Kurt "King of Grunge" Cobain

Tunjukkan huruf latin

Before the presence of Nirvana, alternative rock music is still underestimated ecek2 alias, but thanks to the hard work of Kurt with his band, Nrivana, Rock flow on this one so one of the flow of phenomenal, especially fitting ngluncurin Nirvana's legendary album "Nevermind", which received extraordinary, so extraordinary it sampai2 disebut2 as pioneers Nirvana Grunge flow.

Kurt (20 Februari1967, Aberdeen, Washington) since childhood actually already nunjukkin musical talent other than that, she also enjoys sports, art, and painting. Classic problem in American families: divorce, Yup! since Kurt's parents divorced, Kurt like a loud whip when his age was only nine years pass. Especially when both are either the father or mother have got masing2 successor, Kurt did not get really angry and that makes him so sad, closed, and like a rockstar most: LIAR!!. Because of the profound hatred towards her parents, Kurt dragged into drugs, he was so addicted sampai2 ninggalin he prefers to make the school benches (not emulated).

Tunjukkan huruf latin

Out of school, Kurt was serious in one way: Rock though its path is not an easy road but Kurt tetep keukeuh ngebelain that his chosen path, salute! cuman promo for the album, Nirvana sampai2 be traveling hundreds (even thousands) of miles! cuman do it, greeting from pennton too far from the word "commensurate" with the sacrifice is given.

But things changed fitting the birth of her second album "Nevermind" was released in september 1991, memuncaki successful billboard charts, pop legend ngegeser, M.jackson.

Success, Kurt began housekeep same nyobain Courtney Love, love, marriage it is actually the worst choice in hidu Cobain. After marriage, Kurt kecenduan ama haram goods named Heroin bener2 craze, and even he often preached to the extent Overdose Nirvana to the American concert must be postponed.

Then there was the events of history's most oppressive nature of grunge, Kurt escaped from a hospital in Los Angeles, where treatment. While taking drugs Kurt enter a gun into his mouth and DAR! a bullet penetrated his head ....... a tragic end. Some say if his death was disebabin ama ga despair due to be rid of his addiction to illegal drugs are consumed ever since (probably) his age / - 10 years.

Though dead, grunge is not dead yet ... as long as there are play-Grunge then Kurt was still alive (hiii) at least in our minds.

Jimmy Hendrix: Godfather of Electric-Guitar

Tunjukkan huruf latin

As in the title, Jimmy Hendrix is a legendary guitarist in the history of the world's most honored musik.Dia ringgi from all who see or never cooperate denganya, Jimmy's guitar playing style is more inclined toward blues, and rock and roll.

Unlike most children, childhood Jimmy exactly bleak, imagine the mother's leave it at the time Jimmy was 15 tahun.Ayahnya, an ex-military, is a hard Oran in educating his son, he also wants jimmy to attended his footsteps into the military ladder. For this reason, so Jimmy dropped out of high school, doi rushed off to the Airborne Division of the U.S. Army. Although located in a military environment, jimmy interest in world music (especially guitar) is larger. In an exercise, Jimmy hit by injury verdict that she can not be in the military, this made him happy-even if the father is very against it and even Jimmy can not go home now.

No broken charcoal, Jimmy angkatanya with friends in the military one, Billt Cox started playing from one club to another club. Jimmy's visit to New York soon and try their luck there, playing in several clubs, and met with leaders to his idol, Bob Dylan. God was just, in his band "Jimmy James" and "The Blue Flames" jimmy started successfully, when they played at a cafe called "Cafe Wha?" Jimmy observed coincidence stage action Londa Keith, girlfriend of Keith Richards.

Linda asked her boyfriend to see the appearance of Jimmy and he too interested! Jimmy immediately offered a contract and European tour with Keith Richards.Sampai in England, Jimmy began terlihat.Gigataris spurs British popular at that time, Eric Clapton and Pete Townshed to say "He thought his career was over after seeing Hendrix play the guitar."

European finished, Jimmy began to focus on the U.S. and perform at the Monterey Pop Fest there, she displays a game that has never seen before. Finished performing in Monterey, Jimmy like to become a Superstar and performs at festivals, large festivals.

Jimmy died on 18 september 1970, despite having gone, distortion and stylish appearance from Jimmy akn still be remembered forever .....

