the feminist-informed Riot Grrrl music of acts likeBikini Kill, Bratmobile, 7 Year Bitch, Team Dresch and Huggy Bear.[13] However, Cortney Harding pointed out that this sense of equality is not reflected in the number of women running indie labels.[14]

History[edit]

Origins: Late 1970s and 1980s[edit]

College rock and noise rock[edit]

Main articles: College rock and Noise rock

The Jesus and Mary Chainperforming in California in 2007

The BBC documentary Music for Misfits: The Story of Indie[15] pinpoints the birth of indie as the 1977 self-publication of the Spiral Scratch EP by Manchester band Buzzcocks. Although Buzzcocks are often classified as a punk band, it has been argued by the BBC and others[16] that the publication of Spiral Scratch independently of a major label led to the coining of the name “indie” (“indie” being the shortened form of “independent”).

In the mid-1980s, the term “indie” began to be used to describe the music produced on post-punk labels rather than the labels themselves.[1] The indie rock scene in the US was prefigured by the college rock[17] that dominated college radio playlists, which included key bands like R.E.M. from the US and The Smiths from the UK.[18] These bands rejected the dominant synthpop of the early 1980s,[19][20] and helped inspire guitar-based jangle pop; other important bands in the genre included 10,000 Maniacs and the dB’s from the US, and The Housemartins and The La’s from the UK. In the United States, the term was particularly associated with the abrasive, distortion-heavy sounds of the Pixies, Hüsker Dü, Minutemen, Meat Puppets, Dinosaur Jr., and The Replacements.[18]

The most abrasive and discordant outgrowth of punk was noise rock, which emphasised loud distorted electric guitars and powerful drums, and was pioneered by bands including Sonic Youth, Swans, Big Black and Butthole Surfers.[21] A number of prominent indie rock record labels were founded during the 1980s. These include Washington, DC‘s Dischord Records in 1980, Seattle‘s Sub Pop Records in 1986[22] and New York City‘s Matador Records and Durham, North Carolina’sMerge Records in 1989. Chicago‘s Touch and Go Records was founded as a fanzine in 1979 and began to release records during the 1980s.[23]

Indie pop[edit]

Main article: Indie pop

In the United Kingdom the C86 cassette, a 1986 NME compilation featuring Primal Scream, The Pastels, The Wedding Present and other bands, was a document of the UK indie scene at the start of 1986. It gave its name to the indie pop scene that followed, which was a major influence on the development of the British indie scene as a whole.[24][25]Major precursors of indie pop included Postcard bands Josef K and Orange Juice, and significant labels included Creation, Subway and Glass.[26] The Jesus and Mary Chain‘s sound combined the Velvet Underground‘s “melancholy noise” with Beach Boys pop melodies and Phil Spector‘s “Wall of Sound” production,[27][28] while New Order emerged from the demise of post-punk band Joy Division and experimented with techno and house music.[29]

The Jesus and Mary Chain, along with Dinosaur Jr, indie pop and the dream pop of Cocteau Twins, were the formative influences for the shoegazing movement of the late 1980s. Named for the band members’ tendency to stare at their feet and guitar effects pedals onstage rather than interact with the audience, acts like My Bloody Valentine, and later Slowdive and Ride created a loud “wash of sound” that obscured vocals and melodies with long, droning riffs, distortion, and feedback.[30] The other major movement at the end of the 1980s was the drug-fuelled Madchester scene. Based around The Haçienda, a nightclub in Manchester owned by New Order and Factory Records, Madchester bands such as Happy Mondays and The Stone Roses mixed acid house dance rhythms, Northern soul and funk with melodic guitar pop.[31]

Development: 1990s[edit]

Alternative enters the mainstream[edit]

Main article: Alternative rock

Pavement singer/guitarist Stephen Malkmus

The 1990s brought major changes to the alternative rock scene. Grunge bands such as Nirvana, Pearl Jam, Soundgarden, Hole, andAlice in Chains broke into the mainstream, achieving commercial chart success and widespread exposure.[2] Punk revival bands likeGreen Day and The Offspring also became popular and were grouped under the “alternative” umbrella.[9] Similarly, in the United Kingdom Britpop saw bands like Blur and Oasis emerge into the mainstream, abandoning the regional, small-scale and political elements of the 1980s indie scene.[32] Bands like Hüsker Dü and Violent Femmes were just as prominent during this time period, yet they have remained iconoclastic, and are not the bands that are frequently cited as inspirations to the current generation of indie rockers.[33]

As a result of alternative rock bands moving into the mainstream, the term “alternative” lost its original counter-cultural meaning and began to refer to the new, commercially lighter form of music that was now achieving mainstream success. It has been argued that even the term “sellout” lost its meaning as grunge made it possible for a niche movement, no matter how radical, to be co-opted by the mainstream, cementing the formation of an individualist, fragmented culture.[34] This theory hypothesizes staying independent became a career choice for bands privy to industry functions rather than an ideal, as the principle of resistance to the market evaporated in favor of a more synergistic culture.[34]

The term “indie rock” became associated with the bands and genres that remained dedicated to their independent status.[2] Even grunge bands, following their break with success, began to create more independent sounding music, further blurring the lines.[34] Ryan Moore has argued that in the wake of the appropriation of alternative rock by the corporate music industry that what became known as indie rock increasingly turned to the past to produce forms of “retro” rock that drew on garage rock, rockabilly, blues,country and swing.[35]

Indie electronic[edit]

Indie electronic is a subgenre of alternative/indie rock with affinity for electronic music, using samplers, synthesizers, drum machines, and computer programs, emerging during the early 1990s.[36] Less a style and more a categorization, it describes rock-rooted artists who followed the approach of early electronic music (composers of the BBC Radiophonic Workshop), krautrock andsynthpop.[36] Progenitors of the genre were English bands Disco Inferno and Stereolab.[36] Most musicians in the genre can be found on independent labels like Warp, Morr Music, Sub Pop or Ghostly International.[36]

Diversification[edit]

By the end of the 1990s indie rock developed a number of subgenres and related styles. Following indie pop these included lo-fi, noise pop, sadcore, post-rock, space rock and math rock.[2] Lo-fi eschewed polished recording techniques for a D.I.Y. ethos and was spearheaded by Beck, Sebadoh and Pavement,[9] who were joined by eclectic folk and rock acts of the Elephant 6 collective, including Neutral Milk Hotel, Elf Power and of Montreal.[37] The work of Talk Talk and Slint helped inspire post-rock (an experimental style influenced by jazz and electronic music, pioneered by Bark Psychosis and taken up by acts such as Tortoise, Stereolab, and Laika),[38][39] as well as leading to more dense and complex, guitar-based math rock, developed by acts like Polvo and Chavez.[40]

Space rock looked back to progressive roots, with drone-heavy and minimalist acts like Spacemen 3 in the 1980s, Spectrum and Spiritualized, and later groups including Flying Saucer Attack, Godspeed You! Black Emperor and Quickspace.[41] In contrast, sadcore emphasized pain and suffering through melodic use of acoustic and electronic instrumentation in the music of bands like American Music Club and Red House Painters,[42] while the revival of Baroque pop reacted against lo-fi and experimental music by placing an emphasis on melody and classical instrumentation, with artists like Arcade Fire, Belle and Sebastian and Rufus Wainwright. Weezer‘s Pinkerton (1996) introduced the genre to a wider and more mainstream audience.[43]

Signs of commercial interest: 2000s[edit]

In the 2000s, the changing music industry, the decline in record sales, the growth of new digital technology and increased use of the Internet as a tool for music promotion, allowed a new wave of indie rock bands to achieve mainstream success.[3] Existing indie bands that were now able to enter the mainstream included more musically and emotionally complex bands[44] including Modest Mouse (whose 2004 album Good News for People Who Love Bad News reached the US top 40 and was nominated for aGrammy Award), Bright Eyes (who in 2004 had two singles at the top of the Billboard magazine Hot 100 Single Sales)[45] and Death Cab for Cutie (whose 2005 album Plansdebuted at number four in the US, remaining on the Billboard charts for nearly one year and achieving platinum status and a Grammy nomination).[46] This new commercial breakthrough and the widespread use of the term indie to other forms of popular culture, led a number of commentators to suggest that indie rock had ceased to be a meaningful term.[47][48]

Garage rock/new wave/post-punk revival[edit]

Main article: Post-punk revival

The Strokes on stage in 2005

In the early 2000s, a new group of bands that played a stripped-down and back-to-basics version of guitar rock emerged into the mainstream. They were variously characterised as part of a garage rock, new wave or post-punk revival.[49][50][51][52]Because the bands came from across the globe, cited diverse influences (from traditional blues, through new wave to grunge), and adopted differing styles of dress, their unity as a genre has been disputed.[53] There had been attempts to revive garage rock and elements of punk in the 1980s and 1990s and by 2000 scenes had grown up in several countries.[54]The Detroit rock scene included The Von Bondies, Electric Six, The Dirtbombs and The Detroit Cobras[55] and that of New York Radio 4, Yeah Yeah Yeahs, Electric Frankenstein, and The Rapture.[56] Elsewhere, the Oblivians from Memphis,[57] Billy Childish and The Buff Medways from Britain,[58] The (International) Noise Conspiracy from Sweden,[59] and The 5.6.7.8’sfrom Japan,[60] enjoyed underground, regional or national success.

The commercial breakthrough from these scenes was led by four bands: The Strokes, who emerged from the New York club scene with their début album Is This It (2001); The White Stripes, from Detroit, with their third album White Blood Cells (2001); The Hives from Sweden, after their compilation album Your New Favourite Band (2001); and The Vines from Australia with Highly Evolved (2002).[61] They were christened the “The” bands by the media, and dubbed “The saviours of rock ‘n’ roll”, leading to accusations of hype.[62] A second wave of bands that managed to gain international recognition as a result of the movement included The Black Keys, Black Rebel Motorcycle Club, Modest Mouse, The Killers, Interpol and Kings of Leon from the US.[63]

From the UK were The Libertines, Franz Ferdinand, Bloc Party, Editors,[64] The Fratellis, Placebo, Razorlight, Kaiser Chiefs and The Kooks.[65] British band Arctic Monkeys were the most prominent act to owe their initial commercial success to the use of Internet social networking, topping the charts with their debut single “I Bet You Look Good on the Dancefloor“.[66] Also successful were Jet from Australia,[67] and The Datsuns and The D4 from New Zealand.[68] Many of the British bands listed above, with the exception of Arctic Monkeys, experienced a sharp decline in commercial fortunes owing to indie rock’s “slow and painful death.”[69]

Emo[edit]

Main article: Emo

Emo also broke into mainstream culture in the early 2000s, with the platinum-selling success of Jimmy Eat World‘s Bleed American (2001) and Dashboard Confessional‘s The Places You Have Come to Fear the Most (2001).[4] The new emo had a more refined sound than in the 1990s and a far greater appeal amongst adolescents than its earlier incarnations.[4] At the same time, use of the term “emo” expanded beyond the musical genre, becoming associated with fashion, a hairstyle and any music that expressed emotion.[70] The term “emo” has been applied by critics and journalists to a variety of artists, including multi-platinum acts such as Fall Out Boy,[71] My Chemical Romance,[72]Paramore,[71] and Panic! at the Disco.[73]

Landfill Indie[edit]

By the end of the 2000s the proliferation of indie bands was being referred to as “indie landfill”,[5] a description coined by Andrew Harrison of The Word magazine,[74] and the dominance of pop and other forms of music over guitar-based indie was leading to predictions of the end of indie rock. However, there continued to be commercial successes like Kasabian‘s West Ryder Pauper Lunatic Asylum (2009), which reached number one in the UK.[75] In 2010, Canadian band Arcade Fire‘s album The Suburbs reached number one on the Billboard charts in the United States and the official chart in the United Kingdom, winning a Grammy for Album of The Year.[76]

Rock Music

Rock music

 

Rock music is a genre of popular music that originated as “rock and roll” in the United States in the 1950s, and developed into a range of different styles in the 1960s and later, particularly in the United Kingdom and the United States.[1][2] It has its roots in 1940s’ and 1950s’ rock and roll, itself heavily influenced by blues, rhythm and blues and country music. Rock music also drew strongly on a number of other genres such as electric blues and folk, and incorporated influences from jazz, classical and other musical sources.

Musically, rock has centered on the electric guitar, usually as part of a rock group with electric bass guitar and drums. Typically, rock is song-based music usually with a 4/4 time signature using a verse-chorus form, but the genre has become extremely diverse. Likepop music, lyrics often stress romantic love but also address a wide variety of other themes that are frequently social or political in emphasis. The dominance of rock by white, male musicians has been seen as one of the key factors shaping the themes explored in rock music. Rock places a higher degree of emphasis on musicianship, live performance, and an ideology of authenticity than pop music.

