(Part 2) Best musical genres books according to redditors
We found 2,605 Reddit comments discussing the best musical genres books. We ranked the 1,169 resulting products by number of redditors who mentioned them. Here are the products ranked 21-40. You can also go back to the previous section.
Let me guess. Your sightreading is a weakness. You sound like one of the panoply of stories I hear of students who can play amazing pieces of music, but basically have been taught like trained monkeys their whole life. Look at the page... decode where your fingers go... repeat until perfect and memorize very quickly. You likely are always working on difficult and impressive music. There's just something that seems almost unique to piano culture that students are often taught to sprint before they can crawl. Move from one ridiculous difficult piece to the next... maybe learn 3-6 pieces of incredibly dense music a year.
People seem to get pissed at me when I recommend avoiding this approach... avoid overly difficult music even if you love it... avoid constant rote memorization, even if you're just a hobbyist.
Sure, some people manage to pick up the other skills along the way by accident or osmosis, but all too often your situation is what results from this approach to music.
I've been playing roughly half as long as you and didn't start seriously until my late 20s and I'm making a career of it. I can prepare a lot of music somewhat quickly and I get better at it all the time. I don't do this to make you feel bad, but to give you some perspective. Don't feel bad... it's not a lost cause. You probably absolutely trounce me in many areas of technique. You have huge advantages so if I could do it, you certainly can do it.
If you want to fix all of this you first need to drop any ego you have. You need to not care what other people think about how bad you sound or how childish the stuff you practice is. The constant one-upmanship in the classical piano community is what has gotten you in this spot. Stop caring what people think and work on what you actually need to work on to make progress.
Start at the beginning and don't try to tell yourself that you're above anything. In my opinion, no piece of music is too easy. If you can't sightread it effortlessly with good musicality then there is something to be learned from it. That might mean you're playing the simplest songs out of the most childish books... so-fucking-be-it.
You obviously are willing to work at it, but like many people, you're putting all your effort in the wrong places. Some of that may be that you're just misguided, but some of it might be the human tendency to avoid things that are hard and toward things that are an easier path.
Like I always say, it's exactly why people seem either be good readers or good at playing by ear, but rarely both. Once someone finds one way of doing something that works for them, they start avoiding the other one. In so doing, they get even better at the one and even worse (relatively) at the other and eventually they are completely unwilling to try the other because they have their easier path.
"Why am I trying to play this by ear... I could just sightread it easier?"
"Why am I trying to decode these stupid dots... I could play it by ear easier and make a better arrangement?"
Both fall into the groove of the path of least resistance.
Additionally, people with some background are far more resistant to actually starting at the beginning and fixing their foundation. They gloss over the stuff they think they already know never bothering to actually put it under their fingers and find out. They read something sloppily and "close enough" they say before jumping to reading something way too hard. They think that by just throwing themselves at harder problem, they will somehow magically get there. I tend to use the analogy of someone going to the gym every day and attempting to bench press 300 lbs. They never work up to it, they just try and fail every day hoping that some day they will magically have figured out how to do it.
It doesn't work that way. You have to build yourself up to that point. Likewise, you have to build up the musical muscles that will allow you to actually accomplish the lofty goals you keep throwing yourself at. You can say you work really hard, but if you just spend 2 hours every day trying to move 300 lbs. fruitlessly, what are you actually accomplishing?
Reading
Get this book. It's offensively easy. Deal with it. Worst case scenario you read effortlessly and breezily through it's 500+ exercises in 5 finger position and you're out 10 bucks, but most likely you won't absolutely nail it. You'll find some tricky rhythm or some weird issue with accidentals.
Every tiny thing like that is a weakness... work it out and it becomes a strength. You just need to weed out the 100s of these you likely have in technique, decoding, theory, etc. and slowly work up to the point where they are like breathing.
When you're done with the book... read it again if you feel like you need to. Then go grab some beginner books. Surely in your position you have access to tons of them. Sightread those. Keep your eyes on the page and force yourself not to check your hands. Learn to know where they are. Learn to associate what you see on the page with what you're playing.
From there you can just work your way up. Go to a used book store and find shitty old songbook collections of stuff that looks about at you level and read. If something is a bit too hard, maybe learn it. Either way you should be finding easy-ish stuff that you can digest and polish in a few days to a week. Optimally you should be learning several small pieces like this in parallel. These are the pieces that are nearly sightreadable but contain small weakness. Maybe a rhythm that's difficult, or a chord you're not comfortable wrapping your fingers around, or maybe a brisk tempo that tests your technique. Work these out... weaknesses become strengths and eventually you'll just be sightreading this stuff... expose yourself to as much different stuff as you can. A variety of styles will also really help if possible.
Read. Every. Day!
Ear
Play simple songs by ear. Just force yourself to do it. Either turn on some simple pop on the radio, or find a bunch of children's song on Spotify or whatever. You should be able to bring in at least the most basic theory to this. Most songs will be diatonic, so out of the 12 note available, you've already eliminated 5 and only have 7 to choose from. You can probably hear when something is tonic. You should eventually be able to hear if something is stable and part of the I chord (do-mi-sol; 1-3-5). Ultimately everything else just wants to lean to those. Over time you'll start associating these things with chord and chord tones, but for now, just try to do it.
Find the key by locating the tonic, then pick out he melody. Stick to simple things. Hunt and peck to start as needed, but quickly transition to not taking blind stabs but instead listening and making educated guesses before hitting a key. You'll progress quickly from a lot of mistakes to pretty good accuracy so long as you stick to simple music.
Eventually move to picking out the bass line. You said you're good at theory. From the bass line of simple nursery rhymes or pop music, you should be able to figure out the chord progression. Most of the bass notes will be roots, though occasionally they will be inversions. You'll learn through a bit of trial and error to recognize common motions of this stuff. In simple music there aren't that many progressions and you'll learn to recognize them quickly enough.
At some point you might want to try transcribing them first with the aid of the piano, but eventually without... just being aware of the pitch relationships... sketch the melody... figure out the bass (solfege is helpful if you know it) and make either a lead sheet with chords or a simple arrangement by filling in the middle. This will work your ear and force you to make associations with music that will improve your reading as you puzzle out things like rhythm from the reverse end.
Once you're good at this, you'll likely naturally move to more and more complex stuff and much like with reading practice, you'll notice the parts that you identify quickly (Oh, that was V-I) and maybe find some things that catch you off guard (was that I-bIII?) You'll learn it... put in your back pocket and once again weaknesses become strengths. The more ideas you're aware of, the better you'll get at doing it unaided.
Chords and Improvisation
I've been meaning to make a video about chords for a couple of weeks now. I guess I need to buckle down and do it because I just don't think I can adequately explain to you what you need to do in text. I'll give you a spoiler. The first step is to play up and down your diatonic triads in every key. Say them out loud as chords... say them out loud as Roman numerals. Internalize them. At the very least you should be able to instantly tell me the V and IV of any key I call out... hopefully the vi too. Make flash cards if you want to practice this away from the piano. Then start playing progressions in every key. This will force you to think about them quickly.
Improvisation needs to start simpler... like everything you're trying to do. Don't give yourself no limits... make strict limits. I made a video that honestly needs some updating at this point but it will get you started.
I wouldn't even worry about jazz at this point, but if you really want to get started, start working through this book. Also use this video to help guide you though some things you need to start with. The book will lay all of this 3-7 stuff out to you on the page, but internalize them and make a leadsheet to play them from.
Here's a comment in that ODB verse thread by /u/albinojustice
>Speaking of ODB's death, I recently read the RZA's memoir, The Tao of Wu and he has a very chilling story about the day Dirty died. Apparently earlier in the day Dirty had forced his son and RZA to watch him smoke crack and wouldn't let them leave. He then told RZA repeatedly that he "didn't understand." A few hours later he was gone. Shows just how crazy things had gotten for ODB by that point.
EDIT: Imma take this moment to plug the actual book: http://www.amazon.com/The-Tao-Wu-RZA/dp/1594484856
Refuge Recovery is a Buddhist recovery group with 3 or 4 meetings in Austin weekly. It is for people with any kind of addiction.
RR was started by Noah Levine, he wrote a book about his path from addiction to recovery Dharma Punx. He eventually started Refuge Recovery out of frustration with AA and its dependance on a higher power and how that affected recovery.
RR is adamantly as secular as it can be, while relying on the path that is followed in Buddhism, related to the four noble truths. Belief in reincarnation is not a prerequisite and most people I've met in RR do not believe in it.
Finally, I'll say that most of the people I met during my time in RR were pretty cool. They are stubborn in their resistance to AA and any kind of submissive rehab, but they have been through enough suffering to know they need a group of like-minded people. Give it a try. I only wish I'd written sooner so you could possibly make the 8:30pm meeting tonight.
Meetings here: http://www.refugerecovery.org/meetings-in/texas/
Along these lines, there is a graphic novel coming out called Hip Hop Family Tree that tells this origin story. I've read parts of it as it has bee serialized on Boing Boing, and it is informative and entertaining.
Ill just make a list of some hip hop books ive read and enjoyed for those interested:
Tupac Shakur: The Life and Times of an American Icon
Ed Piskor's Hip Hop Family Tree Vol. 1, Vol 2 , and Vol 3
Jay Z's Decoded
2Pac Vs Biggie
Born To Use Mics: Reading Nas's Illmatic
Eminem's The Way I Am
The Legends of Hip Hop
Prodigy's My Infamous Life
My suggestion is to learn on your own, and if you choose to go to college, pursue a major that has more profitable career options. Minor in music theory and invest your free time in practicing your instrument. Here is a reading list I recommend to start getting into serious music study and guitar playing:
That was a fucking wall of text. Hopefully I didn't come off like a negative asshole or bore you to death. If you have any questions or complaints, let me know!
I knew it was a Beatles song, I just didn't know it caused friction. i just finished reading John Lennon: The Life which is brilliant, and that song was mentioned (that john didn't like it), but it was more that everything was strained at that point. I don't know anything about that song, in particular, causing issues.
