Sunday, July 7, 2013

Rock 'n' Roll Party @ T.R.A.C.S

It is not always easy to find a theme, for the party, without repeating our self.
So often I look what special on that date. This time it was the birthday of Bill Haley.
We have two Deejays that love to play rock music. This time I asked Beef to do the job, with the idea that he would play the rock music that he likes most. At that time the theme was rock. But Beef insisted to do a Rock 'n' Roll Party. He made a great set off Rock 'n' Roll Music and I enjoined every moment of it. Next month our other Rock deejay will play his records when the theme is about another rock 'n' roll artist.
The spot were we had the party was near the gas station. I came with the idea to have a garage sale during the party. I sold most of the items. Yes, you can say that it was a great party and a great sale. Here are the pictures I made during the party.
DJ Beef
Lexzia
Norbie, swinging with the girls
at the end Racker jumped on the loudspeaker and started to play guitar

Thursday, July 4, 2013

Rock 'n' Roll Party at T.R.A.C.S

GAS STATION at RIVER ISLAND

ROCK and ROLL part IV

Bill Haley
William John Clifton "Bill" Haley (July 6, 1925 – February 9, 1981) was one of the first American rock and roll musicians. He is credited by many with first popularizing this form of music in the early 1950s with his group Bill Haley & His Comets (inspired by Halley's Comet) and million selling hits such as, Rock Around the Clock, See You Later, Alligator, Shake, Rattle and Roll, Skinny Minnie, and Razzle Dazzle. He has sold over 25 million records worldwide.

Biography
Early life and career
Bill Haley was born in Highland Park, Michigan on July 6, 1925 to William and Maude Haley. The couple's second child, Haley had a sister Margaret who was born two years earlier.
The Haleys had moved to Detroit from Firebrick, Kentucky, where William Sr. found work in a nearby service station as a mechanic while his wife gave piano lessons in their home for twenty-five cents an hour. Maude Haley, a woman of strong religious convictions, had come to America with her family from Ulverston in Lancastshire, England before the First World War. Later the family moved to Boothwyn, near the town of Chester, Pennsylvania.

Haley's father played the banjo and mandolin. Though he couldn't read music he had an ear for country music and was able to pick out any tune he wanted by ear.
At thirteen Haley received his first guitar. His father taught him to play the basic chords and notes by ear. It was at this time he began his dream of becoming a singing cowboy like the ones he idolized every Saturday afternoon at the movie houses in nearby Marcus Hook or Chester.

His first performances date from about 1938, when as a child he sang and played guitar at variety shows, put on by local children to raise money for local causes. Haley was a shy child, perhaps due to the fact that he had been blind in his left eye since infancy.  This made him extremely self conscious about his appearance.

In June of 1940, just before his fifteenth birthday, Haley left school after finishing the eighth grade and went to work bottling water at Bethel Springs. This company sold pure spring water and fruit flavored soft drinks in a three state area. Here he worked for 35 cents an hour, filling large five gallon glass bottles with spring water. 

In his late teens, Bill found work playing the local amusement parks, which featured live entertainment. His first break came when he signed on with 'Cousin Lee's Band' who had a popular radio show. Haley sang, played his guitar and yodelled. Because of his disability, he avoided being called into the armed forces in WWII. At this time a group called the 'Downhomers' was looking for a singing yodeler to replace their lead singer, who had been drafted in 1944. Haley joined the group and even at this early stage was talking about combining country and pop music. At the age of 22, Bill left the 'Downhomers', and returned to Chester to host a local radio program on the newly formed station WPWA. In 1946, Haley married first wife Dorothy Crowe and had two children with her.