By the late 1960s, referred to as the “golden age”[3][dubious ] or “classic rock”[1] period, a number of distinct rock music subgenres had emerged, including hybrids like blues rock, folk rock, country rock, raga rock, and jazz-rock, many of which contributed to the development of psychedelic rock, which was influenced by the countercultural psychedelic scene. New genres that emerged from this scene included progressive rock, which extended the artistic elements; glam rock, which highlighted showmanship and visual style; and the diverse and enduring subgenre of heavy metal, which emphasized volume, power, and speed. In the second half of the 1970s, punk rock reacted against the perceived overblown, inauthentic and overly mainstream aspects of these genres to produce a stripped-down, energetic form of music valuing raw expression and often lyrically characterised by social and political critiques. Punk was an influence into the 1980s on the subsequent development of other subgenres, including new wave, post-punk and eventually the alternative rock movement. From the 1990s alternative rock began to dominate rock music and break through into the mainstream in the form of grunge, Britpop, and indie rock. Further fusion subgenres have since emerged, including pop punk, rap rock, and rap metal, as well as conscious attempts to revisit rock’s history, including the garage rock/post-punk and synthpop revivals at the beginning of the new millennium.

Rock music has also embodied and served as the vehicle for cultural and social movements, leading to major sub-cultures includingmods and rockers in the UK and the hippie counterculture that spread out from San Francisco in the US in the 1960s. Similarly, 1970s punk culture spawned the visually distinctive 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, sex and drug use, and is often seen as an expression of youth revolt against adult consumerism and conformity.

Characteristics[edit]

A photograph of four members of The Red Hot Chili Peppers performing on a stage

Red Hot Chili Peppers in 2006, showing a quartet lineup for a rock band (from left to right: bassist, lead vocalist, drummer, and guitarist).

The sound of rock is traditionally centered on the amplified electric guitar, which emerged in its modern form in the 1950s with the popularization of rock and roll,[4] and was influenced by the sounds of electric blues guitarists.[5] The sound of an electric guitar in rock music is typically supported by an electric bass guitar, which pioneered in jazz music in the same era,[6] and percussion produced from a drum kit that combines drums and cymbals.[7] This trio of instruments has often been complemented by the inclusion of other instruments, particularly keyboards such as the piano, Hammond organ and synthesizers.[8] The basic rock instrumentation was adapted from the basic blues band instrumentation (prominent lead guitar, second chordal instrument, bass, and drums).[5] A group of musicians performing rock music is termed a rock band or rock group and typically consists of between three–the power trio used in rock, metal and punk rock–and five members. Classically, a rock band takes the form of a quartetwhose members cover one or more roles, including vocalist, lead guitarist, rhythm guitarist, bass guitarist, drummer and often that ofkeyboard player or other instrumentalist.[9]

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.[10] Melodies are often derived from older musical modes, including the Dorian and Mixolydian, as well asmajor and minor modes. Harmonies range from the common triad to parallel fourths and fifths and dissonant harmonic progressions.[10] Rock songs, since the late 1950s[11] and particularly from the mid-1960s onwards, often used the verse-chorus structure derived from blues and folk music, but there has been considerable variation from this model.[12] Critics have stressed the eclecticism and stylistic diversity of rock.[13] Because of its complex history and 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.”[14]

A simple 4/4 drum pattern common in rock music About this sound Play 

Unlike many earlier styles of popular music, rock lyrics have dealt with a wide range of themes in addition to romantic love: including sex, rebellion against “The Establishment“, social concerns and life styles.[10] These themes were inherited from a variety of sources, including the Tin Pan Alley pop tradition, folk music and rhythm and blues.[15] Music journalist Robert Christgau characterizes rock lyrics as a “cool medium” with simple diction and repeated refrains, and asserts that rock’s primary “function” “pertains to music, or, more generally,noise.”[16] The predominance of white, male and often middle class musicians in rock music has often been noted[17] and rock has been seen as an appropriation of black musical forms for a young, white and largely male audience.[18] As a result, it has been seen as articulating the concerns of this group in both style and lyrics.[19]

Since the term rock began to be used in preference to rock and roll from the late-1960s, it has often been contrasted with pop music, with which it has shared many characteristics, but from which it is often distanced by an emphasis on musicianship, live performance and a focus on serious and progressive themes as part of an ideology of authenticity that is frequently combined with an awareness of the genre’s history and development.[20] According to Simon Frith “rock was something more than pop, something more than rock and roll. Rock musicians combined an emphasis on skill and technique with the romantic concept of art as artistic expression, original and sincere”.[20] In the new millennium the term rock has sometimes been used as a blanket term including forms such as pop music, reggae music, soul music, and even hip hop, with which it has been influenced but often contrasted through much of its history.[21]

Origins[edit]

Rock and roll[edit]

Main article: Rock and roll

The foundations of rock music are in rock and roll, which originated in the United States during the late 1940s and early 1950s, and quickly spread to much of the rest of the world. Its immediate origins lay in a melding of various black musical genres of the time, including rhythm and blues and gospel music, with country and western.[22] In 1951,Cleveland, Ohio disc jockey Alan Freed began playing rhythm and blues music (then termed “race music”) for a multi-racial audience, and is credited with first using the phrase “rock and roll” to describe the music.[23]

Debate surrounds which record should be considered the first rock and roll record. Contenders include Goree Carter‘s “Rock Awhile” (1949);[24] Jimmy Preston‘s “Rock the Joint” (1949), which was later covered by Bill Haley & His Comets in 1952;[25] and “Rocket 88” by Jackie Brenston and his Delta Cats (in fact, Ike Turner and his band the Kings of Rhythm), recorded by Sam Phillips for Sun Records in 1951.[26] Four years later, Bill Haley‘s “Rock Around the Clock” (1955) became the first rock and roll song to top Billboardmagazine’s main sales and airplay charts, and opened the door worldwide for this new wave of popular culture.[27][28]

A black and white photograph of Elvis Presley standing between two sets of bars

Elvis Presley in a promotion shot for Jailhouse Rock in 1957

It has also been argued that “That’s All Right (Mama)” (1954), Elvis Presley‘s first single for Sun Records in Memphis, could be the first rock and roll record,[29] but, at the same time, Big Joe Turner‘s “Shake, Rattle & Roll“, later covered by Haley, was already at the top of the Billboard R&B charts. Other artists with early rock and roll hits included Chuck Berry, Bo Diddley, Fats Domino, Little Richard, Jerry Lee Lewis, and Gene Vincent.[26] Soon rock and roll was the major force in American record sales and crooners, such as Eddie Fisher, Perry Como, and Patti Page, who had dominated the previous decade of popular music, found their access to the pop charts significantly curtailed.[30]

Rock and roll has been seen as leading to a number of distinct subgenres, including rockabilly, combining rock and roll with “hillbilly” country music, which was usually played and recorded in the mid-1950s by white singers such as Carl Perkins, Jerry Lee Lewis, Buddy Holly and with the greatest commercial success, Elvis Presley.[31] In contrast doo wop placed an emphasis on multi-part vocal harmonies and meaningless backing lyrics (from which the genre later gained its name), which were usually supported with light instrumentation and had its origins in 1930s and 1940s African American vocal groups.[32] Acts like the Crows, the Penguins, the El Dorados and the Turbans all scored major hits, and groups like the Platters, with songs including “The Great Pretender” (1955),[33] and the Coasters with humorous songs like “Yakety Yak” (1958),[34]ranked among the most successful rock and roll acts of the period.[35]

The era also saw the growth in popularity of the electric guitar, and the development of a specifically rock and roll style of playing through such exponents as Chuck Berry, Link Wray, and Scotty Moore.[36] The use of distortion, pioneered by electric blues guitarists such as Guitar Slim,[37]Willie Johnson and Pat Hare in the early 1950s,[38] was popularized by Chuck Berry in the mid-1950s.[39] The use of power chords, pioneered by Willie Johnson and Pat Hare in the early 1950s,[38] was popularized by Link Wray in the late 1950s.[40]

In the United Kingdom, the trad jazz and folk movements brought visiting blues music artists to Britain.[41] Lonnie Donegan‘s 1955 hit “Rock Island Line” was a major influence and helped to develop the trend of skiffle music groups throughout the country, many of which, including John Lennon‘s Quarrymen, moved on to play rock and roll.[42]

Commentators have traditionally perceived a decline of rock and roll in the late 1950s and early 1960s. By 1959, the death of Buddy Holly, The Big Bopper and Richie Valens in a plane crash, the departure of Elvis for the army, the retirement of Little Richard to become a preacher, prosecutions of Jerry Lee Lewis and Chuck Berry and the breaking of thepayola scandal (which implicated major figures, including Alan Freed, in bribery and corruption in promoting individual acts or songs), gave a sense that the rock and roll era established at that point had come to an end.[43]

“In-between years”[edit]

Main article: Rock and roll

The Shirelles in 1962. Clockwise from top: Addie “Micki” Harris,Shirley Owens, Beverly Lee, and Doris Coley.

The period of the later 1950s and early 1960s, between the end of the initial period of innovation and what became known in the US as the “British Invasion“, has traditionally been seen as an era of hiatus for rock and roll.[44] More recently some authors have emphasised important innovations and trends in this period without which future developments would not have been possible.[45][46] While early rock and roll, particularly through the advent of rockabilly, saw the greatest commercial success for male and white performers, in this era the genre was dominated by black and female artists. Rock and roll had not disappeared at the end of the 1950s and some of its energy can be seen in the Twist dance craze of the early 1960s, mainly benefiting the career of Chubby Checker.[46] Having died down in the late 1950s, doo wop enjoyed a revival in the same period, with hits for acts like the Marcels, the Capris, Maurice Williams and the Zodiacs, and Shep and the Limelights.[35] The rise of girl groups like the Chantels, the Shirelles and the Crystals placed an emphasis on harmonies and polished production that was in contrast to earlier rock and roll.[47] Some of the most significant girl group hits were products of the Brill Building Sound, named after the block in New York where many songwriters were based, which included the number 1 hit for the Shirelles “Will You Love Me Tomorrow” in 1960, penned by the partnership of Gerry Goffin and Carole King.[48]

Cliff Richard had the first British rock and roll hit with “Move It“, effectively ushering in the sound of British rock.[49] At the start of the 1960s, his backing group the Shadows was the most successful group recording instrumentals.[50] While rock ‘n’ roll was fading into lightweight pop and ballads, British rock groups at clubs and local dances, heavily influenced by blues-rock pioneers like Alexis Korner, were starting to play with an intensity and drive seldom found in white American acts.[51]

Also significant was the advent of soul music as a major commercial force. Developing out of rhythm and blues with a re-injection of gospel music and pop, led by pioneers like Ray Charles and Sam Cooke from the mid-1950s,[52] by the early 1960s figures like Marvin Gaye, James Brown, Aretha Franklin, Curtis Mayfield and Stevie Wonder were dominating the R&B charts and breaking through into the main pop charts, helping to accelerate their desegregation, whileMotown and Stax/Volt Records were becoming major forces in the record industry.[53] All of these elements, including the close harmonies of doo wop and girl groups, the carefully crafted song-writing of the Brill Building Sound and the polished production values of soul, have been seen as influencing the Merseybeat sound, particularly the early work of The Beatles, and through them the form of later rock music.[54] Some historians of music have also pointed to important and innovative technical developments that built on rock and roll in this period, including the electronic treatment of sound by such innovators as Joe Meek, and the elaborate production methods of the Wall of Sound pursued by Phil Spector.[46]

Early 1960s[edit]

Surf music[edit]

Main article: Surf music

The instrumental rock and roll of performers such as Duane Eddy, Link Wray and the Ventures was developed by Dick Dale, who added distinctive “wet” reverb, rapid alternate picking, and Middle Eastern and Mexican influences. He produced the regional hit “Let’s Go Trippin’” in 1961 and launched the surf music craze, following up with songs like “Misirlou” (1962).[55][56] Like Dale and his Del-Tones, most early surf bands were formed in Southern California, including the Bel-Airs, the Challengers, and Eddie & the Showmen.[56] The Chantays scored a top ten national hit with “Pipeline” in 1963 and probably the best known surf tune was 1963’s “Wipe Out“, by the Surfaris, which hit number 2 and number 10 on the Billboard charts in 1965.[57]

The Beach Boys performing in 1964

Groups which crossed over to this genre included the Astronauts, from Boulder, Colorado; the Trashmen, from Minneapolis, Minnesota, who had a number 4 hit with “Surfin Bird” in 1964; and the Rivieras from South Bend, Indiana, who reached number 5 in 1964 with “California Sun”.[55] The Atlantics, from Sydney, made a significant contribution to the genre, with their hit “Bombora” (1963).[55] European instrumental bands around this time generally focused more on the more rock and roll style played by The Shadows, but the Dakotas, who were the British backing band for Merseybeat singer Billy J. Kramer, gained some attention as surf musicians with “Cruel Sea” (1963), which was later covered by American instrumental surf bands, including the Ventures.[58]