EDIT: I just googled it and it's reminding me, and you're right. It was Paul recording it on his own, and John felt hurt that he wouldn't include the whole band for it.
That is exceptionally inspirational, and the timing is great as well, as I've just ordered Progressive Sight-Reading Exercises to get started on my own sight-reading practice. Great job on your progress!
William Leavitt - Melodic Rhythms for Guitar
Thomas A. Brown - Afro-Latin Rhythm Dictionary
Justin London - Hearing in Time: Psychological Aspects of Musical Meter
Christopher Hasty - Meter as Rhythm
Charles Francis Abdy Williams - The Aristoxenian Theory of Musical Rhythm
Kalin Kirilov - Bulgarian Harmony: In Village, Wedding, and Choral Music of the Last Century (See his dissertation, which has a lot of the same content.)
Kofi Agawu - African Rhythm: A Northern Ewe Perspective
Kofi Agawu - Rhythmic Imagination in African Music (presentation), covering some of the topics in his book, The African Imagination in Music.
Richard Cohn - A Platonic Model of Funky Rhythms, or How to Get That Swing (presentation)
This is a really interesting story. I had heard about it but really got it when I read: http://www.amazon.com/Hip-Hop-Family-Tree-Book/dp/1606996908
If you like going deep into the start of hiphop, I really recommend that comic. It's great.
And then there were two.
I highly recommend The Beatles' Complete Recording Sessions. It really details the extent George Martin played as the "fifth" Beatle. Fantastic book.
Anyone who believes that the early punk scene was a safe space is dead wrong. Gangs sprouted up around local bands and would frequently engage in acts of violence. Rape, assault, and murder were rampant in these early days. The idea that punk rock was an inclusive community is 100% a falsehood. You were liable to be murdered for so much as looking at someone the wrong way (this is not an exaggeration) If anyone wants to know how bad it really was in the early days, I recommend reading "The Hepatitis Bathtub" by NOFX. https://www.amazon.com/NOFX-Hepatitis-Bathtub-Other-Stories/dp/0306824779 They go into everything about the scene and some of it is truly disgusting
Books:
Energy Flash: A Journey Through Rave Music and Dance Culture
The Underground is Massive: How Electronic Dance Music Conquered America
Techno Rebels: The Renegades of Electronic Funk
Altered State: The Story of Ecstasy Culture and Acid House
All Crews: Journeys Through Jungle / Drum and Bass Culture
Keyboard Presents the Evolution of Electronic Dance Music
Future Days: Krautrock and the Building of Modern Germany
Last Night a DJ Saved my Life
Turn the Beat Around: The Secret History of Disco
The Last Party: Studio 54, Disco, and The Culture of the Night
She's probably referring to The Complete Annotated Grateful Dead Lyrics
Not that expensive and WELL worth the price, trust me :)
I never want to detract from George Martin's contributions, but I have always been shocked and disappointed at how little credit is given to those Abby Road engineers. Geoff Emerick played such a key role in their music yet remained quiet and modest while virtually no mention is given of him in most Beatle biographies and documentaries.
Finally a few years ago he released an auto-biography a few years ago about being one their sound engineers. It's a great, fascinating read.
EDIT: Abbey Road...damit.
A couple years ago I read this book by a former sound engineer for the Beatles:
Here There and Everywhere
It is the first book in 30 some years which actually provided new information about their musical development as well as insight into the Beatles' relationships and roles in the band.
I am no Beatles scholar but I understand that the breakup was bitter and that these guys were flawed human beings just like the rest of us.
Black Metal at its core is about hatred. How that manifests itself is up to the band. Whether it's a hatred of the Abrahamic faiths, modern society that reveals itself through pagan or nature worship, or of humanity in general. Most of the shreddit recommended black metal albums list feature this in some way. Some points of note...
If you delve into the history of black metal do NOT start it in Norway. It's impossible to tell the story of black metal without mentioning the Norwegian scene but it did not start there. Bathory's "Under the Sign of the Black Mark" is probably the most important of the first-wave black metal albums for giving a sonic guide to how to proceed but this goes into my other point which is, despite the similarities black metal has with one another, black metal has NO sonic definition. Funeral Mist's "Salvation" sounds nothing like Mystifier's "The World is So Good That Who Made It Doesn't Live Here" which sounds nothing like Vattnet Viskar's "Sky Swallower" but it's all under the black metal umbrella. Some have differing opinions as to what constitutes a black metal band but it ultimately comes down to personal choice on the part of the band as to how they want to present themselves and that's what we are left to judge them on. This is the reason why I don't judge Deafheaven as a black metal band because they say that they are not one but do judge Liturgy as one because they say they are for example. This is not just my opinion. I interviewed Alan Averill, black metal vocalist of Primordial and Blood Revolt, who was around in the black metal tape trading days of the late 80s/early 90s who knows his shit about the history of black metal. Most of what I wrote here comes from him.
There is no one concrete philosophy about black metal other than what I mentioned above. Some good books so I've been told:
http://blackdogonline.com/music/black-metal.html <--- Black Metal: Beyond the Chaos
Black Metal: Evolution of the Cult: http://www.amazon.com/Black-Metal-Evolution-Dayal-Patterson/dp/1936239752/ref=pd_sim_b_2?ie=UTF8&amp;refRID=11BWAB0R4N471SZ5AQ2J
Good luck. Feel free to write me if you want any clarification.
That $700k that Mack stole was never recovered...
If you're interested in that story, there's two pretty decent books on it: LAbyrinth http://www.amazon.com/gp/aw/d/080213971X?pc_redir=1408684612&amp;robot_redir=1
And Murder Rap http://www.amazon.com/gp/aw/d/0983955484/ref=pd_aw_sims_1/191-5046778-1109412?pi=SL500_SY115&amp;simLd=1
Both are good reads, but they come to different conclusions.
While you're considering the absolutely necessary chord tone advice on this thread, also consider jazz rhythms. They are essential to improvising a good solo. Try playing straight 16th note runs or quarter notes on the beat over changes. Your bandmates will perk up immediately re: how non-jazzy your playing is. You can nail all the right scales over the right chords, but if your phrasing is all over the place, robotic, and/or not-at-all in a groove, your solos aren't going to feel right.
A fantastic resource on jazz rhythms (besides listening to great players):
Melodic Rhythms for Guitar
In my experience, knowing rhythms while not knowing all the notes has proven very helpful. You could be playing mostly outside (melodically) while hitting chord tones on rhythmically important accents and play jazz rhythms throughout and your soloing can sound totally convincing.
That said, re: chord tones I've been working on arpeggiating chords in a single position for a given standard, and working my way through a variety of positions over a number of standards. This sounds like a lot of work, and it actually isn't. If you consider trying four positions (say 3, 5, 7, & 9), you could arpeggiate all the chords in a standard in four different ways in a single hour if you were efficient. You walk away with interesting realizations like "What does a 5th position Gmaj7 arpeggio look like" and so on. Do that enough and your fluency re: chord tones grows very quickly.
Just remember that groove matters a great deal in making your solos sound like jazz.
I went through a phase of playing like this for a few months, it's definitely fun.
I reckon a logical next step is fake books: You can clearly read chord sheets really well so look into a book like this to get a grasp on reading melodies on the spot, then buy a fake book to play from. They're essentially a book of lead sheets for various pop/rock/jazz songs which feature the melody and the chords for you to mess with. Give it a go!
Check out The Tao of Wu or The Wu-Tang Manual by RZA. very cool and interesting
EDIT: forgot to mention DMX's autobiography its reeeaaally dark tho
My last teacher recommended "Exploring Jazz Piano" by Tim Richards as a great book to get into Jazz. The author has a similar book on Blues (Improvising Blues Piano).
The Complete Beatles Recording Sessions: The Official Story of the Abbey Road Years 1962-1970 Paperback – October 1, 2013
by Mark Lewisohn
Energy Flash: A Journey Through Rave Music and Dance Culture is the textbook for the electronic music class at my university.
Books Books Books.
Lords of Chaos -- Alright, there is a lot of crticism of this book in terms of balanced journalism but aside from all of that, this is a entertaining book for someone who hasn't heard about the Norwegian black metal scene / murders. This may get her into bands like Burzum, Emperor, and Darkthrone. Godspeed.
Precious Metal -- interviews about 25 decent extreme metal milestones. It makes you want to listen to each record whilereading the book.
Two other books I havent read but heard good reviews on is Swedish Death Metal and Black Metal Evolution
the reason why I am suggesting books is that some of these metal genres beyond what Black Dahlia Murder do is somewhat complex and interesting not just in terms of music but history, philosophy, and aesthetics. I feel that diving into weird scenes with books is fascinating. If your girlfriend is not the type to like reading, buy her more books and force her to read.
First off, I'd just like to say sorry for all your troubles. Secondly, I read a book once that might help you somewhat. It's called Dharma Punx. Long story short - the guy lived a pretty bad life and was doing hard drugs by the age of 13 and tried killing himself at 17(maybe 18, it's been a few years since I read it). His father, while he was in lock up, introduced him to Bhudism and meditation. He's stated that it helped him out a lot, maybe meditation might be something that you might want to look into.
The reason you can't find any is that you're searching for melody. Search for counterpoint instead. This is my favorite book to teach it from: http://www.amazon.com/Counterpoint-Composition-Study-Voice-Leading/dp/023107039X
Though the standard for the last ~300 years has been Fux's Gradus Ad Parsanum, which is now public domain. I myself learned from Knud Jeppesen's book, just called Counterpoint.
Also check out Thomas Benjamin's The Craft of Tonal Counterpoint.
Maybe you would enjoy Counterpoint and Composition, also by Schachter? It's in the same pedagogical tradition, but is about more long-range connections, rather than the chord-to-chord level.