The Four Aces of Western Swing
In 1948, Bill released his first records on the 'Cowboy' label with his backing group the 'Four Aces of Western Swing', made up of Al Constantine (Accordion), Barney Barnard (bass) and Tex King (guitar).
The Saddlemen
The 'Four Aces' disbanded in mid '49 and Haley formed a new band, 'The Saddlemen' which in turn was ultimately to become the very first rock and roll band in history, the 'Comets'. Al Rex on bass, Billy Williamson on steel guitar and Johnny Grande played piano and accordion. Haley fronted this group wearing a ten-gallon stetson covering his trademark kiss-curl, a hair style he developed to take attention away from his blind eye. Bass player Al Rex would leave the group in 1951 to be replaced by 17 year old Marshall Lytle.

Bill Haley & His Comets
During the Labor Day weekend in 1952, The Saddlemen were renamed Bill Haley with Haley's Comets (inspired by a popular mispronunciation of Halley's Comet). During that same year, Haley married second wife, Barbara Joan Cupchack, with whom he had two children, but only one survived through infancy. In 1953, Haley's recording of "Crazy Man, Crazy" (co-written by Haley and his bass player, Marshall Lytle although Lytle would not receive credit until 2001) became the first rock and roll song to hit the American charts, peaking at no.15 on Billboard and no.11 on Cash Box. Soon after, the band's name was revised to Bill Haley & His Comets.

In 1953, a song called "Rock Around the Clock" was written for Haley. He was unable to record it until April 12, 1954. Initially, it was relatively unsuccessful, staying at the charts for only one week, but Haley soon scored a major worldwide hit with a cover version of Big Joe Turner's "Shake, Rattle and Roll", which went on to sell a million copies and became the first ever rock 'n' roll song to enter British singles charts in December 1954 and became a Gold Record. He retained elements of the original, but threw some country music aspects into the song (specifically, Western Swing) and cleaned up the lyrics. Haley and his band were important in launching the music known as "Rock and Roll" to a wider, mostly white audience after a period of it being considered an underground genre. When "Rock Around the Clock" appeared behind the opening credits of the 1955 film Blackboard Jungle starring Glenn Ford, it soared to the top of the American Billboard chart for eight weeks. The single is commonly used as a convenient line of demarcation between the "rock era" and the music industry that preceded it; Billboard separated its statistical tabulations into 1890-1954 and 1955–present. After the record rose to number one, Haley was quickly given the title "Father of Rock and Roll," by the media, and by teenagers that had come to embrace the new style of music. With the song's success, the age of rock music began overnight and instantly ended the dominance of the jazz and pop standards performed by Frank Sinatra, Jo Stafford, Perry Como, Bing Crosby, and others.

Success came at somewhat of a price as the new music confused and horrified most people over the age of 30, leading to Cold War-fueled suspicion that rock-and-roll was part of a communist plot to corrupt the minds of American teenagers. FBI chief J. Edgar Hoover attempted to dig up incriminating material on Bill Haley, who took to carrying a gun with him on tours for his own safety.

"Rock Around the Clock" was the first record ever to sell over one million copies in both Britain and Germany and, in 1957, Haley became the first major American rock singer to tour Europe. Haley continued to score hits throughout the 1950s such as "See You Later, Alligator" and he starred in the first rock and roll musical movies Rock Around the Clock and Don't Knock the Rock, both in 1956. Haley was already 30 years old and so he was soon eclipsed in the United States by the younger, sexier Elvis, but continued to enjoy great popularity in Latin America, Europe, and Australia through the 1960s.

As the years went by, Haley’s popularity declined. The people who once loved Bill Haley and His Comets turned their musical obsessions to musicians like Elvis Presley and Little Richard. Haley began to have money problems and fled to Mexico in 1962. In that same year he met and married third wife, Martha Velasco, who was a Mexican dancer. Haley stayed out of the public eye and mostly spent time with his family over the next few years.

Death and legacy
A self-admitted alcoholic (as indicated in a 1974 radio interview for the BBC), Haley fought a battle with alcohol into the 1970s. Nonetheless, he and his band continued to be a popular touring act, benefiting from a 50s nostalgia movement that began in the late 60s and the signing of a lucrative record deal with the European Sonet Records label. After performing for Queen Elizabeth II at a command performance in 1979, Haley made his final performances in South Africa in May and June 1980. Prior to the South African tour, he was diagnosed with a brain tumor, and a planned tour of Germany in the fall of 1980 was canceled.