SRV The Texas "Flood" Bluesman

Stevie Ray Vaughan learned to play the guitar as a kid, influenced by his older brother, guitarist Jimmie Vaughan. By 1972 Stevie had dropped out of school and was playing blues guitar in bands in Austin, Texas. In 1981 he named his band Double Trouble, and in 1982 caught the attention of David Bowie, who in 1982 asked him to play on the hit "Let's Dance." In 1983 Vaughan released his debut album, Texas Flood, and the following year he released Couldn't Stand the Weather, a commercial and critical success. He continued to tour and record, playing a mix of electric blues, country and rock, until his death in a 1990 helicopter crash.

Gabriel Gratzer: One man and his guitar

Tokyo (Nov. 10)—Argentine bluesman Gabriel Gratzer wraps up a 1-1/2-year world tour with a series of gigs in Tokyo starting Friday. The Daily Yomiuri spoke over the telephone with the gaucho of the blues earlier this week during Gratzer's visit to Taiwan, where he was playing a blues festival.

"It's amazing. I never knew the Taiwanese were so into the blues," Gratzer said. "[But] the blues is universal. It's the roots of everything...It appeals directly to the heart of people."

Not only does this universal appeal reach as far afield as Taiwan, it clearly made it to Buenos Aires, too. But hasn't tango historically expressed the blue side of Argentina?

Asked if he saw any connection between the blues and tango, beyond both being played in a minor key, Gratzer said: "Maybe the older blues of the late 1930s--when blues started moving into the cities--and tango have something in common. But tango is more sophisticated in its form and composition, even the lyrics. But the sense is perhaps the same. And indeed, both musics came from Africa."

Gratzer first fell in love with the blues when he heard the Beatles.

"'For You Blues,' 'Lady Madonna'...had a very strong blues influence," he said, "So I looked behind, to see where their music was coming from, and I started discovering what the blues was all about."

This search led Gratzer to British blues bands, such as John Mayall, Alexis Korner, and then American artists such as Albert King, B.B. King, and Buddy Guy.

But electric blues bands did not fit Gratzer's inner vision of the true blues--one man and his guitar.

"That's the image of the blues I had in my head--one man with his guitar--just that--his guitar and his singing," Gratzer said.

Gratzer found this image personified at a concert he attended in the 1980s by Cristina Aguayo, an Argentinian gospel and blues singer. This feeling was immediately reinforced by some Robert Johnson recordings Gratzer heard soon afterward.

"I knew I was on the road, it felt like being home," Gratzer said of this encounter with his ideal form of blues.

Since Gratzer started playing with Aguayo in 1989, the blues has been a road more traveled for Gratzer. Along the way, he has organized blues festivals, edited a blues newsletter, and cut four very impressive CDs. He has also opened for just about every international blues act that has performed in Buenos Aires: Billy Branch, Dave Myers and John Primer to name a few.

But for Gratzer, the truth in blues remains one man and his guitar.

"In blues, it's all about the beat and the feel. And the first beat is your heart. If your heart don't work, you die--same as the blues," Gratzer said.


Gabriel Gratzer will play:
Nov. 11, 8 p.m. at The Warrior Celt in Ueno, Tokyo, (03) 3836-8588;
Nov. 13, 7 p.m. at Club Wire in Shinjuku, Tokyo, (03) 3207-6953;
Nov. 14, 7 p.m. at Rossa Fiesta in Roppongi, Tokyo, (03) 3475-1322;
Nov. 16, 7 p.m at Rock Factory in Roppongi, Tokyo, (03) 5545-4242.

Blues Origin

Blues has evolved from an unaccompanied vocal music and oral traditions of African-American slaves (imported from West Africa; principally Mali, Senegal; the Gambia and Ghana) and rural blacks into a wide variety of styles and subgenres, with regional variations across the United States and, later, Europe and Africa. The musical forms and styles that are now considered the "blues" as well as modern "country music" arose in the same regions during the nineteenth century in the southern United States. Recorded blues and country can be found from as far back as the 1920s, when the popular record industry developed and created marketing categories called "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. Studies have situated the origin of black spirituals in slaves' exposure to southern white hymns related to shape note music, the hymns of the Methodist John Wesley carried by 19th c. revivalist preachers, and later Scots-Irish musical influence. African-American economist and historian Thomas Sowell also notes that the southern, black, ex-slave population was acculturated to a considerable degree by and among their Scots-Irish neighbors. However, the findings of Kubik and others also clearly attest to the essential Africanness of many essential aspects of blues expression.

The social and economic reasons for the appearance of the blues are not fully known. The first appearance of the blues is not well defined and is often dated between 1870 and 1900, a period that coincides with Emancipation, the development of juke joints as a refuge for blacks separate from the white society, and the transition from slavery to sharecropping, small-scale agricultural production and the expansion of railroads in the southern United States.