Counterpoint in Composition: The Study of Voice Leading https://www.amazon.com/dp/023107039X/ref=cm_sw_r_cp_api_SeVLzbHW29T65
Sight reading has been my Achilles heel for most of my guitar playing life, so I can offer some suggestions based on what has helped me.
One is you need to stay in regular practice reading music, which is not necessarily the same as "sight reading." Experts say you're supposed to sight read to better your sight reading skills, but most music students (brass and woodwind players, pianists, percussionists) have been steeped in daily reading practice on their instruments for literally years before they get to college. Only rarely are they sight reading; most of what they read are pieces they're preparing for performance, so they're having the basics reinforced on a constant basis, and if they're in band, orchestra, or choir they have not only a director/conductor correcting them, but peers to help reinforce their learning.
For the most part guitarists don't encounter these situations until much later in their journeys, and by then everyone is a much better reader than they are, so it's pretty intimidating.
So, one solution is to get a fakebook and begin reading melodies every day, and not just sight read them, but learn them, and then reread them on the regular. This runs counter to what the experts say, but see above. You've got to have that regular grounding to get to the fluent sight reading stage.
Etudes are another way to reinforce this. Again, you're actually learning these to performance level, and not just "sight reading practice." An excellent book for this is Sam Most's Jazz Improvisation, which is 217 one chorus etudes on the changes to different standard tunes.
Another book which has helped me a lot and I've used with reading practice in college guitar classes is Wm. Leavitt's Melodic Rhythms for Guitar. The premise here is learning all of the common rhythmic combinations of basic note values - whole notes, half, quarter, eighths, and triplets - there are both isolated studies of each rhythm and etudes that make use of them.
Last, see if you can get together with other players and read through tunes or whatever. If you're in a large enough pool of guitar players to find a reading group it's a great way to share your pain and progress.
My 4 and 1/2 cents (adjusted for inflation).
This may not be what you're looking for, but my girlfriend gave me this for my birthday, and I love it. I've learned almost every song in there and they sound great. For anyone interested, it contains these songs:
Before I got this though, I would just Google sheet music of the song I wanted and usually could find the first page or so of it, and work the rest out by ear.
Hey friend. You ask great questions!
The issue you’re having is a great illustration of why music conservatory training is so essential. You say you’re willing to dedicate much time and effort; have you considered enrolling in a composition program? There’s much, much more to this than reading a book (or watching some YouTube videos). Deep training in several overlapping fields – theory, aural skills, music history, instrumental performance, choral singing, keyboard skills, score study, composition, etc. – all contribute to developing high level composition & orchestration skills, regardless of your styles/genres of interest.
Anyway, one place you can start on your own would be to dig into a good counterpoint treatise. Counterpoint training is about the craft of melody and of combining individually-compelling melodies to create harmony. There are many great treatises/books spanning literally hundreds of years, and everyone will have their favorites.
Knud Jeppesen’s Counterpoint is fantastic; old-fashioned, but excellent for basic principles. You can find a pdf online easily. The Salzer & Schachter book is more modern and also great. Thorough, well-organized, and I’ve found it to be effective with students who don’t have very deep musical backgrounds at the outset.
Above all, have fun with it and dig deep. Sing and play (at the piano/keyboard) everything you study and write!
NOFX: The Hepatitis Bathtub and Other Stories
https://www.amazon.de/NOFX-Hepatitis-Bathtub-Other-Stories/dp/0306824779
Bis jetzt ein sehr interessantes und unterhaltsames Buch.
Probably you meant Black Metal: Evolution of the Cult.
Black Metal - Evolution of the Cult - Goes through from first wave to current metal and all the other niche scenes that the majority of people overlook.
Oh man, i had the same question just a couple of days ago. Here's what I would suggest (pretty much fundamentals!):
[DK's Grateful Dead: The Illustrated Trip] (http://www.barnesandnoble.com/w/grateful-dead-maurice-waite/1120824345?ean=9781465440082#productInfoTabs)
This one is a 500 page biography of the band's journey on the Golden Road from the Sixties to now (this one happens to be the slightly updated 50th anniversary edition as well.) Covers a lot of details towards major events/concerts, the phases they went through, every release and side project(s) the band members did throughout the 70s, 80s & now. Thousands of pictures as well, & the foreword is written by Robert Hunter who helped write lyrics for the band!
[The Complete Annotated Grateful Dead Lyrics] (https://www.amazon.com/Complete-Annotated-Grateful-Dead-Lyrics/dp/1501123327) Also compiled by Robert Hunter with David Dodd, this book provides the lyrics to every song from every album, with all the unique context & the whole process of creating the songwriting for these tunes. Plus there's a lot of original GD-inspired artwork! This one is again the 50th anniversary edition, but the older version with a completely different cover is basically the same :)
If you're looking for some deep inspiration, the best thing I could advise is to order and read The Tao of Wu. It's easy reading, took me a couple of weeks at an hour or two a day, and even as a huge Wu Tang fan myself I learnt loads more about them, far more than any of us in this sub could summarise in comments.
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As far as imagery - Wu Tang logo, Hip Hop influence, Killer Bees and Martial Arts would be key elements to try and incorporate.
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CREAM - Cash Rules Everything Around Me
WUTANG - Witty Unpredictable Talent And Natural Game
The record display could be neat, but it wouldn't be my first choice to be honest. With a $20 budget you could get her The Complete Annotated Grateful Dead Lyrics which is a really awesome collection of (you guessed it) academic annotations of all Grateful Dead songs.
Another solid choice is Jerry on Jerry, which was just published. It's full of unreleased interviews with the Man himself.
OR if you're feeling ripe with the charitable spirit, you could always make a donation to The Jerry Garcia Foundation.
Probably everything you want to know has been written in this book https://www.amazon.com/Black-Metal-Evolution-Dayal-Patterson/dp/1936239752
Damn this is really dope, would love to cop that Luv(sic) Hexalogy.
The Japanese Hip-Hop manga is actually just a Japanese translation of Hip-Hop Family Tree by Ed Piskor so you can check that out if it piqued your interests.
Sorry if it made it seem I was apologizing for Lennon.
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I wasn't. He's my favorite Beatle. I've read the [bio] so you can spare me Reddit's take.
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But here, ever heard of the "John Sinclair Freedom Rally"? It was a protest and concert held in response to the imprisonment of John Sinclair for possession of Marijuana, both Lennon and Ono performed at this event and Lennon. In fact they performed a song called "Attica State" which is actually a protest song lamenting the loss of life in the Attica State prison riots as well as protesting poor living conditions and human rights violations of prisoners in the United States. Check out these lyrics for a bit of the "high and naked" you were mentioning: "Free the prisoners, jail the judges," "They all live in suffocation," and "Rockefeller pulled the trigger, that is what the people feel." The final verse calls on its audience to "Come together, join the movement / Take a stand for human rights / Fear and hatred clouds our judgment / Free us all from endless night." Song is off the album "Sometime in New York City."
What about "Bring on the Lucie (Freda Peeple)" ? This one's from the album "Mind Games" here's an [article] about it.
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"Happy Xmas (War is Over)", Give me Some Peace, Imagine, Working Class Hero, these are all politically-minded protest songs to some extent.
Amazing stuff!
Tupac was killed, I don't think it is especially mysterious though, nor does it seem likely that it was related to his police shooting. This book has a lot to say about his death. It seems plausible to me that he was killed by criminal rivals rather than some kind of police revenge conspiracy. Incidentally, it is the way he predicts that he himself will die. Fun stuff.
If you like Sit Down and Shut up - may I recommend Dharma Punx? Absolutely love that book.
harmony is far more complex than any one post can explain to you. get a good book. i recommend Tonal Harmony. you can get it used for a good price. you will need to know some basics, like how to read music.
If you want to go about it like the old masters, study counterpoint, which is basically the art of combining multiple melodies together to form harmony. Haydn, Mozart and Beethoven studied Fux's Gradus ad Parnassum for their basic training, but I would recommend a more updated method. I always tell people to get Salzer/Schachter's Counterpoint in Composition, which essentially modernizes species counterpoint, focusing on just major and minor modes (which is probably what you'll want to start with).
It might be good to pick up a copy of Kostka's Tonal Harmony to have around as a supplement. If you start from harmony, rather than counterpoint, your music is always going to be a little directionless and meandering.
The idea of being a "classical" composer today is a bit weird, in and of itself. From a historical perspective, we usually think of the Western European classical period being from 1750 to about 1825 or so. Clearly we are not living in that era now. This sub-reddit tends to lump in all Western "art music" (maybe roughly equivalent to notated polyphonic music) under the appellation "classical" as well, spanning from Perotin and Leonin writing some of the first polyphony at the Notre Dame cathedral in the 13th century to Kaija Saariaho's recent premiere in LA.
Western "art music" composers today, or composers of notated music indebted to the Western classical tradition, come in a huge variety of stylistic flavors, and they live in a huge variety of cultural ecosystems.
On one hand, you have composers in (and following) the German (Marxist) avant-garde, railing against the commodified nostalgia for Romanticism, completely breaking with tradition by abandoning everything, even pitch. On the other hand, you have an endless spiral of nostalgia plunderers, skillfully (even masterfully) dressing up the disinterred corpses of nineteenth century orchestral cliches as puppets to tell pastiche Hollywood tales. Is there a middle way between these extremes that is not totally bland? I hope so.
I would recommend going to your theory teacher's website/class website and look at what book they want you to get. This is a big sign of the approach the university will take in teaching from Theory I and upwards. This way, you will know the "common language" professors will use at your school regarding theory. What I mean are specifics, ranging from calling something an "accented passing tone" vs. making no distinctions between a regular passing tone, to various systems of abbreviations, and to differences in how the cadential "V^6/4 - V^7 - I" is viewed. Some people interpret this as " I^6/4 - V^7 - I." Basically, do you call a cadential^6/4 chord a V or a I chord? One use is not universal. Little clarifications like these, which can only been gleaned from your actual theory book, will make you better prepared and less confused on day one than learning one book's method, only to be presented with a completely different approach.
