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1990's Music played in the 90's Bands groups singers memories from The People History Site

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Music played in the 1990's Bands groups singers memories from The People History Site what do you remember

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1990's Music played in the 90's Bands groups singers memories from The People History Site

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Music played in the 1990's Bands groups singers memories from The People History Site what do you remember

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Blowing In The Wind (Live On TV, March 1963)

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Because of a desire to break down racial boundaries in popular music. Even rap music experienced such moments, notably when the genre’s signature group in the 1980s, Run-DMC, crossed over to young white audiences with a calculated collaboration with the rock group Aerosmith on a remake of the latter’s “Walk This Way” in 1986.

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the city of Jazz

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Follow this link (click on the picture below)

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1990's Music played in the 90's Bands groups singers memories from The People History Site

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Music played in the 1990's Bands groups singers memories from The People History Site what do you remember

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Nothing else matters

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Best seller of the 1990s in America: Garth Brooks: country music

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Best seller of the 1990s in America: Garth Brooks: country music

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Uploaded by originalformulamusic on 2015-09-25.

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= popular music

Popular music in the 1990s saw the continuation of teen pop and dance-pop trends which had emerged in the 1970s and 1980s. Furthermore, hip hop grew and continued to be highly successful in the decade, with the continuation of the genre's golden age. Aside from rap, reggae, contemporary R&B and urban music in general remained extremely popular throughout the decade; urban music in the late-1980s and 1990s often blended with styles such as soul, funk and jazz, resulting in fusion genres such as new jack swing, neo-soul, hip hop soul and g-funk which were popular.
Similarly to the 1980s, rock music was also very popular in the 1990s, yet, unlike the new wave and glam metal-dominated scene of the time, grunge, Britpop, industrial rock and other alternative rock music emerged and took over as the most popular of the decade, as well as punk rock, ska punk and nu metal, amongst others, which attained a high level of success at different points throughout the years. Electronic music, which had risen in popularity in the 1980s, grew highly popular in the 1990s; house and techno from the 1980s rose to international success in this decade, as well as new electronic dance music genres such as trance, happy hardcore, drum and bass, intelligent dance and trip hop. In Europe, Eurodance, Bubblegum dance and Europop music were highly successful, while also finding some international success. The decade also featured the rise of contemporary country music as a major genre, which had started in the 1980s.

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The lesbian, gay, bisexual and transgender (LGBT) community in San Francisco is one of the largest and most prominent LGBT communities in the world, and is one of the most important in the history of LGBT rights and activism.
The San Francisco gay community was devastated by the AIDS epidemic following the discovery of the HIV virus

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Follow this link

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Saturday night fever

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This nightclub scene goes underground with Prohibition until 1933 when nightclubs become popularised again with the use of big bands and swing music. In Occupied France, jazz and bebop music  are banned by the Nazis. They are labelled as degenerate influences. French Resistance groups meet at hidden underground dance clubs called ‘discotheques’. They dance to swing music played either on a juke box or on a single turntable. Dancers wear zoot suits (large and flashy costumes)  like the swing dancers in America.
From the 1960s, many clubs begin to open in New York. Such clubs entertain and engage the growing confidence of marginalised groups at this time. African American, lesbian and gay, psychedelic, Latino mix with hipster heterosexuals in the New York City and Philadelphia clubs during the late 1960s and early 1970s. In a decade of growing social fragmentation and lifestyle choices, the reaction against the dominant white rock music and culture in America champions the dance music scene of the jazz heyday. Disco also appeals to women, newly liberated by the pill and feminism now a topic of the modern workplace. Women seek to go out unchaperoned, get dressed up, spend their hard-earned wages and dance the night away to funk, latin and soul music.
Many disco sounds and sights also take inspiration from hippy culture elements such as psychedelia, free love, colourful clothing and drug-taking. It is the era of the counter-culture, the dawning of the age of Aquarius and emancipation and freedom.