Surf music achieved its greatest commercial success as vocal music, particularly the work of the Beach Boys, formed in 1961 in Southern California. Their early albums included both instrumental surf rock (among them covers of music by Dick Dale) and vocal songs, drawing on rock and roll and doo wop and the close harmonies of vocal pop acts like the Four Freshmen.[55] Their first chart hit, “Surfin’” in 1962 reached the Billboard top 100 and helped make the surf music craze a national phenomenon.[59] From 1963 the group began to leave surfing behind as subject matter as Brian Wilson became their major composer and producer, moving on to the more general themes of male adolescence including cars and girls in songs like “Fun, Fun, Fun” (1964) and “California Girls” (1965).[59] Other vocal surf acts followed, including one-hit wonders likeRonny & the Daytonas with “G. T. O.” (1964) and Rip Chords with “Hey Little Cobra“, which both reached the top ten, but the only other act to achieve sustained success with the formula were Jan & Dean, who had a number 1 hit with “Surf City” (co-written with Brian Wilson) in 1963.[55] The surf music craze and the careers of almost all surf acts was effectively ended by the arrival of the British Invasion from 1964.[55] Only the Beach Boys were able to sustain a creative career into the mid-1960s, producing a string of hit singles and albums, including the highly regarded Pet Sounds in 1966, which made them, arguably, the only American rock or pop act that could rival The Beatles.[59]

British Invasion[edit]

Main article: British Invasion
Black and white picture of the Beatles waving in front of a crowd with an set of aeroplane steps in the background

The Beatles arriving in New York in January 1964 at the beginning of theBritish Invasion

By the end of 1962, what would become the British rock scene had started with beat groups like the Beatles, Gerry & the Pacemakersand the Searchers from Liverpool and Freddie and the Dreamers, Herman’s Hermits and the Hollies from Manchester. They drew on a wide range of American influences including soul, rhythm and blues and surf music,[60] initially reinterpreting standard American tunes and playing for dancers. Bands like the Animals from Newcastle and Them from Belfast,[61] and particularly those from London like the Rolling Stones and the Yardbirds, were much more directly influenced by rhythm and blues and later blues music.[62] Soon these groups were composing their own material, combining US forms of music and infusing it with a high energy beat. Beat bands tended towards “bouncy, irresistible melodies”, while early British rhythm and blues acts tended towards less sexually innocent, more aggressive songs, often adopting an anti-establishment stance. There was, however, particularly in the early stages, considerable musical crossover between the two tendencies.[63] By 1963, led by the Beatles, beat groups had begun to achieve national success in Britain, soon to be followed into the charts by the more rhythm and blues focused acts.[64]

I Want to Hold Your Hand” was the Beatles’ first number 1 hit on the Billboard Hot 100,[65] spending 7 weeks at the top and a total of 15 weeks on the chart.[66][67] Their first appearance on The Ed Sullivan Show on 9 February 1964, drawing an estimated 73 million viewers (at the time a record for an American television program) is often considered a milestone in American pop culture. During the week of 4 April 1964, the Beatles held twelve positions on the Billboard Hot 100 singles chart, including the entire top five. The Beatles went on to become the biggest selling rock band of all time and they were followed into the US charts by numerous British bands.[63] During the next two years British acts dominated their own and the US charts with Peter and Gordon, the Animals,[68] Manfred Mann, Petula Clark,[68] Freddie and the Dreamers, Wayne Fontana and the Mindbenders, Herman’s Hermits, the Rolling Stones,[69] the Troggs, and Donovan[70] all having one or more number one singles.[66] Other major acts that were part of the invasion included the Kinks and the Dave Clark Five.[71][72]

The British Invasion helped internationalize the production of rock and roll, opening the door for subsequent British (and Irish) performers to achieve international success.[73] In America it arguably spelled the end of instrumental surf music, vocal girl groups and (for a time) the teen idols, that had dominated the American charts in the late 1950s and 1960s.[74] It dented the careers of established R&B acts like Fats Domino and Chubby Checker and even temporarily derailed the chart success of surviving rock and roll acts, including Elvis.[75] The British Invasion also played a major part in the rise of a distinct genre of rock music, and cemented the primacy of the rock group, based on guitars and drums and producing their own material as singer-songwriters.[32]

Garage rock[edit]

Main article: Garage rock

Garage rock was a raw form of rock music, particularly prevalent in North America in the mid-1960s and so called because of the perception that it was rehearsed in the suburban family garage.[76][77] Garage rock songs often revolved around the traumas of high school life, with songs about “lying girls” being particularly common.[78] The lyrics and delivery tended to be more aggressive than was common at the time, often with growled or shouted vocals that dissolved into incoherent screaming.[76] They ranged from crude one-chord music (like the Seeds) to near-studio musician quality (including the Knickerbockers, the Remains, and the Fifth Estate). There were also regional variations in many parts of the country with flourishing scenes particularly in California and Texas.[78] The Pacific Northwest states of Washington and Oregon had perhaps the most defined regional sound.[79]

A tinted photograph of five members of the D-Men performing with guitars, drums and keyboards

the D-Men (later The Fifth Estate) in 1964

The style had been evolving from regional scenes as early as 1958. “Tall Cool One” (1959) by The Wailers and “Louie Louie” by the Kingsmen (1963) are mainstream examples of the genre in its formative stages.[80] By 1963, garage band singles were creeping into the national charts in greater numbers, including Paul Revere and the Raiders (Boise),[81] the Trashmen (Minneapolis)[82] and the Rivieras(South Bend, Indiana).[83] Other influential garage bands, such as the Sonics (Tacoma, Washington), never reached the Billboard Hot 100.[84] In this early period many bands were heavily influenced by surf rock and there was a cross-pollination between garage rock andfrat rock, sometimes viewed as merely a subgenre of garage rock.[85]

The British Invasion of 1964–66 greatly influenced garage bands, providing them with a national audience, leading many (often surf orhot rod groups) to adopt a British influence, and encouraging many more groups to form.[78] Thousands of garage bands were extant in the US and Canada during the era and hundreds produced regional hits.[78] Examples include: “The Witch” by Tacoma’s the Sonics(1965), “Where You Gonna Go” by Detroit’s Unrelated Segments (1967), “Girl I Got News for You” by Miami’s Birdwatchers (1966) and “1–2–5” by Montreal’s the Haunted. Despite scores of bands being signed to major or large regional labels, most were commercial failures. It is generally agreed that garage rock peaked both commercially and artistically around 1966.[78] By 1968 the style largely disappeared from the national charts and at the local level as amateur musicians faced college, work or the draft.[78] New styles had evolved to replace garage rock (including blues rock, progressive rock and country rock).[78] In Detroit, garage rock’s legacy remained alive into the early 1970s, with bands such as the MC5 and the Stooges, who employed a much more aggressive approach to the form. These bands began to be labelled punk rock and are now often seen as proto-punk or proto-hard rock.[86]

Pop rock[edit]

Main article: Pop rock

The term pop has been used since the early 20th century to refer to popular music in general, but from the mid-1950s it began to be used for a distinct genre, aimed at a youth market, often characterized as a softer alternative to rock and roll.[87][88] In the aftermath of the British Invasion, from about 1967, it was increasingly used in opposition to the term rock music, to describe a form that was more commercial, ephemeral and accessible.[20] In contrast rock music was seen as focusing on extended works, particularly albums, was often associated with particular sub-cultures (like the counterculture of the 1960s), placed an emphasis on artistic values and “authenticity”, stressed live performance and instrumental or vocal virtuosity and was often seen as encapsulating progressive developments rather than simply reflecting existing trends.[20][87][88][89]

Nevertheless, much pop and rock music has been very similar in sound, instrumentation and even lyrical content. The terms “pop-rock” and “power pop” have been used to describe more commercially successful music that uses elements from, or the form of, rock music.[90] Pop-rock has been defined as an “upbeat variety of rock music represented by artists such as Elton John, Paul McCartney, the Everly Brothers, Rod Stewart, Chicago, and Peter Frampton.”[91] The term power pop was coined by Pete Townshend of the Who in 1966, but not much used until it was applied to bands like Badfinger in the 1970s, who proved some of the most commercially successful of the period.[92]

Classic period[edit]

Blues rock[edit]

Main article: Blues rock
See also: British blues

Although the first impact of the British Invasion on American popular music was through beat and R&B based acts, the impetus was soon taken up by a second wave of bands that drew their inspiration more directly from American blues, including the Rolling Stones and the Yardbirds.[93] British blues musicians of the late 1950s and early 1960s had been inspired by the acoustic playing of figures such as Lead Belly, who was a major influence on the Skiffle craze, and Robert Johnson.[94] Increasingly they adopted a loud amplified sound, often centered on the electric guitar, based on the Chicago blues, particularly after the tour of Britain by Muddy Waters in 1958, which prompted Cyril Daviesand guitarist Alexis Korner to form the band Blues Incorporated.[95] The band involved and inspired many of the figures of the subsequent British blues boom, including members of the Rolling Stones and Cream, combining blues standards and forms with rock instrumentation and emphasis.[51]

A black and white photograph of Eric Clapton with a guitar on stage

Eric Clapton performing in Barcelona in 1974

The other key focus for British blues was around John Mayall who formed the Bluesbreakers, whose members included Eric Clapton(after his departure from The Yardbirds) and later Peter Green. Particularly significant was the release of Blues Breakers with Eric Clapton (Beano) album (1966), considered one of the seminal British blues recordings and the sound of which was much emulated in both Britain and the United States.[96] Eric Clapton went on to form supergroups Cream, Blind Faith and Derek and the Dominos, followed by an extensive solo career that helped bring blues rock into the mainstream.[95] Green, along with the Bluesbreaker’s rhythm sectionMick Fleetwood and John McVie, formed Peter Green’s Fleetwood Mac, who enjoyed some of the greatest commercial success in the genre.[95] In the late 1960s Jeff Beck, also an alumnus of the Yardbirds, moved blues rock in the direction of heavy rock with his band, the Jeff Beck Group.[95] The last Yardbirds guitarist was Jimmy Page, who went on to form The New Yardbirds which rapidly became Led Zeppelin. Many of the songs on their first three albums, and occasionally later in their careers, were expansions on traditional blues songs.[95]

In America, blues rock had been pioneered in the early 1960s by guitarist Lonnie Mack,[97] but the genre began to take off in the mid-1960s as acts developed a sound similar to British blues musicians. Key acts included Paul Butterfield (whose band acted like Mayall’s Bluesbreakers in Britain as a starting point for many successful musicians), Canned Heat, the early Jefferson Airplane, Janis Joplin, Johnny Winter, the J. Geils Band and Jimi Hendrix with his power trios, the Jimi Hendrix Experience and Band of Gypsys, whose guitar virtuosity and showmanship would be among the most emulated of the decade.[95]Blues rock bands from the southern states, like the Allman Brothers Band, Lynyrd Skynyrd, and ZZ Top, incorporated country elements into their style to produce distinctiveSouthern rock.[98]

Early blues rock bands often emulated jazz, playing long, involved improvisations, which would later be a major element of progressive rock. From about 1967 bands like Cream and the Jimi Hendrix Experience had moved away from purely blues-based music into psychedelia.[99] By the 1970s, blues rock had become heavier and more riff-based, exemplified by the work of Led Zeppelin and Deep Purple, and the lines between blues rock and hard rock “were barely visible”,[99] as bands began recording rock-style albums.[99] The genre was continued in the 1970s by figures such as George Thorogood and Pat Travers,[95] but, particularly on the British scene (except perhaps for the advent of groups such as Status Quo and Foghat who moved towards a form of high energy and repetitive boogie rock), bands became focused on heavy metal innovation, and blues rock began to slip out of the mainstream.[100]

Folk rock[edit]

Main article: Folk rock
See also: Electric folk
A black and white photograph of Joan Baez and Bob Dylan singing while Dylan plays guitar

Joan Baez and Bob Dylan in 1963

By the 1960s, the scene that had developed out of the American folk music revival had grown to a major movement, utilising traditional music and new compositions in a traditional style, usually on acoustic instruments.[101] In America the genre was pioneered by figures such as Woody Guthrie and Pete Seeger and often identified with progressive or labor politics.[101] In the early sixties figures such asJoan Baez and Bob Dylan had come to the fore in this movement as singer-songwriters.[102] Dylan had begun to reach a mainstream audience with hits including “Blowin’ in the Wind” (1963) and “Masters of War” (1963), which brought “protest songs” to a wider public,[103] but, although beginning to influence each other, rock and folk music had remained largely separate genres, often with mutually exclusive audiences.[104]

Early attempts to combine elements of folk and rock included the Animals’ “House of the Rising Sun” (1964), which was the first commercially successful folk song to be recorded with rock and roll instrumentation[105] and the Beatles “I’m a Loser” (1964), arguably the first Beatles song to be influenced directly by Dylan.[106] The folk rock movement is usually thought to have taken off with The Byrds‘ recording of Dylan’s “Mr. Tambourine Man” which topped the charts in 1965.[104] With members who had been part of the cafe-based folk scene in Los Angeles, the Byrds adopted rock instrumentation, including drums and 12-string Rickenbacker guitars, which became a major element in the sound of the genre.[104] Later that year Dylan adopted electric instruments, much to the outrage of many folk purists, with his “Like a Rolling Stone” becoming a US hit single.[104] Folk rock particularly took off in California, where it led acts like The Mamas & the Papas and Crosby, Stills and Nash to move to electric instrumentation, and in New York, where it spawned performers including The Lovin’ Spoonfuland Simon and Garfunkel, with the latter’s acoustic “The Sounds of Silence” (1965) being remixed with rock instruments to be the first of many hits.[104]