Several scholars characterize the early 1900s development of blues music as a move from group performances to a more individualized style. They argue that the development of the blues is associated with the newly acquired freedom of the enslaved people. 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 states that "psychologically, socially, and economically, Negroes 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."

Prewar blues

The American sheet music publishing industry produced a great deal of ragtime music. By 1912, the sheet music industry 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.^[33]

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 Cuban habanera rhythm that had long been a part of ragtime;^[34][19] Handy's signature work was the "St. 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. This evolution led to a notable diversification of the styles and to a clearer division between blues and jazz. Several record companies, such as the American Record Corporation, Okeh Records, and Paramount Records, began to record African American music.

As the recording industry grew, country blues performers like Bo Carter, Blind Lemon Jefferson, Lonnie Johnson, Tampa Red and Blind Blake became more popular in the African American community. Sylvester Weaver was 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. The slide guitar became an important part of the Delta blues.^[35] The first blues recordings from the 1920s were in two categories: a traditional, rural country blues and more polished 'city' or urban blues.

Country blues performers often improvised, either without accompaniment or with only a banjo or guitar. There were many regional styles of country blues in the early 20th century. The (Mississippi) Delta blues was a rootsy sparse style with passionate vocals accompanied by slide guitar. Robert Johnson, who was little-recorded, combined elements of both urban and rural blues. Along with Robert Johnson, influential performers of this style were 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 fingerpicking guitar technique. Georgia also had an early slide tradition.

Blues Lyric Origin

The original lyrical form of the blues was probably a single line, repeated four times. It was only later that the current, most common structure of a line, repeated once and then followed by a single line conclusion, became standard. Two of the first published blues songs, however, Dallas Blues (1912) and St Louis Blues (1914) both featured lines repeated twice, followed by an "answer" line, over 12 bars of music. W.C. Handy wrote that he adopted this convention to avoid the monotony of lines repeated three times. These lines were often sung following a pattern closer to a rhythmic talk than to a melody. Early blues frequently took the form of a loose narrative. The singer voiced often 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".

Author Ed Morales has claimed that Yoruba mythology played a part in early blues, citing Robert Johnson's "Cross Road Blues" as a "thinly veiled reference to Eleggua, the orisha in charge of the crossroads". However, many seminal blues artists such as Son House, or Skip James had in their repertoire several religious songs or spirituals. Reverend Gary Davis and Blind Willie Johnson are examples of artists often categorized as blues musicians for their music but whose lyrics clearly belong to the spirituals.

Although the blues gained an association with misery and oppression, the blues could also be humorous and raunchy as well:

"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. Tampa Red's classic "Tight Like That" is a sly wordplay with the double meaning of being "tight" with someone coupled with a more salacious physical familiarity. Lyrical content of music became slightly simpler in post war-blues in which focus was often almost exclusively on singer's relationship woes or sexual worries. Many lyrical themes that frequently appeared in pre-war blues such as economic depression, farming, devils, gambling, magic, floods and dry periods were less common post war blues.

Bllues Style and Culture Origin

There are few characteristics common to all blues, because the genre takes its shape from the idiosyncrasies of individual performances. However, there are some characteristics that were present long before the creation of the modern blues. An early form of blues-like music were call-and-response shouts, which were a "functional expression... style without accompaniment or harmony and unbounded by the formality of any particular musical structure." A form of this pre-blues was heard in slave field shouts and hollers, expanded into "simple solo songs laden with emotional content". The 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, transformed into an interplay of voice and guitar.

Many blues elements, such as the call-and-response format and the use of blue notes, can be traced back to the music of Africa. The Diddley bow, a homemade one-stringed instrument found in parts of the American South in the early twentieth century, and the banjo, are African-derived instruments that may have helped in the transfer of African performance techniques into the early blues instrumental vocabulary.^{[ citation needed ]} Blues music later adopted elements from the "Ethiopian airs", minstrel shows and Negro spirituals, including instrumental and harmonic accompaniment. 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". The blues form itself bears no resemblance to the melodic styles of the West African griots, and the influences are faint and tenuous. And no specific African musical form can be identified as the single direct ancestor of the blues.

Blues songs from this period, such as Lead Belly's or Henry Thomas's recordings, show many different structures. The twelve-, eight-, or sixteen-bar structure based on tonic (I), subdominant (IV) and dominant chords (V) became the most common forms. What is now recognizable as the standard 12-bar blues form is documented from oral history and sheet music appearing in African American communities throughout the region along the lower Mississippi River, in Memphis, Tennessee's Beale Street, and by white bands in New Orleans.