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  1. This is inaccurate. Altavista, Yahoo, etc. are search sites. Bing and Google are search engines used by Yahoo, etc. (if you do a search at Yahoo, scroll all the way down and you'll see the words "Powered by Bing"). Just so you have the terms correctly (from "SEO For Dummies"):

  2. I love this quote from a member of 5th Dimension (not attributed to any particular member) from 1968:

  3. For over a decade prior to the mid-to-late 1960s, the black power movement actively tried to separate black art and culture from everything else. Soul music was an integral part of that separation. Motown, who purposely tried to bridge that racial gap from the beginning, consciously utilizing pop music elements, remained more popular than its competitors who marketed more/solely towards black consumers. That intent to separate increased in the second half of the 1960s. The positive impact of those intentions was the newly formed black identity, while the negative impact was the internally created near-isolation in the popular marketplace.

  4. You're right. Marvin Gaye said: "Everyone wanted to sell to whites, because whites have the most money" (from Divided Soul). And while, post MLK's murder, black power did exert great control over how black artists should curate and sell their art, its influence paled in comparison to the establishment's ability to reinforce the cultural divide. Robert Christgau wrote this in 1967 about the Monterey Pop festival:

  5. The black power and civil rights movement predated MLK's assassination and the 1960s. I, for one, celebrate the enormous and sprawling impact of that collective movement. As a lover of art, I appreciate that it was the primary force in developing black culture in the 20th Century. I also appreciate how important it has been to American culture.

  6. Why are you acting so condescendingly toward me? Can you at least say whether you agree that black artists were quickly excommunicated from the rock umbrella? BTW, I forgot about SAR because I thought it was mainly a gospel label; ex-cu-huse, me.

  7. Probably not since the first thing the band’s lawyers will argue will be that they’ve been using the name OK Go for decades. Prior Use. I doubt it will even go to court.

  8. I think you misunderstand the suit. Post is not suing the band to stop calling itself OK Go.

  9. It says that OK GO asked Post to stop using the name and now POST is SUING OK GO. So yeah.

  10. OK Go's version is that they "asked" Post not to use the name. Prior use is not at issue here, which was mentioned in the post I responded to. From Stereogum:

  11. Yes, I would presume most of us on this subreddit are supporting the band because the whole thing is so outrageous.

  12. What's funny is that other posts about this story have it reversed. People have misunderstood that Post is suing the band and that the should band should not only be able to keep their name under prior use, but also that cereal and music don't overlap.

  13. It seems for some acts, having a one-hit wonder is enough to make them realise that they don't want to be a huge pop star. Gotye seems to be one of those types, while his duet partner Kimbra is still creating music but is deliberately taking more of an indie path (and doing what she wants to do) rather than pursuing mainstream stardom.

  14. I'm curious why you say that about Kimbra. She had been a charting artist before Gotye, even achieving platinum sales in Aus & NZ. After Gotye, she collaborated with John Legend, toured with Beck and Odesza. She's performed on all the American talk shows, and on the cover of her new album she is wearing an open gown that barely covers her privates. To me, that's not a deliberately indie path. The album art alone is a cliche, yeah, I'm a MILF.

  15. I think at this point, if you off-handedly mentioned that you listen to Kimbra, in almost any context outside

  16. I agree with the idea that few people would recognize the name outside of Gotye, but I think her actions indicate she's pursuing mainstream fame.

  17. One way to look at it would be to have a counter example: what style of music that has its own subgenres and longevity is not considered to be its own genre? I think the best example would be electric blues music.

  18. Pretty much the whole raft of those 70s movies: Bullitt, French Connection, The Conversation...

  19. Fuck the hall of shame. They was worthless and have kept out so many great acts while allowing lesser artists in, in my mind

  20. OK, but can we agree it's more about fame than art? Or is the title throwing me off?

  21. I don't know how it can be divorced from a US viewpoint if the blues and rock 'n' roll (and jazz) were American creations and the music the "British Invasion" refers to is an adaptation of those sounds. Perhaps "Merseybeat," but that's too confined regionally.

  22. I do think British Invasion works if you consider that many of the artists that charted in the USA also charted and achieved massive success in continental Europe, Latin America, and the Pacific Rim. The little kingdom founded by a Norman royal bastard has invaded a lot of places over its history, either with guns or with vinyls.

  23. Yeah, I mean the British Invasion was markedly British, meaning it wasn't just the music but the fashion and attitudes that came with it, much the same way that Britpop had its Union Jack-waving elements. The difference though, being that the Invasion was ironically more of an attempt to unify with the US culturally while Britpop was a rejection of grunge and alt/rock imperialism.

  24. I think a lot of the comments so far reflect little more than sampling or mashups and would doom this idea to a fad's quick death. The common assumption (or attitude) in them seems to be that classical music is static and/or dead -- which it is not. While you still have mainstream composers in just about any major city or university, part of the story is that -- before and like jazz -- "classical" developed into places where mainstream listeners aren't willing to go. The dissonance and challenging structures started happening more than 100 years ago and a lot of the revolutions from the Serialists, John Cage, etc later inspired Miles Davis, Ornette Coleman and the like.

