The musicians therefore offered ascertain to their audiences and claimed it was safe to join them in their limitless sphere. The audience to this music was that which felt that they had been marginalized and overlooked (Encyclopedia Britannica, 2012)
The folk and rock music were integral part of the hippie culture the hippie movement put up public gatherings as part of music festivals and sometimes protests; often simply excuses for celebrations. They often sought their guidance on spiritual matters from sources outside the Judeo-Christian tradition particularly Buddhism and other Eastern religions (Article Myriad, 2012)
Music has been taken from the drug culture by the Americans to be incorporated by the mainstream culture. When looking at the popular music in the past, there is a clear indication that shows a bond existing between the use of drugs and popularity rise in musical movements introducing "hippie" culture and the use of drugs like LSD and marijuana (Acker & Tracy, 2004)
culture that is imprisoned by conformity hemmed in by the doctrine as well as ideas of the social propriety. In other words, the experiences with LSD as well as the publicity surrounding the Americans gave shape with content to the modern understandings of the spirituality (Laderman, 2011)
Other bands also emerged during this era such Jefferson Airplane, although it was deemed to be the first San Francisco psychedelic rock groups even after it was considered to be a psychedelic rock group which was not the case until Beatles felt in the category as well. It was because of creativity and experimentation with drugs that made the entire above groups to earn those titles making them to write songs that were alluding to drug use at one time (Belenko, 2000)
) turned to nontraditional (especially black and Latin) popular music when ASCAP (American Society of Composers, Authors, and Publishers) banned its mainstream popular music radio broadcasts in the early 1940s. (Manuel, 1991) These developments contributed to the rise of smaller, independent firms that were able to service the demand for specialized markets in a more creative, responsive, and energetic way
Thus, although the "salsa" label was commercial in inspiration, it can be seen as legitimate insofar as it denoted music that had acquired a new social significance and operated in a milieu substantially distinct from that of its Caribbean parent. Salsa's lyrics, like those of its predecessors, the Cuban son and rumba, frequently dealt with local neighborhood events; (Agudelo, 1987) but now the neighborhood was East Harlem rather than, for example, Havana's Guanabacoa suburb
Thus, the development of salsa can be seen as an ongoing dialectic between the Latino community's attempt to shape salsa as its own sub-cultural expression The demography of New York City's Hispanic population started changing in the mid-1970s, when the numerical dominance of Puerto Ricans was challenged by the increased influx of Dominicans, Central Americans, Colombians, Mexicans, and others. By 1985 these groups outnumbered Puerto Ricans, many of whom were themselves assimilating to Anglo culture (Bagdikian, 1985) As a result of the continuing rise in Latino population in the major cities, the 'majors' -- especially RCA/Ariola, CBS, A&M, and EMI -- energetically entered the Latin music industry in 1980
4% drop in market value. (Cobo, 2003) If the local governments do not take steps in the near future to corral the pirated music industry, the results could be complete collapse of the music industy in these countries
9% in value over the first 6 months of 2003. (Masson, 2003) The multitude of individual consumers who can download and burn their own music is affecting the entire music industry
In Mexico, the 1999 pirate music market was worth $70 million, or 40% of all music sold, the agency reported." (Buckley, 2000) "For the first time in the format's history, CD sales are dropping globally
"EMI is really excited that Microsoft has provided a tool that makes it easier for music fans to move their music around and enjoy it anywhere," while at the same time preventing the music to be copied wholesale, said Jay Samit, senior vice president of EMI Recorded Music. (Chmielewski, 2003) Unfortunatley, this aspect of piracy and copy control is out of the hand of the Latin American countries
If 50% of the market is in the hands of pirates, it means we have 50% of the market to recuperate." (Cobo, 2000) Piracy has soared inLatin American countries, costing record companies close to U
If 50% of the market is in the hands of pirates, it means we have 50% of the market to recuperate." (Cobo, 2000) Piracy has soared inLatin American countries, costing record companies close to U
Sales in industrial countries like Japan, Germany and Canada took an average 9% hit, while those in developing nations such as Brazil and Poland -- drained by an epidemic of professionally pirated CDs -- fell as much as 28%." (Taylor, 2002) These numbers are the proof of what an average consumer, and a few determined pirates can do with a minimal amount of technical knowledge
Clearly, such music cannot be made without the use of instruments, and though the instruments used in rhythm and blues vary widely from artist to artist, several have made a predominant mark in the genre's entirety. Author Ryan Jerving notes, "the most common types of instruments used in this type of music are drums, bass, piano, and guitar, with a horn section often featuring saxophones, trumpets and sometimes trombones" (Jerving 650)
In viewing rhythm and blues as a genre with distinct cultural implications as well, one must understand certain key terminology that has stayed with the genre over the years. Rhythm and blues is a genre that has long acted as a melting pot for other genres, and has been often referred to as a "super-genre" due to its stylistic inclusion of other forms of popular music such as religious, soul, ragtime, jazz, country, gospel, and rock and roll (Lee 12)
American Musical Genres: Rhythm and Blues Rhythm and Blues, or R&B, is an American musical genre largely attributed to the African-American community. Originating in the 1940s, the term was first 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 increasingly popular (Palmer 5)
R&B encapsulates music from artists with such a wide range as Johnny Lee Hooker, Ray Charles, James Brown, Earth, Wind and Fire, Stevie Wonder, Michael Jackson, Public Enemy, and Usher. As author Richard Ripani notes, "R&B has not only retained its traditional core styles, but has also experienced a 're-Africanization' over time," which allows so many varying artists to become a part of the collective (Ripani 17)