I think, given your background in theory, you will be surprised how far ahead you are compared to many people. A lot show up to their freshman year with a low level of theory competence.
I went to a university that used the Laitz textbook, so its about all I can recommend.
I've also been exposed to the Straus book for post-tonal theory.
For Species counterpoint, you can't beat the Schacter and Salzer book: "Counterpoint in Composition,"
For Schenkerian analysis, there is the Salzer book: "Structural Hearing." That is a bit more specialized, but it may pique your curiosity.
Great theorists like Felix Salzer and Carl Schacter, students of Heinrich Schenker, along with the acclaimed Steven Laitz, are good to learn about and be knowledgeable about. Looking into them, their associates, and their teachers can lead you to other good books.
Long story short, I hate reading and have only read 2 books since I graduated high school 16 years ago. But just finished one of those books yesterday. NOFX: The Hepatitis Bathtub and Other Stories. And only after it sat on a shelf collecting dust for over 2 years before I finally said "it's time."
I'd recommend that to anyone who was or is a NOFX fan or anyone who's a fan or interested in the 80s Southern California punk scene. These guys tell it like it is and don't hold anything back. It'll make you wince, laugh, cry and want to punch someone in the face.
And in honor of their 5th and all time best selling album turning 25 years old yesterday, here's some Linoleum
William Leavitt has authored some useful material for sight reading practice:
Robert Benedict is also useful for instruction, with a Classical Guitar framework:
I have the Radiohead Songbook. Interestingly, as well as being made up of classic hits (Creep, Paranoid Android), it also contains more obscure pieces that were written for piano (How I Made my Millions, I Want None of This).
Some of the non-piano pieces sound good, like Karma Police and Sail to the Moon. My Iron Lung transcribes surprisingly well. Some really don't work, like Creep and Subterranean Homesick Alien (though the bassline given by the book implies completely the wrong rhythm).
You can find more recommendations in the FAQ, but I would personally recommend taking a look at the Alfred series if you need to brush up on the basics (maybe start on Book 2 or something). If you feel you made it past the point of needing method books to the get the basics down (again?), I recommend the following:
Happy learning!
Haven't read Last Night..., but Simon Reynolds' Energy Flash was quite a nice overview for me. It's not short (around 550 pages) but a very good look at electronic music from the '70s to about 2006.
Try here http://artsites.ucsc.edu/GDead/agdl/
or in book form http://www.amazon.com/dp/1501123327/ref=pd_lpo_sbs_dp_ss_1?pf_rd_p=1944687622&amp;pf_rd_s=lpo-top-stripe-1&amp;pf_rd_t=201&amp;pf_rd_i=B0000009O8&amp;pf_rd_m=ATVPDKIKX0DER&amp;pf_rd_r=0424C49PG0DD9SETDG0N
or from the man himself
http://www.amazon.com/Box-Rain-Lyrics-1965-1993-Penguin/dp/0140134514/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1462560418&amp;sr=1-1&amp;keywords=robert+hunter
Another one is called The Tao of Wu.
ishkur's guide is the best entry point imo. if you can, I'd then suggest getting this book (http://www.amazon.com/Energy-Flash-Journey-Through-Culture/dp/1593764073)-- seriously the most comprehensive history of electronic music and rave culture out there. There are some cool genre specific documentaries on youtube which you can typically find just by searching some subgenre name + 'documentary'. Then the Dance Music Guide is a good reference for newer genres.
This, if you're a fan of black metal.
A producer sometimes makes a big difference in the end product. A big example of this was George Martin's role with the Beatles. It's arguable whether they would have gotten the exact tone in music had Martin not have been behind it all. Reading Here There And Everywhere by George Emerick I grew to appreciate not just the producer's role in music but that of the sound engineers. It's all a cohesive product and the better producers out there are known for what they bring to the table. Hell, even radiohead couldn't get through "In Rainbows" without eventually going back to Nigel Godrich. With electronic music, the influence that someone could have as a producer is magnified, since most of the time there is no band. Hip-hop producers like RJD2, Madlib and J Dilla especially are known for their unique sound and are highly sought after.
Music Theory Remixed by Kevin Holm-Hudson, is a great book that covers all the typical concepts of a four semester university theory course (Theory I through IV) but supplements all the concert music examples with music from pop music. It's pretty fantastic. Sort of like a more relevant Tonal Harmony... I think it's fun to hear modern examples of cadences, modulation techniques, etc. along side examples from Bach, Mozart, Beethoven, etc.
Tonal Harmony, by Kostka and Payne, is in my experience the most commonly assigned text for Theory I - IV courses. It's very good.
Straus' Introduction to Post-Tonal Harmony, is incredible. This book helped me fall in love with post-tonal music. If you need to study post tonal music, this is the book to get.
George did not write the solo. Eric Clapton wrote and played it at the time of the recording. The point is that George couldn't actually play nearly as well as Eric, in fact during the early years of the Beatles Paul had to play almost all of the solos in their recordings because George simply was not able to play them. Which is funny, since they're extremely easy.
I'm not trying to take away from George's worth as a musician or songwriter, but he was not a very good guitarist.
Source for what I said is http://www.amazon.com/Here-There-Everywhere-Recording-Beatles/dp/1592401791
Maybe talking about the book version of this website: http://artsites.ucsc.edu/GDead/agdl/
Think this is the latest edition from Amazon: https://www.amazon.com/Complete-Annotated-Grateful-Dead-Lyrics/dp/1501123327/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1479846335&amp;sr=1-1
Comics and hip hop, and now that I've looked, I think I got it.
Too wordy? Unlikely. Go directly to Simon Reynolds' Energy Flash, young man, and report back.
Here's my ten cents.
It's a well researched overview of the inherent tension that has long existed between people who want to bring electronic music to Black Rock City and people who would variously prefer there was a lot less of it.
Anyone who cites Adrian Roberts from Piss Clear as an academic source is OK by me.
The paragraph or two dissecting "douchebag" as a playa insult directed at EMD fans is, unfortunately, ludicrous.
I don't expect any reportage to be all-inclusive, and the Dancetronaut controversy is as good a place as any to illustrate that these tensions, rooted in the mid-90's have a modern-day equivalent, but I feel that time has passed the author by, and the lack of any mention (unless I missed it) of Robot Heart, and their aesthetic (more grounded in Burning Man than the relatively-mainstream, white-jumpsuited Dancetronauts by far, yet more divisive, in more nuanced and interesting ways) is a bit of a glaring omission.
Based on the mutual friends we apparently have on the Facebook, I'm making the broad assumption that the author is strong on psytrance, as a participant (name-checks the Blue Room, which was ground zero for me at Burning Man circa 1999) , but has relied too much on internet reporting of White Ocean and Dancetronauts, in his coverage of recent years, and failed to wrestle with the socio-cultural reverberations of the allegedly-elitist deep house beast.
Still, that said, a good read.
Apparently he is quite forthcoming in Complete annotated Grateful Dead lyrics about many of his lyrics. (Sorry for the Amazon link, I’m lazy)
This book has been recommended many times on this sub and it's full of ideas for both hands:
https://www.amazon.com/Improvising-Blues-Piano-Tim-Richards/dp/0946535973
I got this book a few days ago and it looks very solid. I'm still at the level where the first few pages are giving me grief, but it all looks achievable.
https://www.amazon.co.uk/Improvising-Blues-Piano-easy-grasp/dp/0946535973
The two volumes of jazz material in the same series are intended to follow on from this book as well.
I actually have been self teaching myself the basics of jazz using two good resources with some input from my teacher (which does not focus on jazz). First of all Improvising Blues Piano by Tim Richards is really good, with a focus obviously in improvisation. After doing part of that book to understand the basics he recommends moving up to Exploring Jazz Piano 1. Since you have 18 years of classical experience you're probably going to be familiarized with most of the concepts and you can just focus on understanding the style and ideas for improvisation. Honestly I find it very helpful and throughout Richards has "assignments" you can do to further expand. Also in the songs themselves there is a reccomendation of notes you can use within the scale you're working on to improvise. Very complete overall.
http://www.amazon.com/Improvising-Blues-Piano-Tim-Richards/dp/0946535973/ref=sr_1_sc_1?ie=UTF8&amp;qid=1421076430&amp;sr=8-1-spell&amp;keywords=impprovising+blues+piano
http://www.amazon.com/EXPLORING-HARMONY-TECHNIQUE-IMPROV-Schott/dp/190245524X/ref=sr_1_sc_3?ie=UTF8&amp;qid=1421076430&amp;sr=8-3-spell&amp;keywords=impprovising+blues+piano
https://www.amazon.com/Black-Metal-Evolution-Cult-Extreme/dp/1936239752/ref=pd_aw_fbt_14_img_3/143-2120679-5672137?_encoding=UTF8&amp;pd_rd_i=1936239752&amp;pd_rd_r=9f1a7e61-00ec-4671-9553-8dfd6c8f5913&amp;pd_rd_w=L6KoF&amp;pd_rd_wg=gkdtZ&amp;pf_rd_p=f04fe339-64d3-4672-9dc4-fcec7ed7a68c&amp;pf_rd_r=C5AM2W18338DYEZG0QQF&amp;psc=1&amp;refRID=C5AM2W18338DYEZG0QQF
Yes, I suggest reading the following books.
Black metal: Evolution of the Cult
Floating Tomb
Hideous Gnosis (Ignore the wanker from Liturgy)
Melancology
I like this book, it's pretty informative.
It's pretty theory heavy, so you should still try and listen to a lot.
I highly recommend this book https://www.amazon.com/EXPLORING-HARMONY-TECHNIQUE-IMPROV-Schott/dp/190245524X
It is better than the Levine book for a beginner/early intermediate because it goes deep into theory with exercises and has you improvising from the jump. The Levine book is great, but it's more of a reference book for advanced players.
I haven't seen this in person, but the Hip Hop Family Tree graphic novels look really awesome and I'd be excited to receive one.