  25. Curious how youd categorize Boldy James - Manger on McNichols. That would be my closest pick to what OP is probably looking for that doesn’t involve sampling (to my knowledge)

  26. I've only just skimmed through that now because I've never heard it before, and while the production blurs lines it, to me, is definitely more jazz than classical. I actually think I hear "Truth" by Kamasi Washington here and there.

  27. What metal and prog fans think of as "jazzy" is more from an academic perspective than the music's roots. I can't think of anything like "A Sentimental Mood" that's metal.

  28. There’s a lot more to jazz than in a sentimental mood, or ballads for that matter. My thought is that they here the complex, off kilter rhythms and that reminds them of a fast swing beat in the explosive Elvin Jones style. and maybe when you shred a bass like it starts to sound a little like some badass walking bass, but truly I feel that these are not musically similar things.

  29. I don't mean to confine jazz to one song, but your reference to swing shows me we're talking about the same thing with different words. When metal picks up speed, the rhythm loses touch with the blues element at the core of rock 'n' roll -- apart guitar solos, which might draw from pentatonic scales, bebop.

  30. For what it’s worth, here is the list of people who had a hand in writing each song. Spoiler: it’s more than I thought possible.

  31. The whole thing is cohesive vision, if you ask me. I not a big fan of her music, but I recently sat down with the album, and what jumps out is 1) there are no downtempo/ballad songs and 2) that it's a tribute to (for lack of a better word) house and disco. The long, drawn out cover section of "I Feel Love" flat-out says "Thank you Donna Summer and Giorgio Moroder."

  32. I'm not sure we're all talking about the same Glam. In my mind (and this has maybe been overly influenced by the book Shock & Awe), glam includes Bowie, T. Rex, Slade, The Sweet, Alice Cooper, post-Stooges Iggy Pop, Roxy Music, and The New York Dolls, and this pretty much gave birth to punk. So the paradigm shift glam created was its culmination as punk rock. Glam also had a lot to do with hair metal evolving out of classic rock and becoming a pop phenomenon in the '80s. Quiet Riot's two biggest hits, after all, were Slade covers. Tia Carrere's band covers "Ballroom Blitz" in Wayne's World.

  33. 70s punk was basically a throwback to 50s rock, but played faster-and that’s straight from Marky Ramone. The punk bands were probably the most direct line to old school rock and blues-check out the NY Dolls covering “Hoochie Coochie Man”!!!

  34. I don't like this description because '50s rock 'n' roll -- as is captured in the name of the genre -- is at its core teenage sexual rebellion. Much of the '70s punk -- including Television and other non-Ramones-y CBGB bands -- removed the blues/sex element. They made early rock more for the angry and/or academic white male. The irony of this is that Talking Heads dived headlong into African rhythms, Blondie scored the first major single with a rapped verse, and the British spur -- particularly The Clash -- co-opted reggae and ska.

  35. Room & Board? Also, my dad (not a southerner) called my mom's spending cash "Mad money."

  36. Definitely. There's still new music styles I like, but at the same time, it can be harder to get into new styles because I'm not immersed in youth culture, and a generation's music is affected by what else is happening in the lives of the young.

  37. The old always hate on the new. It's a rite of passage. You'll do it to the next one.

  38. Libertines "Can't Stand Me Now" which reminds me of Babyshambles "Fuck Forever." Then maybe some Sleaford Mods, like "BHS." There's a new song/band "Talk For Hours" by High Vis that recalls "Rise" by Public Image Ltd.

  39. Mary Gauthier "Same Road" and Sebadoh "Magnet's Coil" the acoustic version.

  40. I've never had this feeling. When I was a teenager, albums costed $35 when adjusted for inflation. I was always hopeful the album wouldn't suck when I put it on. It just occurred to me that I spent $70 in one day on Guns N Roses when the Use Your Illusions came out. That's depressing.

  41. R Kelly was acquitted in 2008 by a presumably all white jury, so that speaks even better of him.

  42. 7 white, 1 Latino, 4 black, 2 black alternates. The determining factor

  43. He was an actor. I was being tongue-in-cheek there.

  44. 49? I would have guessed she was always 5-10 years older than me. God, do I look like shit!

  45. The Decemberists The Crane Wife. The big "hit" was "O, Valencia" but the album works as a single piece.

  46. Helmet "Biscuits for Smut" would have been a Chili Peppers song in parallel universe.

  47. Sebadoh's song "Gimme Indie Rock" is a sort of early biography of independent rock. You might want to have the lyric sheet handy so you can Google all the references. (We didn't have that luxury at the time; you had to know who Thurston Moore was or else the joke made no sense.)

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