These acts directly influenced British performers like Donovan and Fairport Convention.[104] In 1969 Fairport Convention abandoned their mixture of American covers and Dylan-influenced songs to play traditional English folk music on electric instruments.[107] This electric folk was taken up by bands including Pentangle, Steeleye Span and The Albion Band, which in turn prompted Irish groups like Horslips and Scottish acts like the JSD Band, Spencer’s Feat and later Five Hand Reel, to use their traditional music to create a brand of Celtic rock in the early 1970s.[108]

Folk rock reached its peak of commercial popularity in the period 1967–68, before many acts moved off in a variety of directions, including Dylan and the Byrds, who began to develop country rock.[109] However, the hybridization of folk and rock has been seen as having a major influence on the development of rock music, bringing in elements of psychedelia, and helping to develop the ideas of the singer-songwriter, the protest song and concepts of “authenticity”.[104][110]

Psychedelic rock[edit]

Main article: Psychedelic rock
See also: Raga rock
A black and white photograph of Jimi Hendrix playing a guitar

Jimi Hendrix performing on Dutch TV in 1967

Psychedelic music’s LSD-inspired vibe began in the folk scene, with the New York-based Holy Modal Rounders using the term in their 1964 recording of “Hesitation Blues“.[111] The first group to advertise themselves as psychedelic rock were the 13th Floor Elevators from Texas, at the end of 1965; producing an album that made their direction clear, with The Psychedelic Sounds of the 13th Floor Elevators the following year.[111]The Beatles introduced many of the major elements of the psychedelic sound to audiences in this period, with “I Feel Fine” using guitar feedback; in late 1965 the Rubber Soul album included the use of a sitar on “Norwegian Wood” and they employed backmasking on their 1966 single B-side “Rain” and other tracks that appeared on their Revolver album later that year.[112]

Psychedelic rock particularly took off in California’s emerging music scene as groups followed the Byrds from folk to folk rock from 1965.[112] The psychedelic life style had already developed in San Francisco and particularly prominent products of the scene were the Grateful Dead, Country Joe and the Fish, the Great Society and Jefferson Airplane.[112][113] The Byrds rapidly progressed from purely folk rock in 1966 with their single “Eight Miles High“, widely taken to be a reference to drug use. In Britain, an influential band in the genre were The Yardbirds,[112] who, with Jeff Beck as their guitarist, increasingly moved into psychedelic territory, adding up-tempo improvised “rave ups”, Gregorian chant and world music influences to songs including “Still I’m Sad” (1965) and “Over Under Sideways Down” (1966).[114] From 1966 the UK underground scene based in North London supported new acts including Pink Floyd, Traffic and Soft Machine.[115] The same year saw Donovan’s folk-influenced hit albumSunshine Superman, considered one of the first psychedelic pop records, as well as the débuts of blues rock bands Cream and the Jimi Hendrix Experience, whose extended guitar-heavy jams became a key feature of psychedelia.[112]

Psychedelic rock reached its apogee in the last years of the decade. 1967 saw the Beatles release their definitive psychedelic statement in Sgt. Pepper’s Lonely Hearts Club Band, including the controversial track “Lucy in the Sky with Diamonds” and the Rolling Stones responded later that year with Their Satanic Majesties Request.[112] Pink Floyd produced what is usually seen as their best psychedelic work The Piper at the Gates of Dawn.[112] In America theSummer of Love was prefaced by the Human Be-In event and reached its peak at the Monterey Pop Festival, the latter helping to make major American stars of Jimi Hendrix and the Who, whose single “I Can See for Miles” delved into psychedelic territory.[116] Key recordings included Jefferson Airplane’s Surrealistic Pillow and the DoorsStrange Days.[117] These trends climaxed in the 1969 Woodstock festival, which saw performances by most of the major psychedelic acts, but by the end of the decade psychedelic rock was in retreat. Brian Wilson of the Beach Boys, Brian Jones of the Rolling Stones, Peter Green of Fleetwood Mac and Syd Barrett of Pink Floyd were early “acid casualties”, the Jimi Hendrix Experience and Cream broke up before the end of the decade and many surviving acts moved away from psychedelia into more back-to-basics “roots rock”, the wider experimentation of progressive rock, or riff-laden heavy rock.[112]

Progressive rock[edit]

Main article: Progressive rock
Further information: Progressive music

Progressive rock, a term sometimes used interchangeably with art rock, moved beyond established musical formulas by experimenting with different instruments, song types, and forms.[118] From the mid-1960s the Left Banke, the Beatles, the Rolling Stones and the Beach Boys, had pioneered the inclusion of harpsichords, wind, and string sections on their recordings to produce a form of Baroque rock and can be heard in singles like Procol Harum‘s “A Whiter Shade of Pale” (1967), with its Bach-inspired introduction.[119]The Moody Blues used a full orchestra on their album Days of Future Passed (1967) and subsequently created orchestral sounds with synthesisers.[118] Classical orchestration, keyboards and synthesisers were a frequent addition to the established rock format of guitars, bass and drums in subsequent progressive rock.[120]

A color photograph of members of the band Yes on stage

Prog-rock band Yes performing in concert in Indianapolis in 1977

Instrumentals were common, while songs with lyrics were sometimes conceptual, abstract, or based in fantasy and science fiction.[121] The Pretty ThingsSF Sorrow (1968), the Who’s Tommy (1969) and the Kinks’ Arthur (Or the Decline and Fall of the British Empire) (1969) introduced the format of rock operas and opened the door to concept albums, often telling an epic story or tackling a grand overarching theme.[122] King Crimson‘s 1969 début album, In the Court of the Crimson King, which mixed powerful guitar riffs and mellotron, with jazz and symphonic music, is often taken as the key recording in progressive rock, helping the widespread adoption of the genre in the early 1970s among existing blues-rock and psychedelic bands, as well as newly formed acts.[118]

The vibrant Canterbury scene saw acts following Soft Machine from psychedelia, through jazz influences, toward more expansive hard rock, including Caravan, Hatfield and the North, Gong, and National Health.[123] Greater commercial success was enjoyed by Pink Floyd, who also moved away from psychedelia after the departure of Syd Barrett in 1968, with The Dark Side of the Moon(1973), seen as a masterpiece of the genre, becoming one of the best-selling albums of all time.[124] There was an emphasis on instrumental virtuosity, with Yes showcasing the skills of both guitarist Steve Howe and keyboard player Rick Wakeman, while Emerson, Lake & Palmer were a supergroup who produced some of the genre’s most technically demanding work.[118] Jethro Tull and Genesis both pursued very different, but distinctly English, brands of music.[125]Renaissance, formed in 1969 by ex-Yardbirds Jim McCarty and Keith Relf, evolved into a high-concept band featuring the three-octave voice of Annie Haslam.[126] Most British bands depended on a relatively small cult following, but a handful, including Pink Floyd, Genesis and Jethro Tull, managed to produce top ten singles at home and break the American market.[127]

The American brand of progressive rock varied from the eclectic and innovative Frank Zappa, Captain Beefheart and Blood, Sweat & Tears,[128] to more pop rock orientated bands like Boston, Foreigner, Kansas, Journey and Styx.[118] These, beside British bands Supertramp and ELO, all demonstrated a prog rock influence and while ranking among the most commercially successful acts of the 1970s, issuing in the era of pomp or arena rock, which would last until the costs of complex shows (often with theatrical staging and special effects), would be replaced by more economical rock festivals as major live venues in the 1990s.[citation needed]

The instrumental strand of the genre resulted in albums like Mike Oldfield‘s Tubular Bells (1973), the first record, and worldwide hit, for the Virgin Records label, which became a mainstay of the genre.[118] Instrumental rock was particularly significant in continental Europe, allowing bands like Kraftwerk, Tangerine Dream, Can, and Faust to circumvent the language barrier.[129] Their synthesiser-heavy “krautrock“, along with the work of Brian Eno (for a time the keyboard player with Roxy Music), would be a major influence on subsequent electronic rock.[118] With the advent of punk rock and technological changes in the late 1970s, progressive rock was increasingly dismissed as pretentious and overblown.[130][131] Many bands broke up, but some, including Genesis, ELP, Yes, and Pink Floyd, regularly scored top ten albums with successful accompanying worldwide tours.[86] Some bands which emerged in the aftermath of punk, such as Siouxsie and the Banshees, Ultravox, and Simple Minds, showed the influence of progressive rock, as well as their more usually recognized punk influences.[132]

Roots rock[edit]

Main article: Roots rock

Roots rock is the term now used to describe a move away from what some saw as the excesses of the psychedelic scene, to a more basic form of rock and roll that incorporated its original influences, particularly country and folk music, leading to the creation of country rock and Southern rock.[133] In 1966 Bob Dylan went to Nashville to record the albumBlonde on Blonde.[134] This, and subsequent more clearly country-influenced albums, have been seen as creating the genre of country folk, a route pursued by a number of largely acoustic folk musicians.[134] Other acts that followed the back-to-basics trend were the Canadian group the Band and the California-based Creedence Clearwater Revival, both of which mixed basic rock and roll with folk, country and blues, to be among the most successful and influential bands of the late 1960s.[135] The same movement saw the beginning of the recording careers of Californian solo artists like Ry Cooder, Bonnie Raitt and Lowell George,[136] and influenced the work of established performers such as the Rolling Stones’ Beggar’s Banquet (1968) and the Beatles’ Let It Be (1970).[112]

A color photograph of four members of the Eagles on stage with guitars

The Eagles during their 2008–2009Long Road out of Eden Tour

In 1968 Gram Parsons recorded Safe at Home with the International Submarine Band, arguably the first true country rock album.[137]Later that year he joined the Byrds for Sweetheart of the Rodeo (1968), generally considered one of the most influential recordings in the genre.[137] The Byrds continued in the same vein, but Parsons left to be joined by another ex-Byrds member Chris Hillman in forming the Flying Burrito Brothers who helped establish the respectability and parameters of the genre, before Parsons departed to pursue a solo career.[137] Bands in California that adopted country rock included Hearts and Flowers, Poco, New Riders of the Purple Sage,[137] theBeau Brummels,[137] and the Nitty Gritty Dirt Band.[138] Some performers also enjoyed a renaissance by adopting country sounds, including: the Everly Brothers; one-time teen idol Rick Nelson who became the frontman for the Stone Canyon Band; former MonkeeMike Nesmith who formed the First National Band; and Neil Young.[137] The Dillards were, unusually, a country act, who moved towards rock music.[137] The greatest commercial success for country rock came in the 1970s, with artists including the Doobie Brothers,Emmylou Harris, Linda Ronstadt and the Eagles (made up of members of the Burritos, Poco, and Stone Canyon Band), who emerged as one of the most successful rock acts of all time, producing albums that included Hotel California (1976).[139]

The founders of Southern rock are usually thought to be the Allman Brothers Band, who developed a distinctive sound, largely derived from blues rock, but incorporating elements of boogie, soul, and country in the early 1970s.[98] The most successful act to follow them were Lynyrd Skynyrd, who helped establish the “Good ol’ boy” image of the subgenre and the general shape of 1970s’ guitar rock.[98] Their successors included the fusion/progressive instrumentalists Dixie Dregs, the more country-influenced Outlaws, jazz-leaning Wet Willie and (incorporating elements of R&B and gospel) the Ozark Mountain Daredevils.[98] After the loss of original members of the Allmans and Lynyrd Skynyrd, the genre began to fade in popularity in the late 1970s, but was sustained the 1980s with acts like .38 Special, Molly Hatchet and the Marshall Tucker Band.[98]

Jazz rock[edit]

Main article: Jazz rock

In the late 1960s jazz rock emerged as a distinct subgenre out of the blues rock, psychedelic and progressive rock scenes, mixing the power of rock with the musical complexity and improvisational elements of jazz. AllMusic states that the term jazz-rock “may refer to the loudest, wildest, most electrified fusion bands from the jazz camp, but most often it describes performers coming from the rock side of the equation.” Jazz rock “…generally grew out of the most artistically ambitious rock subgenres of the late ’60s and early ’70s”, including the singer/songwriter movement.[140]Many early US rock and roll musicians had begun in jazz and carried some of these elements into the new music. In Britain the subgenre of blues rock, and many of its leading figures, like Ginger Baker and Jack Bruce of the Eric Clapton-fronted band Cream, had emerged from the British jazzscene. Often highlighted as the first true jazz-rock recording is the only album by the relatively obscure New York-based the Free Spirits with Out of Sight and Sound (1966). The first group of bands to self-consciously use the label were R&B oriented white rock bands that made use of jazzy horn sections, like Electric Flag, Blood, Sweat & Tears and Chicago, to become some of the most commercially successful acts of the later 1960s and early 1970s.[141]