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The heyday of disco fashion blossomed from the music played at gay underground New York clubs such as the Loft, Tenth Floor,and studio 54 in the early 1970s.
Studio 54 became the place to be seen in disco clothing such as boob-tubes, platform shoes, flared trousers and body-conscious shapes dressed in lurex, glitter and crazy patterns or colours. Studio 54 played an essential role creating the nightclub scene that is still with us today – a place where people dress to be noticed and in the latest fashion.
The successful movie Saturday Night Fever (1977) ensured that disco hung around for a few years before becoming very unfashionable when Punk Rock and New Wave became the new anti-fashion fashion.

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More than 400 000 people gathered in a field near the town of Woodstock, New York.

Somewhat improbably, the chaotic gathering of half a million young “hippies” lived up to its billing of “Three Days of Peace and Music.” There were surprisingly few incidents of violence on the overcrowded grounds, and a number of musicians performed songs expressing their opposition to the Vietnam War. Among the many great moments at the Woodstock Music Festival were career-making performances by up-and-coming acts like Santana, Joe Cocker and Crosby, Stills, Nash & Young; the Who’s early-morning set featuring songs from their classic rock opera “Tommy”; and the closing set by Hendrix, which climaxed with an improvised solo guitar performance of “The Star Spangled Banner.”

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Protest song: blowing in the wing

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Blowing In The Wind (Live On TV, March 1963)

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Sam Cooke, Change is coming

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When young people gained the right to vote under the 26th Amendment, the protest songs developped. Moderate entertainers like Simon and Garfunkel and Johnny Cash covered anti-war songs. Perhaps most important of all, the Civil and Women’s Rights Movements brought previously unheard voices into the national discussion. Black artists like Edwin Starr, Jimi Hendrix, and many more took to the stage alongside their white counterparts, united in their desire to end the war in Vietnam. The borrowing and revision of several Civil Rights ballads helped the movement to attract a number of already organized progressives. This coalescence of youthful exuberance and free speech helped to define the 1960s as the decade of disobedience.

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In A Nutshell

The Vietnam War—commonly referred to as "America's longest war"—grew out of the American commitment to the containment of communism during the Cold War. For approximately fifteen years, the Democratic Republic of Vietnam (North Vietnam) fought against an American-supported Republic of Vietnam (South Vietnam). The war for the U.S. ended in 1973 with the withdrawal of American combat troops, and two years later, South Vietnamese forces surrendered to the North.
It was very unpopular in the USA and led to many demonstrations(=manisfestation). many contest songs appeared at that time, claiming PEACE AND
LOVE.

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Birth of psychedelic rock music.

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Psychedelic rock particularly took off in California's emerging music scene as groups followed the Byrds from folk to folk rock from 1965.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

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Musically, rock has centered on the electric guitar, usually as part of a rock group with electric bass guitar and drums.

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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.

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1967

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Marvin gaye: I heard it through the grapevine

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The greatest exponent of rock 'n' roll from 1956 to 1963 was Elvis Presley, a truck driver and aspiring singer from Tupelo, Miss., whose plaintive, dynamic delivery and uninhibited sexuality appealed directly to young audiences while horrifying older people. As rock 'n' roll became a financial success, record companies that had considered it a fad (= tendance passagère) began to search for new singers.

At the turn of the decade, Detroit became an important center for black singers, and a certain type of sound known as "Motown" [motor town], named for Motown Records, developed. The style is characterized by a lead singer singing and a backup group. Popular exponents of this style are the Temptations, Smokey Robinson and the Miracles, Diana Ross and the Supremes.
Rock music again surged to popularity in 1962 with the emergence of the Beatles, a group of four long-haired lads from Liverpool, England. They were initially acclaimed for their energy and appealing individual personalities rather than for any innovations in their music, which was derived from Berry and Presley. Their popularity inevitably produced other groups with unusual names. One of the most important of these was the Rolling Stones, whose music derived from the black blues tradition. These British bands instigated a return to the blues orientation of rock 'n' roll, louder and more electric .

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Rock 'n' roll was for and about adolescents. Its lyrics articulated teenage problems: school, cars, summer vacation, parents, and, most important, young love. The primary instruments of early rock 'n' roll were guitar, bass, piano, drums, and saxophone.