The October 25, 1980 edition of the German paper Bild reported that Haley had a brain tumor. It quoted British manager Patrick Maylan as saying that Haley "had taken a fit and went over the seat. He didn't recognize anyone anymore" after being taken to his home in Beverly Hills. It also reported that a doctor at the clinic where Haley had been taken said, "The tumor can't be operated on anymore."

"The Berliner Zeitung" reported a few days later that Haley had collapsed after a performance in Texas and been taken to the hospital in his home town of Harlingen, Texas. However this account is questionable as Bill Haley never performed in the United States in 1980.

Despite his ill health, Haley began compiling notes for possible use as a basis for either a biographical film based on his life, or a published autobiography (accounts differ), and there were plans for him to record an album in Memphis, Tennessee, when the brain tumor began affecting his behavior and he went back to his home in Harlingen, Texas, where he died early in the morning of February 9, 1981.

Martha, Bill's widow, who was with him in these troubling times, denies he had a brain tumor as does his old, very close friend, Hugh McCallum. Martha and friends related that Bill did not want to go on the road any more and that ticket sales for that planned tour of Germany in the fall of 1980 were slow. According to McCallum, "It's my unproven gut feeling that that [the brain tumor] was said to curtail talks about the tour and play the sympathy card."

It was obvious that his drinking problem was getting worse. According to Martha, by this time she and Bill fought all the time and she told him to stop drinking or move out so he moved out into a room in their pool house. Martha still took care of him and sometimes he would come in the house to eat, but he ate very little. "There were days we never saw him," said his daughter Martha Maria.

In addition to the drinking problems, it had become obvious that he also was having serious mental problems; Martha Maria said that, "It was like sometimes he was drunk even when he wasn't drinking." After he'd been jailed by the Harlingen Police, Martha had the judge put Haley in the hospital where he was seen by a psychiatrist who said Bill's brain was overproducing a chemical, like adrenaline. The doctor prescribed a medication to stop the overproduction but said Bill would have to stop drinking. Martha said, "This is pointless." She took him home, however, fed him and gave him his first dose. As soon as he felt better, he went back out to his room in the pool house and the downward spiral continued until his death on February 6, 1981.

Haley's death certificate listed "Natural causes: Most likely heart attack" as the 'Immediate Cause' of death. The next lines, 'Due to, or as a consequence Of" were blank.

Haley made a succession of bizarre, mostly monologue late-night phone calls to friends and relatives in which he seemed incoherently drunk or ill. Haley's first wife has been quoted as saying, "He would call and ramble and dwell on the past, his mind was really warped." A belligerent phone call to a business associate was taped and gives evidence of Haley's troubled state of mind.

Media reports immediately following his death indicated Haley displayed deranged and erratic behavior in his final weeks, although beyond a biography of Haley by John Swenson, released a year later, which described Haley painting the windows of his home black, there is little information extant about Haley's final days.

Haley was posthumously inducted into the Rock and Roll Hall of Fame in 1987. His son Pedro represented him at the ceremony. He has a star on the Hollywood Walk of Fame. The Comets were separately inducted into the Hall of Fame as a group in 2012, after a rule change allowed the induction of backing groups (the Comets were mass-inducted alongside several other groups such as Hank Ballard's the Midnighters and Gene Vincent's Blue Caps.

Songwriters Tom Russell and Dave Alvin addressed Haley's demise in musical terms with "Haley's Comet" on Alvin's 1991 album Blue Blvd. Dwight Yoakam sang backup on the tribute.

Haley's original Comets still tour the world. They released a concert DVD in 2004 on Hydra Records, played the Viper Room in West Hollywood in 2005, and performed at Dick Clark's American Bandstand Theater in Branson, Missouri in 2006-07.