British acts to emerge in the same period from the blues scene, to make use of the tonal and improvisational aspects of jazz, included Nucleus[142]and the Graham Bond and John Mayall spin-off Colosseum. From the psychedelic rock and the Canterbury scenes came Soft Machine, who, it has been suggested, produced one of the artistically successfully fusions of the two genres. Perhaps the most critically acclaimed fusion came from the jazz side of the equation, with Miles Davis, particularly influenced by the work of Hendrix, incorporating rock instrumentation into his sound for the album Bitches Brew (1970). It was a major influence on subsequent rock-influenced jazz artists, including Herbie Hancock, Chick Corea and Weather Report.[141] The genre began to fade in the late 1970s, as a mellower form of fusion began to take its audience,[143] but acts like Steely Dan,[143] Frank Zappa and Joni Mitchell recorded significant jazz-influenced albums in this period, and it has continued to be a major influence on rock music.[141]

Glam rock[edit]

Main article: Glam rock
A color photograph of David Bowie with an acoustic guitar

David Bowie during theZiggy Stardust and the Spiders Tour in 1972

Glam rock emerged from the English psychedelic and art rock scenes of the late 1960s and can be seen as both an extension of and reaction against those trends.[144] Musically diverse, varying between the simple rock and roll revivalism of figures like Alvin Stardust to the complex art rock of Roxy Music, and can be seen as much as a fashion as a musical subgenre.[144] Visually it was a mesh of various styles, ranging from 1930s Hollywood glamor, through 1950s pin-up sex appeal, pre-war Cabaret theatrics, Victorian literary and symbolist styles, science fiction, to ancient and occult mysticism and mythology; manifesting itself in outrageous clothes, makeup, hairstyles, and platform-soled boots.[145] Glam is most noted for its sexual and gender ambiguity and representations of androgyny, beside extensive use of theatrics.[146] It was prefigured by the showmanship and gender-identity manipulation of American acts such as the Cockettes and Alice Cooper.[147]

The origins of glam rock are associated with Marc Bolan, who had renamed his folk duo to T. Rex and taken up electric instruments by the end of the 1960s. Often cited as the moment of inception is his appearance on the UK TV programme Top of the Pops in December 1970 wearing glitter, to perform what would be his first number 1 single “Ride a White Swan“.[148] From 1971, already a minor star, David Bowie developed his Ziggy Stardust persona, incorporating elements of professional make up, mime and performance into his act.[149] These performers were soon followed in the style by acts including Roxy Music, Sweet, Slade, Mott the Hoople, Mud and Alvin Stardust.[149] While highly successful in the single charts in the UK, very few of these musicians were able to make a serious impact in the United States; Bowie was the major exception becoming an international superstar and prompting the adoption of glam styles among acts like Lou Reed, Iggy Pop, New York Dolls andJobriath, often known as “glitter rock” and with a darker lyrical content than their British counterparts.[150] In the UK the term glitter rock was most often used to refer to the extreme version of glam pursued by Gary Glitter and his support musicians the Glitter Band, who between them achieved eighteen top ten singles in the UK between 1972 and 1976.[151] A second wave of glam rock acts, including Suzi Quatro, Roy Wood‘s Wizzard and Sparks, dominated the British single charts from about 1974 to 1976.[149] Existing acts, some not usually considered central to the genre, also adopted glam styles, including Rod Stewart, Elton John, Queen and, for a time, even the Rolling Stones.[149] It was also a direct influence on acts that rose to prominence later, including Kiss and Adam Ant, and less directly on the formation of gothic rock and glam metal as well as on punk rock, which helped end the fashion for glam from about 1976.[150] Glam has since enjoyed sporadic modest revivals through bands such as Chainsaw Kittens, the Darkness[152] and in R n’ B crossover act Prince.[153]

Soft rock, hard rock and early heavy metal[edit]

A color photograph of the band Led Zeppelin on stage

Led Zeppelin live at Chicago Stadium in January 1975

From the late 1960s it became common to divide mainstream rock music into soft and hard rock. Soft rock was often derived from folk rock, using acoustic instruments and putting more emphasis on melody and harmonies.[154] Major artists included Carole King, Cat Stevens and James Taylor.[154] It reached its commercial peak in the mid- to late 1970s with acts like Billy Joel, America and the reformedFleetwood Mac, whose Rumours (1977) was the best-selling album of the decade.[155] In contrast, hard rock was more often derived from blues-rock and was played louder and with more intensity.[156] It often emphasised the electric guitar, both as a rhythm instrument using simple repetitive riffs and as a solo lead instrument, and was more likely to be used with distortion and other effects.[156] Key acts included British Invasion bands like the Who and the Kinks, as well as psychedelic era performers like Cream, Jimi Hendrix and the Jeff Beck Group.[156] Hard rock-influenced bands that enjoyed international success in the later 1970s included Queen,[157] Thin Lizzy,[158]Aerosmith and AC/DC.[156]

From the late 1960s the term “heavy metal” began to be used to describe some hard rock played with even more volume and intensity, first as an adjective and by the early 1970s as a noun.[159] The term was first used in music in Steppenwolf‘s “Born to Be Wild” (1967) and began to be associated with pioneer bands like San Francisco’s Blue Cheer and Michigan’s Grand Funk Railroad.[160] By 1970 three key British bands had developed the characteristic sounds and styles which would help shape the subgenre. Led Zeppelin added elements of fantasy to their riff laden blues-rock, Deep Purple brought in symphonic and medieval interests from their progressive rock phase and Black Sabbath introduced facets of the gothic and modal harmony, helping to produce a “darker” sound.[161] These elements were taken up by a “second generation” of heavy metal bands into the late 1970s, including: Judas Priest, UFO, Motörhead and Rainbow from Britain; Kiss, Ted Nugent, and Blue Öyster Cult from the US; Rush from Canada and Scorpions from Germany, all marking the expansion in popularity of the subgenre.[161] Despite a lack of airplay and very little presence on the singles charts, late-1970s heavy metal built a considerable following, particularly among adolescent working-class males in North America and Europe.[162]

Christian rock[edit]

Main article: Christian rock
A color photograph of the band Stryper on stage under a large cross of lights

Stryper on stage in 1986

Rock, mostly the heavy metal genre, has been criticized by some Christian leaders, who have condemned it as immoral, anti-Christian and even demonic.[163] However, Christian rock began to develop in the late 1960s, particularly out of the Jesus movement beginning in Southern California, and emerged as a subgenre in the 1970s with artists like Larry Norman, usually seen as the first major “star” of Christian rock.[164] The genre has been particularly popular in the United States.[165] Many Christian rock performers have ties to thecontemporary Christian music scene, while other bands and artists are closely linked to independent music. Since the 1980s Christian rock performers have gained mainstream success, including figures such as the American gospel-to-pop crossover artist Amy Grant and the British singer Cliff Richard.[166] While these artists were largely acceptable in Christian communities the adoption of heavy rock and glam metal styles by bands like Petra and Stryper, who achieved considerable mainstream success in the 1980s, was more controversial.[167][168] From the 1990s there were increasing numbers of acts who attempted to avoid the Christian band label, preferring to be seen as groups who were also Christians, including P.O.D and Collective Soul.[169]

Punk era[edit]

Punk rock[edit]

Main article: Punk rock
See also: Protopunk and Hardcore punk
A color photograph of Patti Smith on stage with a microphone

Patti Smith, performing in 1976

Punk rock was developed between 1974 and 1976 in the United States and the United Kingdom. Rooted in garage rock and other forms of what is now known as protopunk music, punk rock bands eschewed the perceived excesses of mainstream 1970s rock.[170] They created fast, hard-edged music, typically with short songs, stripped-down instrumentation, and often political, anti-establishment lyrics. Punk embraces a DIY (do it yourself) ethic, with many bands self-producing their recordings and distributing them through informal channels.[171]

By late 1976, acts such as the Ramones and Patti Smith, in New York City, and the Sex Pistols and the Clash, in London, were recognized as the vanguard of a new musical movement.[170] The following year saw punk rock spreading around the world. Punk quickly, though briefly, became a major cultural phenomenon in the United Kingdom. For the most part, punk took root in local scenes that tended to reject association with the mainstream. An associated punk subculture emerged, expressing youthful rebellion and characterized by distinctive clothing styles and a variety of anti-authoritarian ideologies.[172]

By the beginning of the 1980s, faster, more aggressive styles such as hardcore and Oi! had become the predominant mode of punk rock.[173]This has resulted in several evolved strains of hardcore punk, such as D-beat (a distortion-heavy subgenre influenced by the UK bandDischarge), anarcho-punk (such as Crass), grindcore (such as Napalm Death), and crust punk.[174] Musicians identifying with or inspired by punk also pursued a broad range of other variations, giving rise to New wave, post-punk and the alternative rock movement.[170]

New wave[edit]

Main articles: New wave music and Synthpop
A black and white photograph of Debbie Harry on stage with a microphone

Deborah Harry from the bandBlondie, performing at Maple Leaf Gardens in Toronto in 1977

Although punk rock was a significant social and musical phenomenon, it achieved less in the way of record sales (being distributed by small specialty labels such as Stiff Records),[175] or American radio airplay (as the radio scene continued to be dominated by mainstream formats such as disco and album-oriented rock).[176] Punk rock had attracted devotees from the art and collegiate world and soon bands sporting a more literate, arty approach, such as Talking Heads and Devo began to infiltrate the punk scene; in some quarters the description “new wave” began to be used to differentiate these less overtly punk bands.[177] Record executives, who had been mostly mystified by the punk movement, recognized the potential of the more accessible new wave acts and began aggressively signing and marketing any band that could claim a remote connection to punk or new wave.[178] Many of these bands, such as the Cars and the Go-Go’s can be seen as pop bands marketed as new wave;[179] other existing acts, including the Police, the Pretenders and Elvis Costello, used the new wave movement as the springboard for relatively long and critically successful careers,[180] while “skinny tie” bands exemplified by the Knack,[181] or the photogenic Blondie, began as punk acts and moved into more commercial territory.[182]

Between 1979 and 1985, influenced by Kraftwerk, Yellow Magic Orchestra, David Bowie and Gary Numan, British new wave went in the direction of such New Romantics as Spandau Ballet, Ultravox, Japan, Duran Duran, A Flock of Seagulls, Culture Club, Talk Talk and the Eurythmics, sometimes using the synthesizer to replace all other instruments.[183] This period coincided with the rise of MTV and led to a great deal of exposure for this brand of synthpop, creating what has been characterised as a second British Invasion.[184] Some more traditional rock bands adapted to the video age and profited from MTV’s airplay, most obviously Dire Straits, whose “Money for Nothing” gently poked fun at the station, despite the fact that it had helped make them international stars,[185] but in general, guitar-oriented rock was commercially eclipsed.[186]

Post-punk[edit]

Main article: Post-punk
A color photograph of members of the band U2 performing on stage

U2 performing at Madison Square Garden in November 2005

If hardcore most directly pursued the stripped down aesthetic of punk, and new wave came to represent its commercial wing, post-punk emerged in the later 1970s and early 1980s as its more artistic and challenging side. Major influences beside punk bands were the Velvet Underground, the Who, Frank Zappa and Captain Beefheart, and the New York-based no wave scene which placed an emphasis on performance, including bands such as James Chance and the Contortions, DNA and Sonic Youth.[187] Early contributors to the genre included the US bands Pere Ubu, Devo, the Residents and Talking Heads.[187]

The first wave of British post-punk included Gang of Four, Siouxsie and the Banshees and Joy Division, who placed less emphasis on art than their US counterparts and more on the dark emotional qualities of their music.[187] Bands like Siouxsie and the Banshees, Bauhaus,the Cure, and the Sisters of Mercy, moved increasingly in this direction to found Gothic rock, which had become the basis of a major sub-culture by the early 1980s.[188] Similar emotional territory was pursued by Australian acts like the Birthday Party and Nick Cave.[187]Members of Bauhaus and Joy Division explored new stylistic territory as Love and Rockets and New Order respectively.[187] Another early post-punk movement was the industrial music[189] developed by British bands Throbbing Gristle and Cabaret Voltaire, and New York-based Suicide, using a variety of electronic and sampling techniques that emulated the sound of industrial production and which would develop into a variety of forms of post-industrial music in the 1980s.[190]

The second generation of British post-punk bands that broke through in the early 1980s, including the Fall, the Pop Group, the Mekons, Echo and the Bunnymen and theTeardrop Explodes, tended to move away from dark sonic landscapes.[187] Arguably the most successful band to emerge from post-punk was Ireland’s U2, who incorporated elements of religious imagery together with political commentary into their often anthemic music, and by the late 1980s had become one of the biggest bands in the world.[191]Although many post-punk bands continued to record and perform, it declined as a movement in the mid-1980s as acts disbanded or moved off to explore other musical areas, but it has continued to influence the development of rock music and has been seen as a major element in the creation of the alternative rock movement.[192]