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The first rock 'n' roll record to achieve national popularity was "Rock Around the Clock" made by Bill Haley and the Comets in 1955. Haley succeeded in creating a music that appealed to youth because of its exciting back beat, its urgent call to dance, and the action of its lyrics. The melody was clearly laid down by electric guitar; the lyrics were earthy and simple.  He  succeeded in translating black rhythm and blues into a form that adolescent white audiences could understand.

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New Orleans via Africa and Europe
| Jazz was born in New Orleans about 100 years ago (early 20th century), but its roots can be found in the musical traditions of both Africa and Europe. In fact, some people say that jazz is a union of African and European music.From African music, jazz got its:rhythm and "feel""blues" qualitytradition of playing an instrument in your own expressive way, making it an "extension" of your own human voiceFrom European music, jazz got its:harmony -- that is, the chords that accompany the tunes (the chords played on the piano); jazz harmony is similar to classical music's harmonyinstruments -- most of the instruments used in jazz originated in Europe (saxophone, trumpet, piano, etc.)Musical improvisation came from both traditions.

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New Orleans was the only place in the New World where slaves were allowed to own drums. VooDoo rituals were openly tolerated, and well attended by the rich as well as the poor, by blacks and whites, by the influential and the anonymous. The local cats took that sound and put it together with the music they heard in churches and the music they heard in barrooms, and they blew a new music, a wild, jubilant music. It made people feel free. It made people feel alive! It made people get up and dance. And they danced to the birth of American music. And nobody played it like they played it in New Orleans, a city already used to feeling jubilant, and expressing its jubilation. A city where you could dance down the middle of the street, in the middle of the daytime.

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It is more expressive.

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Often referred to as country Blues’ ‘urban cousin’, it was widely popular and constantly performed in theatres, but always to segregated audiences due to the ‘Jim Crow’ laws of the day. There was a silver lining to this: black musicians still had full ownership of the music and played it as they saw fit.
It wasn’t just the flatted notes that influenced Jazz: call and response singing had been perfectly transferred onto instruments.

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The segregation and disenfranchisement laws known as "Jim Crow" represented a formal, codified system of racial apartheid that dominated the American South for three quarters of a century beginning in the 1890s. The laws affected almost every aspect of daily life, mandating segregation of schools, parks, libraries, drinking fountains, restrooms, buses, trains, and restaurants. "Whites Only" and "Colored" signs were constant reminders of the enforced racial order. In legal theory, blacks received "separate but equal" treatment under the law — in actuality, public facilities for blacks were nearly always inferior to those for whites, when they existed at all. In addition, blacks were systematically denied the right to vote in most of the rural South through the selective application of literacy tests and other racially motivated criteria.

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The origin of blues (the pink words are links)

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The origin of blues (the pink words are links)

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The story of the Blues began in northwestern Mississippi in the late 1800’s. It was initially a folk music popular among former slaves (slavery was abolished in 1865 by president Lincoln) living in the Mississippi Delta. With the Great Migration of black workers that began around that time the Blues spread around the south and the rest of the United States.
The Blues was performed in a variety of settings and styles: musicians often played in ‘tent shows’ while accompanying travelling doctors, musical companies, comedians, magicians, and even circuses. Ballads would be played, as well as ragtime, Gospel songs, and folk tunes. The typical Blues scale, using flattened notes, was taken up enthusiastically by New Orleans’ Jazz musicians, and it became a cornerstone of this ‘citified cousin’ of country Blues in the early years of the century. When a show reached a town or city, they would perform in the theatres, but always to segregated audiences. The organisers would put on special performances for their white patrons, because strict ‘Jim Crow’ laws prevented integrated crowds but, on the up-side, this arrangement gave Black performers full ownership of the form on their own terms. The black churches were also independent, and the Gospel music that celebrated their resistance, solidarity and joy, also had the flattened notes of the Blues scale and the ‘call and response’ vocals typical of the Blues.