Not a dumb question at all. In my opinion, it's best to think of Graphic Novels as a completely separate medium from books. So you can have fiction and non-fiction books, the same way you can have fiction and non-fiction movies (documentaries), the same way you can have fiction and non-fiction Graphic Novels.
Most non-fiction graphic novels are either memoirs like Can't We Talk about Something More Pleasant and Persepolis, or biographies like My Friend Dahmer. There is old historical stuff like Gettysburg, and even graphic novels about The History of Hip Hop.
It's definitely a niche genre within a niche medium, but it has its audience!
Source: Hip Hop Family Tee by Ed Piskor. A really cool series if you're interested in the origins of hip hop and rap. There's a bunch of them online at boing boing, or they've been published in book form by Fantagraphics, or of course you can get them from Amazon.
This story and lots of other good ones about the early days are included in Hip Hop Family Tree. You can read it for free at Boing Boing too.
https://www.amazon.com/John-Lennon-Life-Philip-Norman/dp/0060754028
I don't think you've learned incorrectly, just differently and in perhaps a really good way. From the way you described your sight reading, you see the notes on the page and play them, but do not translate them into letter names in your head. That's kinda awesome - like learning French through immersion and just knowing the french word for something, instead of having to translate it in your head from English to French.
In terms of sight reading, you could try a few things:
This book is standard for teaching music theory in college. Tonal Harmony by Kostka
This game makes it to where you're playing the part right, the way you want it more than you flub the part.
Hope this helps and good luck to you.
edit: Formatting - fml.
Lypur on youtube has great videos.
This is a good book.
I don’t know if this will help with edm. But a decent textbook for theory is the Kostka.
https://www.amazon.com/Tonal-Harmony-Introduction-Twentieth-Century-Music/dp/0072852607
That’s what I used in college
There are some great books about writing melodies, but I would recommend starting to study counterpoint. Grab Fux's book and start there. Not only does he give great guidelines for learning to write counterpoint, but in the process, you start learning what makes up good melodies. From there, I would start looking at the Salzer book and applying those principles.
"Harmony" comes from counterpoint... Remember - Music theorists didn't start writing about functional harmony until the 19th century.
Counterpoint in Composition - Shadwell & Schachter.. Chapter 9 covers imitation.
Hey there, - no, the book is by Salzer and Schacter, if memory serves!
Here it is: https://www.amazon.com/Counterpoint-Composition-Study-Voice-Leading/dp/023107039X
I would suggest you print out blank sheet music and put dots all over it don't worry at all about what it's going to sound like in fact the worse it sounds the better. Don't worry about rhythms at this point. Now play the "wild notes" that you made over and over again everyday, when your comfortable with it, play it backwards make sure to use all the different keys and all of the neck positions this will familiarize you with all of the notes on your fretboard. The next step is to buy this book. It will teach you any rhythm that you will need to play, use a metronome to practice. You can work on your jazz band piece while you do this reading a piece is like anything, it's mostly about practice.
David Oakes' book on Sight Reading for Guitar is a decent one for learning how to sight-read if you're a beginner:
https://www.amazon.com/Music-Reading-Guitar-Complete-Method/dp/0793581885/ref=sr_1_fkmr0_1?ie=UTF8&amp;qid=1466625720&amp;sr=8-1-fkmr0&amp;keywords=David+Oates+sight+reading
If you get through that one, try out William Leavitt's Melodic Rhythms for Guitar. This one is really solid:
https://www.amazon.com/Melodic-Rhythms-Guitar-William-Leavitt/dp/0634013327/ref=sr_1_5?s=books&amp;ie=UTF8&amp;qid=1466625895&amp;sr=1-5&amp;keywords=William+Leavitt
I've not looked through this one, but if you're interested in combining classical guitar and sight reading, it might be worth a shot:
https://www.amazon.com/Sight-Reading-Classical-Guitar-Level/dp/0769209742/ref=pd_rhf_se_s_cp_15?ie=UTF8&amp;dpID=514XaC6KshL&amp;dpSrc=sims&amp;preST=_SL500_SR103%2C135_&amp;psc=1&amp;refRID=0E43T3ND9D1TG4KDPZVE
Good luck!
What isnoreyoudrive and landonllama have said is correct. For now you've got to take those charts home and woodshed the crap out of them. Reading music on guitar can be super frustrating at first but it's better that you learn to do it now rather than later.
I recommend you get a copy of a book called Melodic Rhythms for Guitar by Wm. Leavitt. and start practicing from it daily. It's going to sound obvious but the only way you improve is to practice daily for a period of at least a few months, but realistically for the next couple of years to get it solidified. Even as little as 15 minutes daily will go a long way towards that goal of being able to read fluently. Also, when learning the rhythm groups and studies in the Leavitt book (or any other music you're learning) it's super important to count the rhythms. Do this as slowly as you have to - it doesn't even need to be in time at this point - just plug away while audibly saying the rhythms, such as "one and two, three and four" for two 8th notes, a quarter note, two more 8th notes, a quarter note, etc. If this is confusing talk to your band director or a good reader in your jazz band to help you with it.
Madlib and his influences: Miles Davis, Sun Ra, Lee Perry, Melvin van Peebles etc. Every one can use a sampler but it's what you put into it that matters. I recommend studying workflow, discipline and inspiration rather than the technical side of things. This is a good start.
http://www.amazon.com/Miles-Autobiography-Davis/dp/0671725823
I don't know how much reddit cares about jazz, really, but no movie could ever compare to "Miles: The Autobiography". If you are interested in jazz, this is one of the most entertaining and informative books you will ever read. Miles was square at the center of most of the major stylistic movements in jazz, and he has incredible stories to tell about not only himself but also some of the most famous jazz musicians ever. I read this book from cover to cover at least once a year, simply because it is a total page-turner.
Miles's speech is like poetry - completely profane, totally real, absolutely raw. I learned what a versatile word "motherfucker" is from reading this book.
Don Cheadle is an amazing actor, but man. This movie cannot possibly measure up to the visceral thrills of this book.
Memoirs of musicians might suit your taste. I've read Miles and Lady Sings the Blues, both of which I really liked. There are lots more, though, and I'm sure most of them are filled with dysfunction, drugs, and mental illness.
If you want an easy, fun read, go for Tracy Morgan's I Am the New Black.
Long story short: buy this one. I own it and it's fantastic. The selection of songs is amazing. Highlights like Last Flowers to the Hospital and How I Made My Millions are included. Chords are accurate, as well as the keys. Especially if you're an experienced player, you'll have lots of fun with it.
What you need is a progressive sight reader, one that starts below your ability and moves up steadily as it challenges you more.
If you are looking for something online that fits this, you likely won't find it, but here's some things you and "search" around (and maybe find something you can use):
HTH.
I highly recommend doing some keyboard practice by transposing! I'm currently going through this https://www.amazon.com/Progressive-Sight-Reading-Exercises-Technique/dp/0793552621
There are 500ish examples that are quite easy I spend about 10 minutes on it everyday and I transpose the exercise i'm reading into all keys going up semitones. This forces you to read and feel hand positions and read in intervals rather than notes as you're transposing. Instead of thinking G > C> D in the original key of C you think I'm playing a perfect 4th and a major second after that and then you play it in every key from sight. I think it would be of much benefit to get into this kind of thing early.
Is this the same Hannah Smith?
> How do you practice sight-reading?
Get a book like this and make your way through it slowly.
> Read it through, play it, and never sight-read it again?
Pretty much, yeah... playing through it too many times means you start to memorize what it should sound like.
> Is it okay to bring down the tempo than from the marking?
Absolutely
> What if I'm just making too many errors?
The goal is to choose something easy enough and play it slow enough that if you make an error you can continue playing the rest of it. Error recovery is it's own skill, and you need SUPER easy pieces to start out with. The book I linked to starts off very very simple.
Suge's friend was killed at the Atlanta party. Also the connection between Biggie, Puffy and the shooting in NYPD was more than simply a case of them being there and not letting him know (Biggie's manager, Jimmy Henchman, had been trying to basically intimidate Pac into letting him be his manager, Pac said no, and Henchman, who had connections with Drug kingpin and NYPD gang heavyweight King Tut, decided it was time to "teach him a lesson"), pac recorded this verse right before going to the Quad, as Puff's people had been calling and paging him relentlessly trying to figure out when he was coming (http://www.youtube.com/watch?v=SAlguYfYxZs), so he felt like it was more than just knowing, but also a complicity. And, while he was in prison people were telling him that it was one of Biggie's good friends that shot him (I've always thought this could've been the FBI trying to create a fracture in the hip hop community, wouldn't be the first or last time they've meddled in musicians affairs). While it's not as angry as 'Hit 'em up' I do think that this song is better, diss wise, because it addresses the facts of shit, I'm not even sure they would've put it on the album had Pac not died, but it's Against All Odds from the makaveli killuminati the 7 day theory album, honestly my favorite hip hop album of all time and maybe album of all time period. Shit is like a rap dark side of the moon, you listen from beginning to end and all the songs mix together, there is no pauses between songs, it's one piece of greatness from beginning to end. There is also newer diss tracks that have been released this year like War Games, Watch your mouth (I know it came out last year but this has a new verse. But again, if you guys haven't listened to Don Killuminati, get a bottle, or some weed, or whatever you do to chill and download it and get some headphones, you'll immediately fall in love with the shit, it's such a perfect slice of exactly how he felt, and what was going on right then and there in his life and in the rap game. Shit, I'm going to go listen right now.
I also know that it's common place for people to look back and say that Pac saying Big's name on wax was unheard of. But that's bullshit. Has anyone heard any of the tracks from Common, Ice Cube, or NWA? No vaseline anyone? Hip hop was built on battling, it's not like everything was subliminal, what about the real roxanne for christs sake? I'm not attacking you man, haha, I just realized the irony of me saying that (subliminal?), but honestly I read that everywhere and it's simply not true. By any stretch of the imagination. Now, the lengths pac went to were another ball of wax, the fact that he did fuck faith (it happened) and bragged about it on record and on stage, constantly (she was pregnant and he would bring it up during concerts, saying he hoped it wasn't his kids): See Biggie's line in "Brooklyns finest": "If faith has twins she'll probably have two pac's, getting...tupacs..."
