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FAQs
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Is fax becoming obsolete?
Is fax becoming obsolete? Yes. Is it considered obsolete? Probably by most people. Is it obsolete? Not completely so for all purposes. While the number of faxes most businesses receive or send would now be in single figures in any given month, you will sometimes, for example, find a contract which provides for notices to be given by letter, delivery or fax - but not provide for electronic delivery. If you want to deliver the notice instantly and the recipient isn’t in the same town, fax is the obvious choice for delivering your notice.A favourite story - in late 1984, at the end of my first year of work, I bumped into a former university colleague who said she was working on a legal case overseas. To my comment that that would pose various logistical issues she said they had this new machine which was like a photocopier attached to a phone line - you put a document on the copier at this end and a copy of it came out at the end. I replied that that sounded great, but surely it would never catch on as that would require everyone to have one of these machines. It took about 2 more years before businesses got far more faxes than they did hard copy letters. Moral of the story - don’t ask me about new technology!
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What are some cool facts about the Universe?
We do not exactly know how Milky way looks if viewed from outside. Yes, you read that right. We just know that it’s a spiral galaxy and we cannot send a probe far enough to capture the entire galaxy. All the images you have seen are just artistic works created by looking at other spiral galaxies. Below is a false image of our Milky way.2. The universe is like a giant cosmic web with galaxies in filaments and empty space in between known as voids. It is hypothesized that our galaxy may be in one of these voids as there are not many galaxies surrounding us.Every small light in the picture is one whole galaxy.3. All the pictures of exoplanets we have seen are false too. All we know about these exoplanets is shown in the images below.This is the dip in the light of the star the exoplanet is orbiting when it passes in front of the star. We observe it through telescopes.Correction - There are some exoplanets whose direct images have been taken. But they are nowhere near to the images we see floating on internet. One such false image has been shown below.In reality, they are more like thisThe red spot is the planet and white spot in the middle is a brown dwarf also known as failed star.4. The distance between cosmic structures is so vast that it is irrelevant to depict them on paper with real proportional calculations as structures would be too small to see with naked eyes.So all the pictures we have seen with all the planets in the solar system in one picture is by use of improper distance. In a real sense, the Earth wouldn’t even be visible if we were to map the entire solar system on one piece of paper maintaining the proportions of distance between every structure.5. Moon revolves around Earth, Earth revolves around sun and sun revolves around the center of Milky way.6. Space itself can expand faster than light. This has already been happening.7. Most of the space inside atoms is empty space. If you think of the atom as big as a football field then nucleus would be size of a tennis ball and electrons would be at the edge of the field. If you do not leave any space between fundamental particles, all of humanity can fit in a sugar cube crystal.8. Quantum entanglement is a phenomenon where effects take place instantly over large distances (even faster than light). But we do not know how to use it to pass information.9. Space between stars in a galaxy is huge. It is so big that when Milky way merges with Andromeda in about 4 Billion years, there would hardly be any collisions between stars and mind you each galaxy has billions of them.10. As Milky way and Andromeda are going to merge in 4 billion years, our night sky view will change. Here’s what it will look like in about 2 billion years.That’s all for now. I will keep adding more as I come across.Edit 1: As many of you wonderful guys presented the fact that there are direct images of exoplanets that have been taken, I have modified point 3. Thanks for the important information.
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How does the Sun emit radio frequencies? What is the mechanism?
Radio emission from the Sun originates at the Solar Corona, which is akin to the “atmosphere” of the Sun.Sun is a huge ball made of an ion-electron soup called plasma. In a plasma, electrons being the lighter materials, start moving to and fro with respect to the protons/ions in the plasma at a specific natural frequency, called the plasma frequency [Plasma oscillation - Wikipedia], which depends on the amount of electrons present there. These oscillations of the plasma are called Langmuir waves. The number of electrons per cm^3 decreases as we move farther and farther from the sun, which results in the plasma frequency decreasing with increasing distance from the solar center.The Sun, when quiet also emits radio emission. The quiet sun radio emission is thermal in nature, which arises due to the Million Degree Corona. The quiet Sun in radio wavelengths typically looks like this:Contrary to the thermal emission from the quiet sun, the bursts are caused because of non-thermal emission.Now, assume that there is some flare/activity on the solar surface. This will excite electrons from the lower regions to the upper regions of the corona, which will result in a change in the electron density. Thus, Langmuir waves are created and they combine (there are distinct mechanisms for this combination, but we do not know which is the actual way) to form transverse electromagnetic radiation. If the frequency of the emitted EM radiation is greater than the local plasma frequency, then they escape the corona and can be received as various kinds of solar radio bursts. Solar bursts can be broadly classified into five types viz. Type I, Type II, Type III, Type IV and Type V. (see figure below) The bursts were first classified by an australian radio physics group at CSIRO, who named these bursts based on their life times. Type I has the longest life time, type III has the smallest life time. Type IV and V were discovered much later, but were named so, just to keep in with tradition. But radio bursts are not just limited to these five bursts alone.The electron population distribution in the corona is broadly considered to follow some kind of statistical distributions like Maxwell–Boltzmann distribution. Those electrons which have a velocity greater than the mean velocity are called suprathermal electrons. These suprathermal electrons which are trapped in magnetic arcades (see figure below), accelerate, exciting plasma layers, giving rise to type I radio emission (see figure). Type I radio emission is composed of a long-lived background radio emission (few days, depending on intensity of activity), which is very wide band and this background is superposed with short-lived, narrow band bursts called type I bursts. The background continuum is thought to be powered by repeated, rapid small scale reconnection events, but this still remains an open question. Stationary Type IV is due to gyrosynchrotron radiation over loop top. This burst is seen in the dynamic spectrum as a wideband, long lived emission, but over a period of at most 2–3 hours (not as long as type I bursts), which may show a very slow drift from the higher to lower frequencies in a dynamic spectrum.Type II bursts are comparatively short lived (~few minutes). They are signatures of a propagating shock wave in the solar corona. Shock waves are triggered due to some strong flare or Coronal mass ejection. When the ejected plasma moves, the leading edge of it gives rise to a shock wave similar to a boat moving in sea. The resultant shock waves accelerate the electrons in the local plasma, giving rise to radio emission. The radio emission will be seen in a time frequency water fall plot as a drifting lane at the fundamental and harmonic frequencies (ie, if there is a signature of this burst at an instant at 40 MHz, there will be one at 80 MHz), in fact, this was the argument which clinched the argument in favour of plasma emission. There are many types of type II radio emission itself: Split Band, Doublet, Fragmented, Inter-planetary etc. (see images)Coronal Mass EjectionFundamental and harmonic pair.Split band - doublet (Fu is the upper band of fundamental, Fl is the lower band of fundamental emission, Hl is the lower band of the harmonic.A split band (where the two lanes are not exactly Fundamental and harmonics, but some non integral multiple, which occur due to electron acceleration by the leading and trailing edge of the outward travelling shock front), The Stripes seen in the burst foreground are called herring-bones, which appear due to electron acceleration across the shock front.Fragmented type II (follow the white arrows)Interplanetary Type II (see image below) are created by CMEs which travel far into the interplanetary space. These are the ones that we actually have to worry about as they have significance from the Space weather Point of view.Similar to type IIs are Moving type IV radio emissions, which are created similar to type II (a moving shock like disturbance, but its more wideband and long lived compared to a type II (see image below).Moving type IV:Type III bursts are the final major classification of solar radio bursts, which are created due to plasma excitation by accelerated electrons travelling close to the speed of light. These electrons are accelerated at the sites of a flare. The following image shows the time-frequency waterfall of a type III burst.These are the most widely occuring form of bursts. The occur isolated or sometimes in group, indicating a burst of electron beams accelerated from a flare site. They originate sometimes in the GHz range (close to chromosphere) and may extend all the way to a few Khz (interplanetary medium), indicating the kinetic energy of electrons. Groups of type III also show some periodicity, indicating that they may be due to oscillations of plasma due to largescale Magneto hydro dynamic waves (for some other time, may be ;) ). Type V bursts are similar to type III bursts, but rather appear like a fast drifting continuum (see figure below).These bursts usually follow type III bursts, and the duration at a single frequency is always higher than that of a type III.Other than these there are other bursts (see images below):The one relation between all these bursts are that they are caused due to acceleration of electrons in the local plasma.P.S. All images are lifted from google images ;)For good references on the subject,Introduction to Solar Radio Astronomy and Radio Physics by Krüger, A. (has introduction from the science point of view)Solar Radiophysics: Studies of Emission from the Sun at Metre Wavelengths, edited by McLean and Labraum (for people interested in building instruments for solar radiophysics)Solar and Space Weather Radiophysics: Current Status and Future Developments, edited by D.E. Gary, C.U. Keller (A more recent update of events in the field of Solar Radio physics and the requirements for future arrays)
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What's an explanation of dark matter in details, with very high accuracy?