In March 2007, the Original Comets pre-opened the Bill Haley Museum in Munich, Germany. On October 27, 2007, ex-Comets guitar player Bill Turner opened the Bill Haley Museum for the public.
"Many people claim that Bill Haley is the “king of rock and roll” while others credit that title to Elvis Presley. Despite people’s positions on who deserves that title, everyone can agree that Haley has influenced music in such a way that his name will never be forgotten."

Wednesday, July 3, 2013

ROCK and ROLL part III

Rock Around the Clock
"Rock Around the Clock" is a rock and roll song in the 12-bar blues format written by Max C. Freedman and James E. Myers (the latter under the pseudonym "Jimmy De Knight") in 1952. The best-known and most successful rendition was recorded by Bill Haley and His Comets in 1954 for American Decca. It was a number one single on both the US and UK charts and also re-entered the UK Singles Chart in the 1960s and 1970s.

It was not the first rock and roll record, nor was it the first successful record of the genre (Bill Haley had American chart success with "Crazy Man, Crazy" in 1953, and in 1954, "Shake, Rattle and Roll" reached No. 1 on the Billboard R&B chart). Haley's recording nevertheless became an anthem for rebellious Fifties youth and is widely considered to be the song that, more than any other, brought rock and roll into mainstream culture around the world. The song is ranked No. 158 on the Rolling Stone magazine's list of The 500 Greatest Songs of All Time.

Although first recorded by Italian-American band Sonny Dae and His Knights on March 20, 1954, the more famous version by Bill Haley & His Comets is not, strictly speaking, a cover version. Myers claimed the song had been written specifically for Haley but, for various reasons, Haley was unable to record it himself until April 12, 1954.

The original full title of the song was "We're Gonna Rock Around the Clock Tonight!". This was later shortened to "(We're Gonna) Rock Around the Clock", though this form is generally only used on releases of the 1954 Bill Haley Decca Records recording; most other recordings of this song by Haley and others (including Sonny Dae) shorten this title further to "Rock Around the Clock".

According to the Haley biographies Bill Haley by John Swenson and Rock Around the Clock by Dawson, the song was offered to Haley in the wake of his first national success "Crazy Man, Crazy" in 1953, after being copyrighted with the U.S. Library of Congress on March 31. Haley and his Comets began performing the song on stage (Comets bass player Marshall Lytle and drummer Dick Richards say the first performances were in Wildwood, New Jersey at Phil and Eddie's Surf Club), but Dave Miller, his producer, refused to allow Haley to record it for his Essex Records label (Swenson suggests a feud existed between Myers and Miller).
Haley himself claimed to have taken the sheet music into the recording studio at least twice, with Miller ripping up the music each time. Nonetheless, rumors of a 1953 demo recording by Haley persist to this day, although surviving members of the Comets deny this, as did Haley himself (quoted in the Swenson biography) ; a late-1960s bootleg single of the Decca Records version of "Rock Around the Clock", with "Crazy Man, Crazy" on the B-side and carrying the Essex label, occasionally turns up for sale with the claim that it is the demo version.
Rock Around The Clock lyrics

One, Two, Three O'clock, Four O'clock rock,
Five, Six, Seven O'clock, Eight O'clock rock.
Nine, Ten, Eleven O'clock, Twelve O'clock rock,
We're gonna rock around the clock tonight.

Put your glad rags on and join me hon',
We'll have some fun when the clock strikes one.
We're gonna rock around the clock tonight,
We're gonna rock, rock, rock, 'till broad daylight,
We're gonna rock, gonna rock around the clock tonight.

When the clock strikes two, three and four,
If the band slows down we'll yell for more.
We're gonna rock around the clock tonight,
We're gonna rock, rock, rock, 'till broad daylight,
We're gonna rock, gonna rock around the clock tonight.