New waves and genres in heavy metal[edit]

Main article: Heavy metal music

Although many established bands continued to perform and record, heavy metal suffered a hiatus in the face of the punk movement in the mid-1970s. Part of the reaction saw the popularity of bands like Motörhead, who had adopted a punk sensibility, and Judas Priest, who created a stripped down sound, largely removing the remaining elements of blues music, from their 1978 album Stained Class.[193] This change of direction was compared to punk and in the late 1970s became known as the new wave of British heavy metal (NWOBHM).[194] During this era, almost all heavy metal performers were male, with the exception of the all-female band Girlschool from the UK. These bands were soon followed by acts including Iron Maiden, Vardis, Diamond Head, Saxon, Def Leppard and Venom, many of which began to enjoy considerable success in the US.[195] In the same period Eddie Van Halen established himself as a metal guitar virtuoso after his band’s self-titled 1978 album.[196] Randy Rhoads and Yngwie Malmsteen also became established virtuosos, associated with what would be known as the neoclassical metal style.[197]

A color photograph of members of the band Iron Maiden on stage with guitars

Iron Maiden, one of the central bands in the new wave of British heavy metal, performing in Barcelona in 2006

Inspired by NWOBHM and Van Halen’s success, a metal scene began to develop in Southern California from the late 1970s, based on the clubs of L.A.’s Sunset Strip and including such bands as Quiet Riot, Ratt, Mötley Crüe, and W.A.S.P., who, along with similarly styled acts such as New York’s Twisted Sister, incorporated the theatrics (and sometimes makeup) of glam rock acts like Alice Cooper and Kiss.[196] The lyrics of these glam metal bands characteristically emphasized hedonism and wild behavior and musically were distinguished by rapid-fire shred guitar solos, anthemic choruses, and a relatively melodic, pop-oriented approach.[196] The most commercially significant release of the era being Slippery When Wet (1986) by Bon Jovi from New Jersey, selling over 12 million copies in the US alone.[198] The album has been credited with widening the audience for the subgenre, particularly by appealing to women as well as the traditional male dominated audience, and opening the door to MTV and commercial success for other bands at the end of the decade.[199] By the mid-1980s bands were beginning to emerge from the L.A. scene that pursued a less glam image and a rawer sound, particularly Guns N’ Roses, breaking through with the chart-topping Appetite for Destruction (1987), and Jane’s Addiction, who emerged with their major label debut Nothing’s Shocking, the following year.[200]

In the late 1980s metal fragmented into several subgenres, including thrash metal, which developed in the US from the style known asspeed metal, under the influence of hardcore punk, with low-register guitar riffs typically overlaid by shredding leads.[201] Lyrics often expressed nihilistic views or deal with social issues using visceral, gory language. It was popularised by the “Big Four of Thrash”: Metallica, Anthrax, Megadeth, and Slayer.[195] Death metal developed out of thrash, particularly influenced by the bands Venom and Slayer. Florida’s Death and the Bay Area’s Possessed emphasized lyrical elements of blasphemy, diabolism and millenarianism, with vocals usually delivered as guttural “death growls,” high-pitched screaming, complemented by downtuned, highly distorted guitars and extremely fast double basspercussion.[202] Black metal, again influenced by Venom and pioneered by Denmark’s Mercyful Fate, Switzerland’s Hellhammer and Celtic Frost, and Sweden’s Bathory, had many similarities in sound to death metal, but was often intentionally lo-fi in production and placed greater emphasis on satanic and pagan themes.[203][204] Bathory were particularly important in inspiring the further subgenres of Viking metal and folk metal.[205] Power metal emerged in Europe in the late 1980s as a reaction to the harshness of death and black metal and was established by Germany’s Helloween, who combined a melodic approach with thrash’s speed and energy.[206] England’s DragonForce[207] and Florida’s Iced Earth[208] have a sound indebted to NWOBHM, while acts such as Florida’s Kamelot, Finland’s Nightwish, Italy’s Rhapsody of Fire, and Russia’s Catharsis feature a keyboard-based “symphonic” sound, sometimes employing orchestras and opera singers. In contrast to other subgenres doom metal, influenced by Gothic rock, slowed down the music, with bands like England’s Pagan Altar and Witchfinder General and the United States’ Pentagram, Saint Vitus and Trouble, emphasizing melody, down-tuned guitars, a ‘thicker’ or ‘heavier’ sound and a sepulchral mood.[209][210] American bands such as Queensrÿche and Dream Theater pioneered an often instrumentally challenging fusion of NWOBHM and progressive rock called progressive metal,[211] with bands such as Symphony X combining aspects of power metal and classical music with the style, while Sweden’s Opeth developed a unique style indebted to both death metal and atmospheric 1970s prog rock.[212]

Heartland rock[edit]

Main article: Heartland rock

American working-class oriented heartland rock, characterized by a straightforward musical style, and a concern with the lives of ordinary, blue-collar American people, developed in the second half of the 1970s. The term heartland rock was first used to describe Midwestern arena rockgroups like Kansas, REO Speedwagon and Styx, but which came to be associated with a more socially concerned form of roots rock more directly influenced by folk, country and rock and roll.[213] It has been seen as an American Midwest and Rust Belt counterpart to West Coast country rock and the Southern rock of the American South.[214] Led by figures who had initially been identified with punk and New Wave, it was most strongly influenced by acts such as Bob Dylan, the Byrds, Creedence Clearwater Revival and Van Morrison, and the basic rock of 1960s garage and the Rolling Stones.[215]

Exemplified by the commercial success of singer songwriters Bruce Springsteen, Bob Seger, and Tom Petty, along with less widely known acts such as Southside Johnny and the Asbury Jukes and Joe Grushecky and the Houserockers, it was partly a reaction to post-industrial urban decline in the East and Mid-West, often dwelling on issues of social disintegration and isolation, beside a form of good-time rock and roll revivalism.[215] The genre reached its commercial, artistic and influential peak in the mid-1980s, with Springsteen’s Born in the USA (1984), topping the charts worldwide and spawning a series of top ten singles, together with the arrival of artists including John Mellencamp, Steve Earleand more gentle singer/songwriters such as Bruce Hornsby.[215] It can also be heard as an influence on artists as diverse as Billy Joel,[216] Kid Rock[217] and the Killers.[218]

Heartland rock faded away as a recognized genre by the early 1990s, as rock music in general, and blue collar and white working class themes in particular, lost influence with younger audiences, and as heartland’s artists turned to more personal works.[215] Many heartland rock artists continue to record today with critical and commercial success, most notably Bruce Springsteen, Tom Petty and John Mellencamp, although their works have become more personal and experimental and no longer fit easily into a single genre. Newer artists whose music would perhaps have been labelled heartland rock had it been released in the 1970s or 1980s, such as Missouri’s Bottle Rockets and Illinois’Uncle Tupelo, often find themselves labeled alt-country.[219]

Emergence of alternative rock[edit]

Main article: Alternative rock
A color photograph of the band R.E.M. on stage

R.E.M. was a successful alternative rock band in the 1980s

The term alternative rock was coined in the early 1980s to describe rock artists who did not fit into the mainstream genres of the time. Bands dubbed “alternative” had no unified style, but were all seen as distinct from mainstream music. Alternative bands were linked by their collective debt to punk rock, through hardcore, New Wave or the post-punk movements.[220] Important alternative rock bands of the 1980s in the US included R.E.M., Hüsker Dü, Jane’s Addiction, Sonic Youth, and the Pixies,[220] and in the UK the Cure, New Order, the Jesus and Mary Chain, and the Smiths.[221] Artists were largely confined to independent record labels, building an extensive underground music scene based on college radio, fanzines, touring, and word-of-mouth.[222] They rejected the dominant synthpop of the early 1980s, marking a return to group-based guitar rock.[223][224][225]

Few of these early bands achieved mainstream success, although exceptions to this rule include R.E.M., the Smiths, and the Cure. Despite a general lack of spectacular album sales, the original alternative rock bands exerted a considerable influence on the generation of musicians who came of age in the 1980s and ended up breaking through to mainstream success in the 1990s. Styles of alternative rock in the U.S. during the 1980s included jangle pop, associated with the early recordings of R.E.M., which incorporated the ringing guitars of mid-1960s pop and rock, and college rock, used to describe alternative bands that began in the college circuit and college radio, including acts such as 10,000 Maniacs and the Feelies.[220] In the UK Gothic rock was dominant in the early 1980s, but by the end of the decade indie or dream pop[226] like Primal Scream, Bogshed, Half Man Half Biscuit and the Wedding Present, and what were dubbed shoegaze bands like My Bloody Valentine, Ride, Lush, Chapterhouse, and the Boo Radleys.[227] Particularly vibrant was the Madchester scene, produced such bands as Happy Mondays, the Inspiral Carpets, and Stone Roses.[221][228] The next decade would see the success of grungein the United States and Britpop in the United Kingdom, bringing alternative rock into the mainstream.

Alternative[edit]

Grunge[edit]

Main article: Grunge
A color photograph of two members of the band Nirvana on stage with guitars

Nirvana in 1992

Disaffected by commercialized and highly produced pop and rock in the mid-1980s, bands in Washington state (particularly in the Seattlearea) formed a new style of rock which sharply contrasted with the mainstream music of the time.[229] The developing genre came to be known as “grunge”, a term descriptive of the dirty sound of the music and the unkempt appearance of most musicians, who actively rebelled against the over-groomed images of other artists.[229] Grunge fused elements of hardcore punk and heavy metal into a single sound, and made heavy use of guitar distortion, fuzz and feedback.[229] The lyrics were typically apathetic and angst-filled, and often concerned themes such as social alienation and entrapment, although it was also known for its dark humor and parodies of commercial rock.[229]

Bands such as Green River, Soundgarden, the Melvins and Skin Yard pioneered the genre, with Mudhoney becoming the most successful by the end of the decade. Grunge remained largely a local phenomenon until 1991, when Nirvana‘s album Nevermindbecame a huge success because of its song “Smells Like Teen Spirit“.[230] Nevermind was more melodic than its predecessors, by signing to Geffen Records the band was one of the first to employ traditional corporate promotion and marketing mechanisms such as an MTV video, in store displays and the use of radio “consultants” who promoted airplay at major mainstream rock stations. During 1991 and 1992, other grunge albums such as Pearl Jam‘s Ten, Soundgarden’s Badmotorfinger and Alice in ChainsDirt, along with the Temple of the Dog album featuring members of Pearl Jam and Soundgarden, became among the 100 top-selling albums.[231] Major record labels signed most of the remaining grunge bands in Seattle, while a second influx of acts moved to the city in the hope of success.[232] However, with the death of Kurt Cobain and the subsequent break-up of Nirvana in 1994, touring problems for Pearl Jam and the departure of Alice in Chains’ lead singer Layne Staley in 1996, the genre began to decline, partly to be overshadowed by Britpop and more commercial sounding post-grunge.[233]

Britpop[edit]

Main article: Britpop
A color photograph of Noel and Liam Gallagher of the band Oasis on stage

Oasis performing in 2005

Britpop emerged from the British alternative rock scene of the early 1990s and was characterised by bands particularly influenced by British guitar music of the 1960s and 1970s.[221] The Smiths were a major influence, as were bands of the Madchester scene, which had dissolved in the early 1990s.[73] The movement has been seen partly as a reaction against various U.S. based, musical and cultural trends in the late 1980s and early 1990s, particularly the grunge phenomenon and as a reassertion of a British rock identity.[221] Britpop was varied in style, but often used catchy tunes and hooks, beside lyrics with particularly British concerns and the adoption of the iconography of the 1960s British Invasion, including the symbols of British identity previously utilised by the mods.[234] It was launched around 1992 with releases by groups such as Suede and Blur, who were soon joined by others including Oasis, Pulp, Supergrass andElastica, who produced a series of top ten albums and singles.[221] For a while the contest between Blur and Oasis was built by the popular press into “The Battle of Britpop”, initially won by Blur, but with Oasis achieving greater long-term and international success, directly influencing a third generation of Britpop bands, including The Boo Radleys, Ocean Colour Scene and Cast.[235] Britpop groups brought British alternative rock into the mainstream and formed the backbone of a larger British cultural movement known as Cool Britannia.[236] Although its more popular bands, particularly Blur and Oasis, were able to spread their commercial success overseas, especially to the United States, the movement had largely fallen apart by the end of the decade.[221]

Post-grunge[edit]

Main article: Post-grunge
A color photograph of members of the Foo Fighters on stage with instruments