If you want to really get into what happened in vegas, I strongly recommend first reading LAbyrinth, the book by LA homicide detective russell poole, who retired after being stone walled during his investigation of the crime, that gives you about half of the story (he blatantly decides to omit the procedures of most police departments in his book (which was basically that the information he was requesting wasn't allowed by procedure, for numerous reasons)... After reading that, you definitely need to read the recently self published best seller: Murder Rap, written by a cop who was way above Poole's pay grade, he took over the Biggie investigation after Voletta Wallace sued the LAPD for 500 million. It mainly focus' on Biggie's murder but explains that it was a retaliation for Pac's death and shows the deep, verified connection between Bad Boy and the southside crips, the same people who killed pac (the night he died in vegas, Orlando Anderson, the now deceased shooter of Pac (by consensus most people believe he was the shooter, they just don't always agree on why he shot him), was in the lobby of the MGM grand after the tyson fight, an associate of Suge's had been robbed week's earlier of his Death Row chain, which was a symbol of being a member of the Mob Piru Bloods, which Suge and some say Pac was (hence his new MOB tat, MOB= member of blood, also money over bitches)...
So pac walks up to Orlando Anderson and asks: You from the south (asking basically, are you in the southside crips?) and This happens, the easy theory is that anderson went out looking for revenge, but then why did he only shoot pac and not Suge also? The book explains that Puff had basically been using the south siders as extra security when they traveled to the west coast (for example, ORLANDO ANDERSON AND HIS UNCLE WHO WAS THE MAIN SOURCE OF INFORMATION FOR MURDER RAP WERE PHOTOGRAPHED AT BIGGIE AND PUFF'S TABLE AT THE PETERSON AUTOMOTIVE MUSEUM BY THE FBI AND OTHERS THE NIGHT BIGGIE WAS SHOT, OUTSIDE THE MUSEUM). So, they were paid to take out Pac. Which explains the near 30 deaths in compton after Pac's death, a gang war was started between the Mob Piru and the South Side crips.
These books are essential as they have actual police insight, and a lot of information from now deceased people who were basically responsible for the dirty work that Puff and Suge paid for.
When it comes to songs though, Big did respond to hit 'em up, on Life After Death, in what I consider to be the most cowardly song in history (it is obvious that it was recorded after pac died (it refers to his car accident, which happened after pac died, and basically talks about take being dead "slugs go touchy touchy, leave your spirit above me, or beneath me)...
Here is the song (I admit, I like the song, I just think it's in horrible taste and honestly, again, cowardly, fucking say it when he's alive or don't say it): http://www.youtube.com/watch?v=g1zMMgPx4Ys, there are a few pointers for people who don't obsess over this shit like I have I like to point out...
The rest you can basically figure out for yourself, I just wanted some of the subliminal shit to be pointed out. I think this song along justified killing the dude, I mean talking about how he's basically rotting in the ground and shit after not saying anything the entire time he was alive?
Let me know if you guys have questions, while dude I'm replying to knows his shit, I have read almost everything imaginable on this subject and spent countless hours on my old 56k modem reading about this, I was obsessed when I was about 16 and know more about this than almost anything. Which is sad...
Hope that helped add to dudes post.
If you enjoyed BHN as much as I did, check out [Dharma Punx(http://www.amazon.ca/Dharma-Punx-Noah-Levine/dp/0060008954).
Street kid junkie becomes Buddhist teacher.
Welcome! What sort of hardcore are you into? And looking at your WL, you're a fixed gear biker too?
Also, based on what you said above, you should check out a book called Dharma Punx.
You might gain some benefit from reading Dharma Punx by Noah Levine. It's not the be-all, end-all of Buddhism, not by a long shot, but I found it a really easy way to access an intro to Buddhism when I was in a really rough place in life.
I enjoyed reading Noah Levine's Dharma Punx -the story of how he kicked drugs using meditation -- so much that I've been listening to his 'Against The Stream' dharma talks for years. He's stayed clean now for 20 years. Apparently people in his community have started an alt (or addition) to AA called RefugeRecovery that aims to help people deal with their addictions via buddhism/meditation. It's early days but there might be a group in your area.
http://www.amazon.com/John-Lennon-Life-Philip-Norman/dp/0060754028/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1309499885&amp;sr=1-1
Highly recommended. Explains a LOT (read: Everything) about the Beatles.
They were smart, hip, fashion conscious dudes. Nobody HAD to tell them that that's what people wanted to see, since that's what the cool kids were wearing.
That's the only source you can find of the quote?
You can read the quote here, click on the cover and type "steak" into the search bar, it should come up.
I read about both in this book.
This is what we used for first and second year music school.
https://www.amazon.com/Tonal-Harmony-Introduction-Twentieth-Century-Music/dp/0072852607/ref=la_B000AQ01DK_1_6?s=books&amp;ie=UTF8&amp;qid=1485840371&amp;sr=1-6
Ok lessons would def help but if u take your time a book like Tonal harmony is a college textbook but all the basics are in it and I think like some maths books some answers are in the back plus since I believe there are many editions u can get them used for cheap. Just go slow and pay attention tonal harmony
For any particular style? It sounds like you're more interested in classical -- the text for my first two years of music theory in college was this one but if you're at all interested in jazz theory I can't recommend this one enough.
The Complete Idiot's Guide is a surprisingly good resource. I taught myself from this book in 6th grade and ended up with a strong command of theory before high school.
Once you get what you can from that, try
Kostka and Payne. From my understanding this is a very popular book for college theory classes. It also has a workbook that can be useful.
If you spend 20 minutes a day studying theory, you will have a solid foundation in no time.
If you're going to be a music major in the fall, make damn sure that there's a counterpoint class on your roster. If there isn't, find someone in the department who can give you private instruction. If you're at all serious about composing, you must understand how counterpoint works. This book is basically my bible:
https://www.amazon.com/Counterpoint-Composition-Study-Voice-Leading/dp/023107039X
Hey pretty great on first listen! Read their new book it's incredible! About to finish it for the second time! https://www.amazon.com/NOFX-Hepatitis-Bathtub-Other-Stories/dp/0306824779
I'm currently reading "NOFX: The Hepatitis Bathtub and Other Stories". It's about the punk band NOFX and it's really good read if you're into musical biographies/memoirs.
Amazon!
hey guys,
my name's jeff, i was one of the directors of the Backstage Passports. the linoleum cover is by Christine "Cece" Sherman. i just did a quick google search trying to find a full version online to share with you all but no luck. :(
she does pretty great covers of Franco Unamerican and Eat The Meek as well:
https://www.youtube.com/watch?v=IgMJFgsh9VA
and while i'm typing, i'm programmed to always mention that everyone should pre-order NOFX's new book, "The Hepatitis Bathtub and Other Stories"!
www.amazon.com/NOFX-Hepatitis-Bathtub-Other-Stories/dp/0306824779
NOFX kicks ass. Have you read their new book?
Yall should read the NOFX autobiography. Such a good book and has a lot of good info on addiction. I couldn't put it down.
https://www.amazon.com/gp/aw/d/0306824779/ref=mp_s_a_1_7?ie=UTF8&amp;qid=1519735416&amp;sr=8-7&amp;pi=AC_SX236_SY340_FMwebp_QL65&amp;keywords=Nofx
sorry for the late reply! well nearly all books will have some rhythm learning which is excellent. [Berklee's A Modern Method for Guitar - Volumes 1, 2, 3 Complete] (http://www.amazon.com/Modern-Method-Guitar-Volumes-Complete/dp/0876390114/ref=sr_1_1?ie=UTF8&amp;qid=1410004474&amp;sr=8-1&amp;keywords=Berklee%27s+Modern+Method+for+Guitar+123) By William Leavitt
as for more books focused on rhythm some good ones are:
[Rhythm Guitar: The Complete Guide] (http://www.amazon.co.uk/Rhythm-Guitar-The-Complete-Guide/dp/0793581842) by Bruce Buckingham and Melodic Rhythms For Guitar
The GuitarCardio tip is golden. It's really good at getting you away from a plateau because of the random nature of the exercises. So, I'd definitely recommend that. It'll give you a really wild variety of things to do.
Other people mentioned a lot of great videos/books, too, but the one that helped me a lot (not a natural musician by far), is Melodic Rhythms for Guitar:
http://www.amazon.com/Melodic-Rhythms-Guitar-William-Leavitt/dp/0634013327/ref=sr_1_1?ie=UTF8&amp;qid=1375977326&amp;sr=8-1&amp;keywords=MELODIC+RHYTHMS+FOR+GUITAR
It's useful both for learning to read music and getting used to offbeat timing, both of which I had problems with. Doing exercises from it to a metronome is great.
Glyn Johns - Sound Man
The Wrecking Crew
Making Rumors
Trouble Boys
Daniel Lanois - Soul Mining
Miles
Biographies and autobiographies are the way to go, I think – there's simply too much to write a book about everyone at once, not to mention the story of jazz is really the sum of intersecting individual journeys and solos, not some kind of burgeoning volksgeist. I recommend Miles and Space is the Place
Mine would probably have to be "Miles: The Autobiography" by Miles Davis. An intense read at times, but a great look inside the brain of one of music's all-time greats, and one of the definitive examples of cool.
http://www.amazon.com/Miles-Autobiography-Davis/dp/0671725823/ref=sr_1_3?ie=UTF8&amp;qid=1301760791&amp;sr=8-3
This thread is going to get sloppy with opinions... I recommend everybody put down the laptop and go pick up one of these two books...
https://www.amazon.com/Miles-Autobiography-Davis/dp/0671725823
https://en.wikipedia.org/wiki/Blues_People
I came here to post this. It's called Miles: The Autobiography and it is fucking incredible.