When the chimes ring five, six, and seven,
We'll be rockin´up in the seventh heaven.
We're gonna rock around the clock tonight,
We're gonna rock, rock, rock, 'till broad daylight,
We're gonna rock, gonna rock around the clock tonight.

When it's eight, nine, ten, eleven too,
I'll be goin' strong and so will you.
We're gonna rock around the clock tonight,
We're gonna rock, rock, rock, 'till broad daylight,
We're gonna rock, gonna rock around the clock tonight.

When the clock strikes twelve we'll cool off then,
Start rockin' 'round the clock again.
We're gonna rock around the clock tonight,
We're gonna rock, rock, rock, 'till broad daylight,
We're gonna rock, gonna rock around the clock tonight.

ROCK and ROLL part II

Rock and Roll
Rock and roll emerged as a defined musical style in the United States in the early to mid-1950s. It derived most directly from the rhythm and blues music of the 1940s, which itself developed from earlier blues, boogie woogie, jazz and swing music, and was also influenced by gospel, country and western, and traditional folk music. Rock and roll in turn provided the main basis for the music that, since the mid-1960s, has been generally known as rock music.

The phrase rocking and rolling originally described the movement of a ship on the ocean, but was used by the early twentieth century, both to describe a spiritual fervor and as a sexual analogy. Various gospel, blues and swing recordings used the phrase before it became used more frequently - but still intermittently - in the late 1930s and 1940s, principally on recordings and in reviews of what became known as rhythm and blues music aimed at a black audience. In 1951, Cleveland, Ohio, disc jockey Alan Freed began playing this music style while popularizing the term rock and roll to describe it.

Because the development of rock and roll was an evolutionary process, no single record can be identified as unambiguously "the first" rock and roll record. In terms of its wide cultural impact across society in the US and elsewhere, Bill Haley's "Rock Around the Clock", recorded in April 1954 but not a commercial success until the following year, is generally recognized as an important milestone, but it was preceded by many recordings from earlier decades in which elements of rock and roll can be clearly discerned.

The term "Rock and Roll"
The alliterative phrase rocking and rolling was originally used by mariners at least as early as the 17th century, to describe the combined rocking (fore and aft) and rolling (side to side) motion of a ship on the ocean. Examples include an 1821 reference, "...prevent her from rocking and rolling...", and an 1835 reference to a ship "...rocking and rolling on both beam-ends". As the term referred to movement forwards, backwards and from side to side, it acquired sexual connotations from early on; the sea shanty "Johnny Bowker" (or "Boker"), probably from the early nineteenth century, contains the lines "Oh do, my Johnny Bowker/ Come rock and roll me over".

The hymn "Rocked in the Cradle of the Deep", with words written in the 1830s by Emma Willard and tune by Joseph Philip Knight, was recorded several times around the start of the twentieth century, by the Original Bison City Quartet before 1894, the Standard Quartette in 1895, John W. Myers at about the same time, and Gus Reed in 1908. By that time, the specific phrase "rocking and rolling" was also used by African Americans in spirituals with a religious connotation. The earliest known recording of the phrase in use was on a 1904 Victor phonograph record, "The Camp Meeting Jubilee" by the Haydn Quartet, with the words "We've been rockin' an' rolling in your arms/ Rockin' and rolling in your arms/ Rockin' and rolling in your arms/ In the arms of Moses." Another version was issued on the Little Wonder record label in 1916. "Rocking" was also used to describe the spiritual rapture felt by worshippers at certain religious events, and to refer to the rhythm often found in the accompanying music.
At the same time, the terminology was used in secular contexts, for example to describe the motion of railroad trains. It has been suggested that it was also used by men building railroads, who would sing to keep the pace, swinging their hammers down to drill a hole into the rock, and the men who held the steel spikes would "rock" the spike back and forth to clear rock or "roll", twisting it to improve the "bite" of the drill. "Rocking" and "rolling" were also used, both separately and together, in a sexual context; writers for hundreds of years had used the phrases "They had a roll in the hay" or "I rolled her in the clover".