Foo Fighters performing an acoustic show in 2007

The term post-grunge was coined for the generation of bands that followed the emergence into the mainstream and subsequent hiatus of the Seattle grunge bands. Post-grunge bands emulated their attitudes and music, but with a more radio-friendly commercially oriented sound.[233] Often they worked through the major labels and came to incorporate diverse influences from jangle pop, pop-punk, alternative metal or hard rock.[233] The term post-grunge originally was meant to be pejorative, suggesting that they were simply musically derivative, or a cynical response to an “authentic” rock movement.[237] Originally, grunge bands that emerged when grunge was mainstream and were suspected of emulating the grunge sound were pejoratively labelled as post-grunge.[237] From 1994, former Nirvana drummer Dave Grohl‘s new band, the Foo Fighters, helped popularize the genre and define its parameters.[238]

Although male bands predominated post-grunge, female solo artist Alanis Morissette‘s 1995 album Jagged Little Pill, labelled as post-grunge, also became a multi-platinum hit.[239] Post-grunge morphed during the late 1990s as post-grunge bands like Creed andNickelback emerged.[237] Bands like Creed and Nickelback took post-grunge into the 21st century with considerable commercial success, abandoning most of the angst and anger of the original movement for more conventional anthems, narratives and romantic songs, and were followed in this vein by newer acts including Shinedown, Seether, 3 Doors Down and Puddle of Mudd.[237]

Pop punk[edit]

Main article: Pop punk
A color photograph of members of the group Green Day on stage with instruments

Green Day performing in 2013

The origins of 1990s pop punk can be seen in the more song-oriented bands of the 1970s punk movement like the Buzzcocks and the Clash, commercially successful New Wave acts such as the Jam and the Undertones, and the more hardcore-influenced elements of alternative rock in the 1980s.[240] Pop-punk tends to use power-pop melodies and chord changes with speedy punk tempos and loud guitars.[241] Punk music provided the inspiration for some California-based bands on independent labels in the early 1990s, includingRancid, Pennywise, Weezer and Green Day.[240] In 1994 Green Day moved to a major label and produced the album Dookie, which found a new, largely teenage, audience and proved a surprise diamond-selling success, leading to a series of hit singles, including two number ones in the US.[220] They were soon followed by the eponymous début from Weezer, which spawned three top ten singles in the US.[242] This success opened the door for the multi-platinum sales of metallic punk band the Offspring with Smash (1994).[220] This first wave of pop punk reached its commercial peak with Green Day’s Nimrod (1997) and The Offspring’s Americana (1998).[243]

A second wave of pop punk was spearheaded by Blink-182, with their breakthrough album Enema of the State (1999), followed by bands such as Good Charlotte, Simple Plan and Sum 41, who made use of humour in their videos and had a more radio-friendly tone to their music, while retaining the speed, some of the attitude and even the look of 1970s punk.[240] Later pop-punk bands, including All Time Low,5 Seconds Of Summer, the All-American Rejects and Fall Out Boy, had a sound that has been described as closer to 1980s hardcore, while still achieving commercial success.[240]

Indie rock[edit]

Main article: Indie rock
A black and white photograph of five members of the group Pavement standing in front of a brick wall

Lo-fi indie rock band Pavement

In the 1980s the terms indie rock and alternative rock were used interchangeably.[244] By the mid-1990s, as elements of the movement began to attract mainstream interest, particularly grunge and then Britpop, post-grunge and pop-punk, the term alternative began to lose its meaning.[244] Those bands following the less commercial contours of the scene were increasingly referred to by the label indie.[244]They characteristically attempted to retain control of their careers by releasing albums on their own or small independent labels, while relying on touring, word-of-mouth, and airplay on independent or college radio stations for promotion.[244] Linked by an ethos more than a musical approach, the indie rock movement encompassed a wide range of styles, from hard-edged, grunge-influenced bands like the Cranberries and Superchunk, through do-it-yourself experimental bands like Pavement, to punk-folk singers such as Ani DiFranco.[220][221] It has been noted that indie rock has a relatively high proportion of female artists compared with preceding rock genres, a tendency exemplified by the development of feminist-informed Riot Grrrl music.[245] Many countries have developed an extensive local indie scene, flourishing with bands with enough popularity to survive inside the respective country, but virtually unknown outside them.[246]

By the end of the 1990s many recognisable subgenres, most with their origins in the late 1980s alternative movement, were included under the umbrella of indie. Lo-fi eschewed polished recording techniques for a D.I.Y. ethos and was spearheaded by Beck, Sebadoh and Pavement.[220] The work of Talk Talk and Slint helped inspire both post rock, an experimental style influenced by jazz and electronic music, pioneered by Bark Psychosis and taken up by acts such as Tortoise, Stereolab, and Laika,[247][248] as well as leading to more dense and complex, guitar-based math rock, developed by acts like Polvo and Chavez.[249] Space rock looked back to progressive roots, with drone heavy and minimalist acts like Spacemen 3, the two bands created out of its split, Spectrum and Spiritualized, and later groups including Flying Saucer Attack, Godspeed You! Black Emperor and Quickspace.[250] In contrast, Sadcore emphasised pain and suffering through melodic use of acoustic and electronic instrumentation in the music of bands likeAmerican Music Club and Red House Painters,[251] while the revival of Baroque pop reacted against lo-fi and experimental music by placing an emphasis on melody and classical instrumentation, with artists like Arcade Fire, Belle and Sebastian and Rufus Wainwright.[252]

Alternative metal, rap rock and nu metal[edit]

Main article: Heavy metal music

Alternative metal emerged from the hardcore scene of alternative rock in the US in the later 1980s, but gained a wider audience after grunge broke into the mainstream in the early 1990s.[253] Early alternative metal bands mixed a wide variety of genres with hardcore and heavy metal sensibilities, with acts like Jane’s Addiction and Primus utilizing progressive rock, Soundgarden and Corrosion of Conformity using garage punk, the Jesus Lizard and Helmet mixing noise rock, Ministry and Nine Inch Nails influenced byindustrial music, Monster Magnet moving into psychedelia, Pantera, Sepultura and White Zombie creating groove metal, while Biohazard and Faith No More turned to hip hopand rap.[253]

A color photograph of members of the group Linkin Park performing on and outdoor stage

Linkin Park performing in 2009

Hip hop had gained attention from rock acts in the early 1980s, including The Clash with “The Magnificent Seven” (1980) and Blondie with “Rapture” (1980).[254][255] Early crossover acts included Run DMC and the Beastie Boys.[256] Detroit rapper Eshambecame known for his “acid rap” style, which fused rapping with a sound that was often based in rock and heavy metal.[257][258]Rappers who sampled rock songs included Ice-T, The Fat Boys, LL Cool J, Public Enemy and Whodini.[259] The mixing of thrash metal and rap was pioneered by Anthrax on their 1987 comedy-influenced single “I’m the Man“.[259]

In 1990, Faith No More broke into the mainstream with their single “Epic“, often seen as the first truly successful combination of heavy metal with rap.[260] This paved the way for the success of existing bands like 24-7 Spyz and Living Colour, and new acts including Rage Against the Machine and Red Hot Chili Peppers, who all fused rock and hip hop among other influences.[259][261]Among the first wave of performers to gain mainstream success as rap rock were 311,[262] Bloodhound Gang,[263] and Kid Rock.[264] A more metallic sound – nu metal – was pursued by bands including Limp Bizkit, Korn and Slipknot.[259] Later in the decade this style, which contained a mix of grunge, punk, metal, rap and turntable scratching, spawned a wave of successful bands like Linkin Park, P.O.D. and Staind, who were often classified as rap metal or nu metal, the first of which are the best-selling band of the genre.[265]

In 2001, nu metal reached its peak with albums like Staind’s Break the Cycle, P.O.D’s Satellite, Slipknot’s Iowa and Linkin Park’s Hybrid Theory. New bands also emerged likeDisturbed, Godsmack and Papa Roach, whose major label début Infest became a platinum hit.[266] Korn’s long-awaited fifth album Untouchables, and Papa Roach’s second album Lovehatetragedy, did not sell as well as their previous releases, while nu metal bands were played more infrequently on rock radio stations and MTV began focusing onpop punk and emo.[267] Since then, many bands have changed to a more conventional hard rock, heavy metal, or electronic music sound.[267]

Post-Britpop[edit]

Main article: Post-Britpop
A color photograph of four members of Coldplay performing with instruments in front of a brick building

Coldplay in 2008

From about 1997, as dissatisfaction grew with the concept of Cool Britannia, and Britpop as a movement began to dissolve, emerging bands began to avoid the Britpop label while still producing music derived from it.[268][269] Many of these bands tended to mix elements of British traditional rock (or British trad rock),[270] particularly the Beatles, Rolling Stones and Small Faces,[271]with American influences, including post-grunge.[272][273] Drawn from across the United Kingdom (with several important bands emerging from the north of England, Scotland, Wales and Northern Ireland), the themes of their music tended to be less parochially centered on British, English and London life and more introspective than had been the case with Britpop at its height.[274][275] This, beside a greater willingness to engage with the American press and fans, may have helped some of them in achieving international success.[276]

Post Britpop bands have been seen as presenting the image of the rock star as an ordinary person and their increasingly melodic music was criticised for being bland or derivative.[277] Post Britpop bands like the Verve with Urban Hymns (1997), Radiohead from OK Computer (1997), Travis from The Man Who (1999), Stereophonics fromPerformance and Cocktails (1999), Feeder from Echo Park (2001) and particularly Coldplay from their debut album Parachutes (2000), achieved much wider international success than most of the Britpop groups that had preceded them, and were some of the most commercially successful acts of the late 1990s and early 2000s, arguably providing a launchpad for the subsequent garage rock or post-punk revival, which has also been seen as a reaction to their introspective brand of rock.[273][278][279][280]

2000s–present[edit]

Post-hardcore and emo[edit]

Main articles: Post-hardcore and Emo
See also: Screamo

Post-hardcore developed in the US, particularly in the Chicago and Washington, D.C areas, in the early to mid-1980s, with bands that were inspired by the do-it-yourself ethics and guitar-heavy music of hardcore punk, but influenced by post-punk, adopting longer song formats, more complex musical structures and sometimes more melodic vocal styles. Existing bands that moved on from hardcore included Fugazi.[281] From the late 1980s they were followed by bands including Quicksand,[282] Girls Against Boys[283] andThe Jesus Lizard.[284] Bands that formed in the 1990s included Thursday,[285] Thrice,[286] Finch,[287] and Poison the Well.[288]

A color photograph of members of the band Fugazi performing on state with the heads of an audience in the foreground

Members of Fugazi performing in 2002

Emo also emerged from the hardcore scene in 1980s Washington, D.C., initially as “emocore”, used as a term to describe bands who favored expressive vocals over the more common abrasive, barking style.[289] The style was pioneered by bands Rites of Spring andEmbrace, the last formed by Ian MacKaye, whose Dischord Records became a major centre for the emerging D.C. emo scene, releasing work by Rites of Spring, Dag Nasty, Nation of Ulysses and Fugazi.[289] Fugazi emerged as the definitive early emo band, gaining a fanbase among alternative rock followers, not least for their overtly anti-commercial stance.[289] The early emo scene operated as an underground, with short-lived bands releasing small-run vinyl records on tiny independent labels.[289] The mid-1990s sound of emo was defined by bands like Jawbreaker and Sunny Day Real Estate who incorporated elements of grunge and more melodic rock.[290] Only after the breakthrough of grunge and pop punk into the mainstream did emo come to wider attention with the success of Weezer’sPinkerton (1996) album, which utilised pop punk.[289] Late 1990s bands drew on the work of Fugazi, SDRE, Jawbreaker and Weezer, including The Promise Ring, The Get Up Kids, Braid, Texas Is the Reason, Joan of Arc, Jets to Brazil and most successfully Jimmy Eat World, and by the end of the millennium it was one of the more popular indie styles in the US.[289]

Emo broke into mainstream culture in the early 2000s with the platinum-selling success of Jimmy Eat World’s Bleed American (2001) and Dashboard Confessional‘s The Places You Have Come to Fear the Most (2003).[291] The new emo had a much more mainstream sound than in the 1990s and a far greater appeal amongst adolescents than its earlier incarnations.[291] At the same time, use of the term emo expanded beyond the musical genre, becoming associated with fashion, a hairstyle and any music that expressed emotion.[292] The term emo has been applied by critics and journalists to a variety of artists, including multi-platinum acts such as Fall Out Boy[293] and My Chemical Romance[294] and disparate groups such as Paramore[293] and Panic! at the Disco,[295] even when they protest the label. By 2003 post-hardcore bands had also caught the attention of major labels and began to enjoy mainstream success in the album charts.[285][286] A number of these bands were seen as a more aggressive offshoot of emo and given the often vague label of screamo.[296] Around this time, a new wave of post-hardcore bands began to emerge onto the scene that incorporated more pop punk and alternative rock styles into their music, including The Used,[297] Hawthorne Heights,[298] Senses Fail,[299] From First to Last[300] and Emery[301] and Canadian bandsSilverstein[302] and Alexisonfire.[303] British bands like Funeral For A Friend,[304] The Blackout[305] and Enter Shikari also made headway.[306]