Miles Davis' autobiography Miles is really mind-blowing. He's extremely candid, but also a complete asshole, so it makes for a very interesting read. Also, Art Pepper's autobiography Straight Life is very interesting and heartbreaking. Really gets into his drug addiction, repeated trips to jail, his sexuality. One of the great musician bios in my opinion.
link
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just take the space inbetween the parentheses out
Check out this page from musicnotes which allows you to view the first page for free!
I can also recommend this book of sheet music dedicated to Kid A and [this one] (http://www.amazon.com/Piano-Songbook-Radiohead-Radioheads-Biggest/dp/0739077848/ref=sr_1_1) of Radiohead's greatest hits (although surprisingly Kid A isn't in the latter).
that's a good move! I have been working on accurate sheet music for anything I love and can't find...still working on making them correct. PM me and I can help out. These books are the best so far:
https://www.amazon.com/Moon-Shaped-Piano-Voice-Guitar/dp/0571539602/ref=sr_1_8?s=books&amp;ie=UTF8&amp;qid=1483536765&amp;sr=1-8
https://www.amazon.com/Piano-Songbook-Radiohead-Radioheads-Biggest/dp/0739077848/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1483536765&amp;sr=1-1
https://www.amazon.com/Radiohead-Kid-Piano-Vocal-Guitar/dp/0757992471/ref=sr_1_7?s=books&amp;ie=UTF8&amp;qid=1483536765&amp;sr=1-7
The '28 Biggest Hits' is a treasure trove, though some mistakes. AMSP is golden. Kid A is a cheap publisher but accurate.
TL;DR - I don't know
I have this one and it is great but definitely too hard for me (i am a beginner player). Though that just means things will take time (and I am currently putting a Coldplay and Elliott Smith song ahead of finally learning PS, MPS, or Fog(Again).
You've got Morning Bell on yours though.. I am jealous!
There are a lot of resources online - youtube etc, but I prefer books so when I decided to teach myself how to play around 2 and a half years ago I used Alfred's Adult all-in-one, progressive sight reading, and Easy classics to moderns.
Once I felt comfortable enough with sight reading, I just started buying whatever I liked. I also sit down and transcribe the music I like. Just got done learning this track from pride and prejudice, and it barely took a week to learn! It's so wonderful to see my fingers flying across the keys, I can't even describe it.
You might also like flowkey.
Good luck, and I'm sure you'll thank present you for starting - say 5 years from now, when you're sitting at your piano and feeling generally amazing after a particularly good improvisation :)
Get either this (note my links are for Canadian amazon):
https://www.amazon.ca/Progressive-Sight-Reading-Exercises-Technique/dp/0793552621/ref=sr_1_2?ie=UTF8&amp;qid=1504539704&amp;sr=8-2&amp;keywords=progressive+piano
or this:
https://www.amazon.ca/Progressive-Sight-Reading-Exercises-Piano-ebook/dp/B00T224UMG/ref=sr_1_9?ie=UTF8&amp;qid=1504539704&amp;sr=8-9&amp;keywords=progressive+piano
And go through them. Also read this excellent answer from yesterday:
https://www.reddit.com/r/piano/comments/6xr899/15_years_heres_what_i_cant_do_and_why_its_really/dmhyak2/?context=3&amp;st=j76c6cqr&amp;sh=0ea41302
Since he's playing Russell Poole, my guess is that its based on the book of the same name
This author who followed a police officer who investigated the murders came up with that theory. Also Orlando was a well known gang member, crip, as was Suge. The book also suggests Suge's injuries as being more superficial.
Ever read this book called LAbyrinth? You might like it.
Aflred All in One - A reliable go to for the complete beginner to get them using both hands, reading music, understanding chords and keys etc.
Improvising Blues Piano - Great book for intermediate to later beginners looking at exploring contemporary styles.
Exploring Jazz Piano - Similar to the blues one but using jazz which requires a higher level of complexity.
Reading music is a habit more than skill, so i don't think you need any resources on that apart from the basics you'll find anywhere on the internet. As for learning actual jazz piano, i really liked Tim Richards' "Exploring jazz piano" vol 1 and 2. They're "project" based, every new song introduces a new concept and has basic to advanced exercises to build on those concepts. It also introduces improv and music theory straight away, which is a much more fun approach in my opinion.
https://www.amazon.com/EXPLORING-HARMONY-TECHNIQUE-IMPROV-Schott/dp/190245524X
Read RZA's book The Tao of Wu
Don't make judgments or assumptions of people unless you hear it from them.
Root For The Villain: Rap, Bull$hit, and a Celebration of Failure by J-Zone (who, if you're familiar with his music, is equally funny in his book)
Hip Hop Family Tree by Ed Piskor (it's a graphic novel focusing on the early days of hip hop done in the style of 90s Image comics)
How to Rap: The Art and Science of the Hip-Hop MC by Paul Edwards (this is full of interviews with some of the greatest of all time discussing every single aspect of rapping)
There's also The Wu-Tang Manual and The Tao of Wu, both by RZA and both very good for Wu-Tang fans.
If you think she may be interested in books on specific albums, the 33 1/3 series has quite a few on some of the genres greatest albums: Illmatic, Paul's Boutique, Donuts, People's Instinctive Travels And the Paths of Rhythm, It Takes a Nation of Millions to Hold Us Back and My Beautiful Dark Twisted Fantasy. She may enjoy Born to Use Mics: Reading Nas's Illmatic, which is a more scholarly approach to Illmatic, although admittedly not for everyone (if critical theory isn't her thing probably pass on this one).
This 1999 review of Mark Lewisohn's excellent Beatles studio diary book where many of The Beatles recording engineers and tape operators and their producer George Martin are interviewed (and it shows how truly innovative,brilliant and creative especially John and Paul were in the recordinga studio),The Beatles Recording Sessions titled, Behind The Creative Genius Of A Groundbreaking Band by a musician himself says it all, he says that as a musician he found Mark Lewisohn's portrayal of The Beatles genius and in parenthesis he says, especially that of John Lennon and Paul McCartney, to be completely thorough and accurate, as well as insightful. He then says if you are to buy any one Beatles book,buy this one.
https://www.amazon.com/gp/customer-reviews/R3EHW182TIHFQ2/ref=cm_cr_arp_d_rvw_ttl?ie=UTF8&amp;ASIN=1454910054
And this reviewer RAS who became a big Beatles fan after he read The Beatles Recording Sessions book,said,I think The Beatles ARE BRILLIANT and he said he despairs what his life would be like without The Beatles!! He said that when he first saw this book,he said Oh another garbage Beatles book.
http://www.amazon.com/The-Complete-Beatles-Recording-Sessions/product-reviews/1454910054/ref=cm_cr_arp_d_paging_btm_2?ie=UTF8&amp;showViewpoints=1&amp;sortBy=helpful&amp;pageNumber=2
Since music covers such a broad stylistic range there cannot be songwriting "rules". Genres can be broken down into idiomatic terms but I think what you're looking for is related to tonal harmony. The foundational "rules" of music theory can be applied to all musical styles and will teach you how to analyze a song to extract the patterns that indicate the musical style.
https://www.amazon.com/Tonal-Harmony-Stefan-Kostka/dp/125944709X
This is a pretty standard book which will teach you the basics of theory from the ground up. Hope this helps :)
Hmm... The only things that come to mind are textbooks that can be harmful to your wallet like Tonal Harmony. It has a workbook to go with it, which sounds like what you're looking for. That book will teach you just about everything you need to know about tonal music theory (If you want to learn more than that then I'm sure there are other books.).
Like I said though textbooks can be expensive. Hope this helps anyway!
https://www.youtube.com/watch?v=QuWMSMvvsa0
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Dude, your hooktheory book is a complete garbage, I'm not surprised that you learned everything wrong. I even told you the name of the youtube channel... how ignorant can a person be on reddit?
Check any real music theory books
https://www.amazon.com/Tonal-Harmony-Stefan-Kostka/dp/125944709X/ref=sr_1_1?s=books&ie=UTF8&qid=1538029216&sr=1-1&keywords=tonal+harmony+kostka&dpID=41v9WBjdbJL&preST=_SX218_BO1,204,203,200_QL40_&dpSrc=srch
https://www.amazon.com/Complete-Musician-Integrated-Approach-Listening/dp/0199347093/ref=pd_sim_14_16?_encoding=UTF8&pd_rd_i=0199347093&pd_rd_r=4a1cee19-c21d-11e8-bcaa-d5dbd61d2792&pd_rd_w=N7ADP&pd_rd_wg=8dbTF&pf_rd_i=desktop-dp-sims&pf_rd_m=ATVPDKIKX0DER&pf_rd_p=56838e6b-66d4-41e0-a762-743f1a1a628a&pf_rd_r=3YXER0X7XFGE6FM96NJ8&pf_rd_s=desktop-dp-sims&pf_rd_t=40701&psc=1&refRID=3YXER0X7XFGE6FM96NJ8
https://www.amazon.com/Musicians-Guide-Theory-Analysis-Second/dp/0393930815/ref=pd_sim_14_32?_encoding=UTF8&pd_rd_i=0393930815&pd_rd_r=4a1cee19-c21d-11e8-bcaa-d5dbd61d2792&pd_rd_w=N7ADP&pd_rd_wg=8dbTF&pf_rd_i=desktop-dp-sims&pf_rd_m=ATVPDKIKX0DER&pf_rd_p=56838e6b-66d4-41e0-a762-743f1a1a628a&pf_rd_r=3YXER0X7XFGE6FM96NJ8&pf_rd_s=desktop-dp-sims&pf_rd_t=40701&psc=1&refRID=3YXER0X7XFGE6FM96NJ8
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to see what people in England and USA use (Germany and North/East Europe use slightly different system).
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Also, there doesn't exist such thing as progression without a tonic, that's why your progression is wrong when you try to analyse the key. One of your chords is I or i (Im in another notation system). And progressions in minor use flexible scale degrees, that's why such tables can't be made or they will have to include several different chords.