By the early twentieth century the words were increasingly used together in secular black slang with a double meaning, ostensibly referring to dancing and partying, but often with the subtextual meaning of sex.
Trixie Smith
In 1922, blues singer Trixie Smith recorded "My Man Rocks Me (With One Steady Roll)," first featuring the two words in a secular context. Although it was played with a backbeat and was one of the first "around the clock" lyrics, this slow minor-key blues was by no means "rock and roll" in the later sense. However, the terms "rocking", and "rocking and rolling", were increasingly used through the 1920s and 1930s, especially but not exclusively by black secular musicians, to refer to either dancing or sex, or both. In 1927, blues singer Blind Blake used the couplet "Now we gonna do the old country rock / First thing we do, swing your partners" in "West Coast Blues", which in turn formed the basis of "Old Country Rock" by William Moore the following year. Also in 1927, traditional country musician Uncle Dave Macon, with his group the Fruit Jar Drinkers, recorded "Sail Away Ladies" with a refrain of "Don't she rock, daddy-o", and "Rock About My Saro Jane". Duke Ellington recorded "Rockin' In Rhythm" in 1928, and Robinson's Knights Of Rest recorded "Rocking and Rolling" in 1930.

In 1932, the phrase "rock and roll" was heard in the Hal Roach film Asleep in the Feet. In 1934, The Boswell Sisters had a pop hit with "Rock and Roll" from the film Transatlantic Merry-Go-Round, where the term was used to describe the motion of a ship at sea. In 1935, Henry "Red" Allen recorded "Get Rhythm in Your Feet and Music in Your Soul" which included the lyric, "If Satan starts to hound you, commence to rock and roll / Get rhythm in your feet..." The lyrics were written by the prolific composer J. Russel Robinson with Bill Livingston. Allen's recording was a "race" record on the Vocalion label, but the tune was quickly covered by white musicians, notably Benny Goodman with singer Helen Ward.

Other notable recordings using the words, both released in 1938, were "Rock It For Me" by Chick Webb, a swing number with Ella Fitzgerald on vocals featuring the lyrics "...Won't you satisfy my soul, With the rock and roll?"; and "Rock Me" by Sister Rosetta Tharpe, a gospel song originally written by Thomas Dorsey as "Hide Me In Thy Bosom". Tharpe performed the song in the style of a city blues, with secular lyrics, ecstatic vocals and electric guitar. She changed Dorsey's "singing" to "swinging," and the way she rolled the "R" in "rock me" led to the phrase being taken as a double entendre, interpretable as religious or sexual.
The following year, Western swing musician Buddy Jones recorded "Rockin' Rollin' Mama", which drew on the term's original meaning - "Waves on the ocean, waves in the sea/ But that gal of mine rolls just right for me/ Rockin' rollin' mama, I love the way you rock and roll". In August 1939, Irene Castle devised a new dance called "The Castle Rock and Roll", described as "an easy swing step", which she performed at the Dancing Masters of America convention at the Hotel Astor. The Marx Brothers' 1941 film The Big Store featured actress Virginia O'Brien singing a song starting out as a traditional lullaby which soon changes into a rocking boogie-woogie with lines like "Rock, rock, rock it, baby...". Although the song was only a short comedy number, it contains references which, by then, would have been understood by a wide general audience.
According to the Oxford English Dictionary, an early use of the word "rock" in describing a style of music was in a review in Metronome magazine on July 21, 1938, which stated that "Harry James' "Lullaby in Rhythm" really rocks." In 1939, a review of "Ciribiribin" and "Yodelin' Jive" by The Andrews Sisters with Bing Crosby, in the journal The Musician, stated that the songs "...rock and roll with unleashed enthusiasm tempered to strict four-four time".