Garage rock/post-punk revival[edit]

a color photograph of members of the group the Strokes performing on stage

The Strokes performing in 2006

In the early 2000s, a new group of bands that played a stripped down and back-to-basics version of guitar rock, emerged into the mainstream. They were variously characterised as part of a garage rock, post-punk or new wave revival.[307][308][309][310]Because the bands came from across the globe, cited diverse influences (from traditional blues, through New Wave to grunge), and adopted differing styles of dress, their unity as a genre has been disputed.[311] There had been attempts to revive garage rock and elements of punk in the 1980s and 1990s and by 2000 scenes had grown up in several countries.[312] The Detroit rock scene included the Von Bondies, Electric Six, the Dirtbombs and the Detroit Cobras[313] and that of New York Radio 4, Yeah Yeah Yeahs and the Rapture.[314] Elsewhere, other lesser-known acts such as Billy Childish and the Buff Medways from Britain,[315] the (International) Noise Conspiracy from Sweden,[316] the 5.6.7.8’s from Japan,[317] and the Oblivians from Memphis enjoyed underground, regional or national success.[318]

The commercial breakthrough from these scenes was led by four bands: the Strokes, who emerged from the New York club scene with their début album Is This It (2001); the White Stripes, from Detroit, with their third album White Blood Cells (2001); the Hives from Sweden after their compilation album Your New Favourite Band (2001); and the Vinesfrom Australia with Highly Evolved (2002).[319] They were christened by the media as the “The” bands, and dubbed “The saviours of rock ‘n’ roll”, leading to accusations of hype.[320] A second wave of bands that gained international recognition due to the movement included Black Rebel Motorcycle Club, the Killers, Interpol and Kings of Leon from the US,[321] the Libertines, Arctic Monkeys, Bloc Party, Editors, Franz Ferdinand and Placebo from the UK,[322] Jet from Australia[323] and the Datsuns and the D4 from New Zealand.[324]

Contemporary heavy metal, metalcore and retro-metal[edit]

Main article: Heavy metal music

By the new millennium Scandinavia had emerged as one of the areas producing innovative and successful bands, while Belgium, Holland and especially Germany were the most significant markets.[325] Established continental metal bands placed multiple albums in the top 20 of the German charts between 2003 and 2008 included Finnish band Children of Bodom,[326] Norwegian act Dimmu Borgir,[327] Germany’s Blind Guardian[328] and Sweden’s HammerFall.[329]

A color photograph of two members of the group Children of Bodom standing on a stage with guitars, drums are visible in the background

Children of Bodom, performing at the 2007 Masters of Rock festival

Metalcore, originally an American hybrid of thrash metal and hardcore punk, emerged as a commercial force in the mid-2000s.[330][331] It was rooted in the crossover thrash style developed two decades earlier by bands such as Suicidal Tendencies, Dirty Rotten Imbeciles, and Stormtroopers of Death and remained an underground phenomenon through the 1990s;[332] early bands include Earth Crisis,[333][334]Converge,[335] Hatebreed[336] and Shai Hulud.[337][338] Killswitch Engage‘s The End of Heartache and Shadows Fall‘s The War Within to debut at number 21 and number 20, respectively, on the Billboard album chart.[339][340] Bullet for My Valentine, from Wales, broke into the top 5 in both the U.S. and British charts with Scream Aim Fire (2008).[341] Metalcore bands have received prominent slots at Ozzfest and the Download Festival.[342] Lamb of God, with a related blend of metal styles, reached number 2 on the Billboard charts in 2009 withWrath.[343]

The success of these bands and others such as Trivium, who have released both metalcore and straight-ahead thrash albums, andMastodon, who played in a progressive/sludge style, inspired claims of a metal revival in the United States, dubbed by some critics the “New Wave of American Heavy Metal“.[344][345] Its roots have been traced to the music of acts like Pantera, Biohazard and Machine Head, drawing on New York hardcore, thrash metal and punk, helping to inspire a move away from the nu metal of the early 2000s and a return to riffs and guitar solos.[346][347]

By the early 2010s, metalcore was evolving to more frequently incorporate synthesizers and elements from genres beyond rock and metal. The album Reckless & Relentless by British band Asking Alexandria (which sold 31,000 copies in its first week), and The Devil Wears Prada’s 2011 album Dead Throne (which sold 32,400 in its first week)[348]reached up to number 9 and 10,[349] respectively, on the Billboard 200 chart. In 2013, British band Bring Me the Horizon released their fourth studio album Sempiternal to critical acclaim. The album debuted at number 3 on the UK Album Chart and at number 1 in Australia. The album sold 27,522 copies in the US, and charted at number 11 on the US Billboard Chart, making it their highest charting release in America until their follow-up album That’s the Spirit debuted at No. 2 in 2015.

The term “retro-metal” has been applied to such bands as Texas-based the Sword, California’s High on Fire, Sweden’s Witchcraft, and Australia’s Wolfmother.[350] The Sword’sAge of Winters (2006) drew heavily on the work of Black Sabbath and Pentagram,[351] while Witchcraft added elements of folk rock and psychedelic rock,[352] and Wolfmother’sself-titled 2005 debut album combined elements of the sounds of Deep Purple and Led Zeppelin.[353]

Digital electronic rock[edit]

Main article: Electronic rock

Ladytron in 2011. From left to right:Reuben Wu, Mira Aroyo, Helen Marnieand Daniel Hunt

In the 2000s, as computer technology became more accessible and music software advanced, it became possible to create high quality music using little more than a single laptop computer.[354] This resulted in a massive increase in the amount of home-produced electronic music available to the general public via the expanding internet,[355] and new forms of performance such as laptronica[354] and live coding.[356] These techniques also began to be used by existing bands, as with industrial rock act Nine Inch Nails’ album Year Zero(2007),[357] and by developing genres that mixed rock with digital techniques and sounds, including indie electronic, electroclash, dance-punk and new rave.

Indie electronic, which had begun in the early 1990s with bands like Stereolab and Disco Inferno, took off in the new millennium as the new digital technology developed, with acts including Broadcast from the UK, Justice from France, Lali Puna from Germany and The Postal Service, and Ratatat from the US, mixing a variety of indie sounds with electronic music, largely produced on small independent labels.[358][359] The electroclash subgenre began in New York at the end of the 1990s, combining synth pop, techno, punk and performance art. It was pioneered by I-F with their track “Space Invaders Are Smoking Grass” (1998),[360] and pursued by artists including Felix da Housecat,[361] Peaches, Chicks on Speed,[362] and Ladytron.[363] It gained international attention at the beginning of the new millennium and spread to scenes in London and Berlin, but rapidly faded as a recognisable genre.[364] Dance-punk, mixing post-punk sounds with disco and funk, had developed in the 1980s, but it was revived among some bands of the garage rock/post-punk revival in the early years of the new millennium, particularly among New York acts such as Liars, The Rapture and Radio 4, joined by dance-oriented acts who adopted rock sounds such as Out Hud.[365] In Britain the combination of indie with dance-punk was dubbed new rave in publicity for Klaxonsand the term was picked up and applied by the NME to bands[366] including Trash Fashion,[367] New Young Pony Club,[368] Hadouken!, Late of the Pier, Test Icicles[369] andShitdisco,[366] forming a scene with a similar visual aesthetic to earlier rave music.[366][370]

Renewed interest in electronic music and nostalgia for the 1980s led to the beginnings of a synthpop revival, with acts including Adult and Fischerspooner. In 2003-4 it began to move into the mainstream with Ladytron, the Postal Service, Cut Copy, the Bravery and, with most commercial success, The Killers all producing records that incorporated vintage synthesizer sounds and styles which contrasted with the dominant sounds of post-grunge and nu-metal.[371] The style was picked up by a large number of performers, particularly female solo artists, leading the British and other media to proclaim a new era of the female electropop star. Artists named included British acts Little Boots, La Rouxand Ladyhawke.[372][373] Male acts that emerged in the same period included Calvin Harris,[374] Frankmusik,[375] Hurts,[376] Kaskade,[377] LMFAO,[378] and Owl City, whose single “Fireflies” (2009) reached the top of the Billboard chart.[379][380]

Social impact[edit]

Different subgenres of rock were adopted by, and became central to, the identity of a large number of sub-cultures. In the 1950s and 1960s, respectively, British youths adopted the Teddy Boy and Rocker subcultures, which revolved around US rock and roll.[381] The counterculture of the 1960s was closely associated with psychedelic rock.[381] The mid-1970s punk subculture began in the US, but it was given a distinctive look by British designer Vivienne Westwood, a look which spread worldwide.[382] Out of the punk scene, theGoth and Emo subcultures grew, both of which presented distinctive visual styles.[383]

A color photograph showing people from the 1969 Woodstock Festival sitting on grass, in the foreground a back and a white male look at each other

The 1969 Woodstock Festival was seen as a celebration of thecountercultural lifestyle.

When an international rock culture developed, it supplanted cinema as the major sources of fashion influence.[384] Paradoxically, followers of rock music have often mistrusted the world of fashion, which has been seen as elevating image above substance.[384] Rock fashions have been seen as combining elements of different cultures and periods, as well as expressing divergent views on sexuality and gender, and rock music in general has been noted and criticised for facilitating greater sexual freedom.[384][385] Rock has also been associated with various forms of drug use, including the amphetamines taken by mods in the early to mid-1960s, through the LSD,mescaline, hashish and other hallucinogenic drugs linked with psychedelic rock in the late 1960s and early 1970s; and sometimes tocannabis, cocaine and heroin, all of which have been eulogised in song.[386][387]

Rock has been credited with changing attitudes to race by opening up African-American culture to white audiences; but at the same time, rock has been accused of appropriating and exploiting that culture.[388][389] While rock music has absorbed many influences and introduced Western audiences to different musical traditions,[390] the global spread of rock music has been interpreted as a form ofcultural imperialism.[391] Rock music inherited the folk tradition of protest song, making political statements on subjects such as war, religion, poverty, civil rights, justice and the environment.[392] Political activism reached a mainstream peak with the “Do They Know It’s Christmas?” single (1984) and Live Aidconcert for Ethiopia in 1985, which, while successfully raising awareness of world poverty and funds for aid, have also been criticised (along with similar events), for providing a stage for self-aggrandisement and increased profits for the rock stars involved.[393]

Since its early development rock music has been associated with rebellion against social and political norms, most obviously in early rock and roll’s rejection of an adult-dominated culture, the counterculture’s rejection of consumerism and conformity and punk’s rejection of all forms of social convention,[394] however, it can also be seen as providing a means of commercial exploitation of such ideas and of diverting youth away from political action.[395]

Role of women[edit]

Suzi Quatro is a singer, bassist and bandleader. When she launched her career in 1973, she was one of the few prominent women instrumentalists and bandleaders.

Professional women instrumentalists are uncommon in rock genres such as heavy metal. According to Schaap and Berkers, “playing in a band is largely a male homosocial activity, that is, learning to play in a band is largely a peer-based … experience, shaped by existing sex-segregated friendship networks.[396] They note that rock music “is often defined as a form of male rebellion vis-à-vis female bedroom culture”.[397] In popular music, there has been a gendered “distinction between public (male) and private (female) participation” in music.[397] “several scholars have argued that men exclude women from bands or from the bands’ rehearsals, recordings, performances, and other social activities”.[398] “Women are mainly regarded as passive and private consumers of allegedly slick, prefabricated – hence, inferior – pop music…, excluding them from participating as high status rock musicians”.[398] One of the reasons that there are rarely mixed gender bands is that “bands operate as tight-knit units in which homosocial solidarity – social bonds between people of the same sex… – plays a crucial role”.[398] In the 1960s rock music scene, “singing was sometimes an acceptable pastime for a girl, but playing an instrument … simply wasn’t done”.[399]

“The rebellion of rock music was largely a male rebellion; the women—often, in the 1950s and ’60s, girls in their teens—in rock usually sang songs as personæ utterly dependent on their macho boyfriends…”. Philip Auslander says that “Although there were many women in rock by the late 1960s, most performed only as singers, a traditionally feminine position in popular music”. Though some women played instruments in American all-female garage rock bands, none of these bands achieved more than regional success. So they “did not provide viable templates for women’s on-going participation in rock”.[400] In relation to the gender composition of heavy metal bands, it has been said that “[h]eavy metal performers are almost exclusively male”[401] “…at least until the mid-1980s”[402] apart from “…exceptions such as Girlschool“.[401] However, “…now [in the 2010s] maybe more than ever–strong metal women have put up their dukes and got down to it”,[403] “carv[ing] out a considerable place for [them]selves.”[404] When Suzi Quatro emerged in 1973, “no other prominent female musician worked in rock simultaneously as a singer, instrumentalist, songwriter, and bandleader”.[400] According to Auslander, she was “kicking down the male door in rock and roll and proving that a female musician … and this is a point I am extremely concerned about … could play as well if not better than the boys”.[400]

An all-female band is a musical group in genres such as rock and blues which is exclusively composed of female musicians. This is distinct from a girl group, in which the female members are solely vocalists, though this terminology is not universally followed.[405]

See also[edit]