This? https://www.amazon.com/Tonal-Harmony-Stefan-Kostka/dp/125944709X
Oh boy do I have a textbook for you. Tonal Harmony is the most widely used freshman theory book, as far as I know
Many years ago I had to "teach" (clients or young engineers) on occasion.
The best "basic" tool I had was a photo of an orchestra, with the louder instruments "in the back," and the quieter ones "up front."
Sinatra was photographed a lot in the studio, and many of these photos illustrated variations on microphone placement, gobos (acoustic isolation panels), etc.
Another really important tool was found in early Motown (or similar) recordings where instruments had to often perform "double duty" due to the limitation in number of tracks. Session musicians, like Tommy Tedesco, would often play "secondary parts," or provide subtle noise effects, in addition to performing their primary parts. Often, these additions were not written on the score or chart. Following a specific instrument, such as a guitar, can be a real eye opener. These instruments were often panned hard left or hard right, and were easy to follow.
I think getting kids to overdub, and literally "sing with themselves," would provide the biggest "wow factor" that kids could relate to. I would be easy to recreate that "kids chorus" from Another Brick In The Wall (Pink Floyd), and the kids would have a blast.
Isolated vocals, like this or this.
Books, such as Good Vibrations or the Beatles Complete Recording Sessions are often more inspiring than the "how to recipe" books. I think kids could probably relate to the idea of the Beach Boys recording in an empty swimming pool.
Thanks for your reply. I remember reading a Hunter Davies book decades ago when he shadowed them for a while during the making of Revolver, which was quite interesting.
There is also the Complete Beatles Recording Sessions, which is an exhaustive record of every one of their studio sessions based on recording logs and the author listening through master tapes. I have this book and love it...it's available again here https://www.amazon.com/Complete-Beatles-Recording-Sessions/dp/1454910054
I haven't read this but looks like a very interesting read https://www.amazon.ca/Beatles-Recording-Reference-Manual-1966-1967/dp/1727146980/ref=pd_sim_14_3?_encoding=UTF8&amp;pd_rd_i=1727146980&amp;pd_rd_r=c213ebd9-ee80-11e8-b8bf-2d5ac68107a8&amp;pd_rd_w=jolIq&amp;pd_rd_wg=u3gmZ&amp;pf_rd_i=desktop-dp-sims&amp;pf_rd_m=A3DWYIK6Y9EEQB&amp;pf_rd_p=f2db799a-cb6a-4ff5-b84b-b317891b94a8&amp;pf_rd_r=AQJG2ARARZDJK4JGE2ZE&amp;pf_rd_s=desktop-dp-sims&amp;pf_rd_t=40701&amp;psc=1&amp;refRID=AQJG2ARARZDJK4JGE2ZE
This one:
https://www.amazon.com/Complete-Beatles-Recording-Sessions-1962-1970/dp/1454910054
That's a really interesting characterization to me, because Sgt. Pepper is probably their most labored and intricate recording session. That's also so different than my own appreciation for that album, which is justifiably their most important but not my favorite (UK Rubber Soul for me, please).
If you're at all interested in this sort of thing, this book is well worth the money:
http://www.amazon.com/The-Complete-Beatles-Recording-Sessions/dp/1454910054
Yeah she's a raver too, but I think she's too uncoordinated to use gloves haha.
I found a new revamped edition of Energy Flash: A Journey Through Rave Music and Dance Culture on Amazon, and I think she will really enjoy it.
Thanks for your input!
https://www.amazon.de/Complete-Annotated-Grateful-Dead-Lyrics/dp/1501123327/ref=sr_1_1?keywords=grateful+dead+lyrics&qid=1568931636&sr=8-1 Amazon has pretty much a complete collection of every piece of Grateful Dead related literature and usually for super cheap, I'm going through Phil's biography at the moment, but couldn't contain myself from buying this book when I saw it.
Get the hardcover, the quality is amazing and the wrap with the skeleton on the cover is beautiful
How about the Complete Annotated Lyrics book? I love my copy and will just sit down and flip through it while listening to a show.
The Complete Annotated Grateful Dead Lyrics https://www.amazon.com/dp/1501123327/ref=cm_sw_r_cp_apa_i_8wC4DbTEM8E3D
Here is the mobile version of your link
Put this on your reading list as well, it's by the recording engineer that was there for Revolver, Sgt. Pepper, and Abbey Road! Such a fantastic perspective, I feel like it paints a very honest picture of them.
In fact, this article is referring to this instance (the one in "Hey Jude"). The mention of the book Here, There and Everywhere near the beginning made me think that it was a swear in the song "Here There and Everywhere." After listening to that song twice and not even figuring out where the line this article mentions, I remembered that the lyrics he was referring to are actually in "Hey Jude," and went back and reread it to discover that you and the author of this article are in fact talking about the same instance.
So, basically the author of this article has the wrong Beatle. D'oh!
I didn't get to finish reading this because I could never find time but until I stopped I as really enjoying Energy Flash. It gives a pretty good coverage of the history mixed with the author's experiences.
One of the most influential Berlin night clubs of the past 2 decades, which holds similar ideals today much like most of the well known clubs that were born around techno music in Germany:
https://en.wikipedia.org/wiki/Berghain
The birthplace of House music in Chicago "The Warehouse was patronized primarily by gay black and Latino men":
https://en.wikipedia.org/wiki/Warehouse_(nightclub)
Recommended books you can read to learn about the history of music:
https://www.amazon.com/Klang-Familie-Felix-Denk/dp/3738604294
https://www.amazon.com/Techno-Rebels-Renegades-Electronic-Painted/dp/0814334385
https://www.amazon.com/Last-Night-DJ-Saved-Life/dp/0802146104/ref=cm_cr_arp_d_product_top?ie=UTF8
https://www.amazon.com/Energy-Flash-Journey-Through-Culture/dp/1593764073/ref=pd_sim_14_2?_encoding=UTF8&amp;pd_rd_i=1593764073&amp;pd_rd_r=S1TWN7HDAJJY3Z2QN4BG&amp;pd_rd_w=Zk210&amp;pd_rd_wg=Dqe5r&amp;psc=1&amp;refRID=S1TWN7HDAJJY3Z2QN4BG
https://www.amazon.com/Electrochoc-Laurent-Garnier/dp/1906615918
A snippet from the above book by Laurent Garnier regarding Detroit, the birthplace of Techno music:
"Like Manchester in the early 1800s, during the golden age of the British Industrial Revolution, Detroit also became the great American city of industry. Several thousand blue-collar workers came from all over the US to work at the Ford automobile plant, while the black workers were confined to the foundries.
In 1959 Motor Town gave birth to Motown, the cultural pride of the black community. Then the battle for civil rights broke out in the US, and in July 1967 Detroit experienced three days of bloody rioting. The white community fled to the suburbs and the ghetto grew bigger and bigger. And finally, in the 1980s, there was an explosion in drug abuse, especially of crack, in these same ghettos.
Detroit techno music tells the story of all of this hardship. And within this music one can feel the life force that refuses to be put down. Words are of no importance. Everything is expressed within a few notes, repeated ad infinitum. Detroit techno is made of metal, glass and steel. When you close your eyes you can hear, far off in the distance, then closer and closer, the echo of crying. Like in jazz and blues, Detroit techno transfigures suffering. This authenticity of spirit has no price.
'In 1981, a record – "Sharevari" – was released that would play a pivotal role in the history of Detroit techno. "Sharevari" is the very first techno record from Detroit, but as yet nobody had used the term "techno," it simply didn't exist.
Mike Banks, alias Mad Mike, is the true soul of Detroit techno. He is an urban guerrilla, a man haunted by the suffering of his city. Mike has chosen music to fight against the problems of daily life and takes his inspiration from the Afro-American struggle of the 1960s
Through his record label Underground Resistance, Mike Banks spreads a guerrilla philosophy whose targets are the major record labels, the American segregationist system, and despair in the ghetto.
Mad Mike pursues his causes – to get young people away from crime and drugs, to rally against the economic disaster that is Detroit – and music.
UR is the continuation of a long struggle and we chose existing technologies to make this struggle move forward. Through UR, we wanted to express everything through sound; no need for pictures. We were against everything you have to accept in order to be famous.
We were just coming out of the 80s, a time when many black artists had had their noses done or their skin whitened. Fuck that! If a guy doesn't know what you look like, he won't care, as long as he likes your music. It's Detroit and the whole black experience in America that gave birth to Underground Resistance.
We both had experience of deals with majors in which we had been swindled. That is where the name Underground Resistance came from. Literally, to create a resistance to the "overground."
What's really remarkable is that I have to go out of my way to explain and showcase all of this to you, when this is something that is known amongst most fanatics of electronic music.
Much like Germany had its own sub-culture tied to political movement, so did Chicago and Detroit.
It's like I'm talking to a person saying "The sky is blue" while said person refuses to look up and constantly spews things like "No! Wrong! Wrong! It's green! Prove it!"
Why do you think Punk Rock is named after a whole sub-culture, just out of pure coincidence? It's laughable that I have to explain such a simple concept to someone so ignorant. It's like you talk about things that are 100% obvious and make yourself the clown of the room while genuinely refusing to acknowledge it, it's very cringeworthy.
I'm going to block you now because you're a prime example of the kind of people /r/edm is filled with and why no electronic music fanatic actually wants to remotely even deal with people of your kind, you've demonstrated that point very well. It's laughable how you refuse to educate yourself in any way and then you come on these boards with a hostile attitude dismissing things that have been known for multiple decades because of how dense and ignorant you are, from people who have a much better understanding of what they are saying. Electronic music is 40 years old now, do you genuinely think that nobody has touched on these subjects beforehand? Have a look at the list I linked to you and do yourself a favor and stop being hostile with your replies as long as you remain ignorant, you're really embarrassing yourself and most other EDM listeners with your example.