By the early 1940s, the term "rock and roll" was also being used in record reviews by Billboard journalist and columnist Maurie Orodenker. In the May 30, 1942, issue, for instance, he described Sister Rosetta Tharpe's vocals, on a re-recording of "Rock Me" with Lucky Millinder's band, as "rock-and-roll spiritual singing", and on October 3, 1942, he described Count Basie's "It's Sand, Man!" as "an instrumental screamer.... displays its rock and roll capacities when tackling the righteous rhythms." In the April 25, 1945 edition, Orodenker described Erskine Hawkins' version of "Caldonia" as "right rhythmic rock and roll music", a phrase precisely repeated in his 1946 review of "Sugar Lump" by Joe Liggins.

A double, ironic, meaning came to popular awareness in 1947 in blues artist Roy Brown's song "Good Rocking Tonight", covered in 1948 by Wynonie Harris in a wilder version, in which "rocking" was ostensibly about dancing but was in fact a thinly-veiled allusion to sex. Such double-entendres were well established in blues music but were new to the radio airwaves. After the success of "Good Rocking Tonight" many other R&B artists used similar titles through the late 1940s. At least two different songs with the title "Rock and Roll" were recorded in the late 1940s: by Paul Bascomb in 1947, and Wild Bill Moore in 1948. In May 1948, Savoy Records advertised "Robbie-Dobey Boogie" by Brownie McGhee with the tagline "It jumps, it's made, it rocks, it rolls." Another record where the phrase was repeated throughout the song was "Rock and Roll Blues", recorded in 1949 by Erline "Rock and Roll" Harris.

Louis "Moondog" Hardin
These songs were generally classed as "race music" or, from the late 1940s, "rhythm and blues", and were barely known by mainstream white audiences. However, in 1951, Cleveland, Ohio disc jockey Alan Freed began broadcasting rhythm, blues, and country music for a multi-racial audience. Freed, familiar with the music of earlier decades, used the phrase rock and roll to describe the music he aired over station WJW (850 AM); its use is also credited to Freed's sponsor, record store owner Leo Mintz, who encouraged Freed to play the music on the radio. Originally Freed used the name "Moondog" for himself and any concerts or promotions he put on, because he used as his regular theme music a piece called "Moondog Symphony" by the street musician Louis "Moondog" Hardin. Hardin subsequently sued Freed on grounds that he was stealing his name and, since Freed was no longer allowed to use the term Moondog, he needed a new catchphrase. After a night of heavy drinking he and his friends came up with the name The Rock and Roll Party since he was already using the phrase Rock and Roll Session to describe the music he was playing. As his show became extremely popular, the term caught on and became widely used to describe the style of music.

Tuesday, July 2, 2013

ROCK and ROLL part I

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. It has its roots in 1940s' and 1950s' rock and roll, itself heavily influenced by rhythm and blues and country music. Rock music also drew strongly on a number of other genres such as blues and folk, and incorporated influences from jazz, classical and other musical sources.

Musically, rock has centered around the electric guitar, usually as part of a rock group with bass guitar and drums. Typically, rock is song-based music usually with a 4/4 time signature utilizing a verse-chorus form, but the genre has become extremely diverse and common musical characteristics are difficult to define. Like pop 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" or "classic rock" period, a number of distinct rock music sub-genres had emerged, including hybrids like blues rock, folk rock, country rock, and jazz-rock fusion, many of which contributed to the development of psychedelic rock influenced by the counter-cultural 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 major sub-genre of heavy metal, which emphasized volume, power, and speed. In the second half of the 1970s, punk rock both intensified and reacted against some of these trends to produce a raw, energetic form of music characterized by overt political and social critiques. Punk was an influence into the 1980s on the subsequent development of other sub-genres, 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 sub-genres 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 including mods 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.

Monday, July 1, 2013

SWIMWEAR PARTY @ T.R.A.C.S

Last Saturday on the beach on River Island.
overview
DJ Cat
Caasper, and Martin and Alvei in the back
Tim
JK and CallMe