To fulfill your stated requirements would require (1) a post the length of a book, and (2) a deeper understanding than I personally have. However, given that Quora is not the right place to write a book anyway, I may know enough to take a reasonable crack at this. With that said, though, if you're an actual expert on one of these areas and catch something I've explained incorrectly, please let me know in the comments so that I can fix it!Yes, it's still quite long, but keep in mind that this is the short version.What is Dark Matter (DM)?Dark Matter is just matter that doesn't interact via the Electromagnetic (EM) or Strong Nuclear forces. No EM interactions means that it can't give off light, or absorb light, or reflect, refract, or scatter light in any way. This, naturally, makes it rather difficult to see (thus "dark" matter, although I suppose it's more "transparent" than "dark"). Our current best measurements indicate that something like 85% of the matter in our observable Universe (about a quarter of the total mass-energy content) is Dark Matter.Isn't Dark Matter weird/spooky?Not at all. Neutrinos, for example, satisfy the definition of Dark Matter, they just represent such a tiny fraction of the total DM in the Universe that people tend to neglect them when they ask, "what is Dark Matter made of?"There is nothing at all strange or unusual about certain particles not interacting in certain ways. Neutrons have no electric charge (although they do have EM properties, but that's neither here nor there), and electrons don't interact via the Strong Force, so why shouldn't there be particles that interact with neither, like the neutrinos? Saying that interacting with light is "normal" is purely human bias, because we rely so much on sight. Having lots of DM in the Universe is in no way "weird"; it just means that the Universe doesn't revolve around what humanity finds convenient!Why are we confident that DM exists?This is by no means a complete list, but it should give a sense of the kinds of evidence we have. Each of these would take at least a chapter of a book to explain properly, but hopefully this will give the general idea.Galactic rotation curves.When one object orbits another, the orbiting object has to be constantly accelerating towards the central object (or, more precisely, they both accelerate towards their combined center of mass). Without that acceleration, the orbiting body would just fly off. The faster the orbiting body is moving, the more acceleration is needed to keep it in its orbit. Since in this case the acceleration is due to gravity, this means that the central mass has to be bigger. For a circular orbit of a small object [math]m[/math] at distance [math]r[/math] and velocity [math]v[/math] around a large (and assumed stationary) object [math]M[/math], the acceleration requirement gives[math]\frac{v^2}{r} = \frac{GM}{r^2}[/math]which in turn gives us the relation[math]v = \sqrt{\frac{GM}{r}}[/math].(I'm doing this with Newtonian gravity for simplicity; to do it with full rigor would require General Relativity. In this situation, the Newtonian approximation is actually generally pretty good.)For a more complicated object than just two point particles, as long as there's enough symmetry, the gravitational version of Gauss's law says that the relevant [math]M[/math] is the total mass of everything in the galaxy that's at a distance less than [math]r[/math] from the center. [Edited to note: For this to be exactly right, the matter distribution would have to be spherically symmetric, which galaxies aren't. As a result, actual calculations are a bit more complicated than shown here.]This allows us to "weigh" different parts of the galaxy, by measuring the relationship between [math]r[/math] and [math]v[/math]. (We can measure the rotational velocities by comparing redshifts on the approaching and receding sides of the galaxy.) This image from Wiki shows the result of this measurement:The "expected from visible disk" line is determined by adding up the masses of all the parts of the galaxy that we can see. (How we measure that mass is a whole different discussion.)Gravitational Lensing.In General Relativity, whenever light passes through a gravitational field, that field bends its path slightly. This acts like a Gravitational lens, and can produce, for example, "Einstein Rings", like this image from Wiki:The "ring" is a distorted image of a single blue galaxy located behind the red galaxy at the center. Light from the blue galaxy goes out in all directions, but is bent by the red galaxy's gravity. This means that the light that starting out on a "direct path" to us never signNowes us, but light that was originally missing us by a specific amount (in any direction) gets bent back towards us, which makes it look like it's coming from a bunch of different directions, resulting in the ring image seen here.This is a highly dramatic example of gravitational lensing, but there are much more subtle effects that can still be useful. In Weak gravitational lensing, statistical analysis of distortions in the light we receive allows us to "map out" the gravitational field between us and distant galaxies. Often, this just shows more mass than we know how to account for, but that could be explained away by just assuming that our understanding of gravity is off. There's something else, however, that's a lot harder to explain away in that manner: the Bullet Cluster.(Image from A Matter of Fact on nasa.gov)What's going on here? Well, two galaxy clusters collided with each other, and this is the aftermath. The red coloring represents where the visible matter is, while the blue coloring represents where the dark matter is, as inferred by gravitational lensing. Why are they separated so much? Well, most of the luminous matter in a galaxy cluster is in the Intracluster medium, a hot, dense, plasma. When these plasmas collide with each other, a signNow amount of the matter slows down. However, since Dark Matter interacts only very weakly, the DM components of the two clusters were free to pass through each other unimpeded, resulting in a separation (as seen here). Not only is there "not enough" luminous matter... it's in the wrong place! A small number of scientists remain committed to finding ways to explain this without DM, and they have had partial success, but only by including as-of-yet-unmeasured things that are far stranger than DM (for example, a rank-3 tensor field, which, while possible, would be the first tensor field of such a high rank ever found).Effect on the Cosmic Microwave Background.For the first few hundred thousand years after the Big Bang, The Universe was hot enough that it was highly ionized, which made it more or less opaque to light; photons were pinballing around just like any other particle. However, once things cooled down enough, signNow amounts of the protons and electrons combined into neutral Hydrogen, which is (more or less) transparent to most of the light that was around at the time. This happened fairly quickly (in terms of cosmological time), and so it was as if all of the light pinballing around all over the Universe were suddenly released all at once, effectively capturing a snapshot of the Universe at that moment in its evolution. Since this light was released everywhere in the Universe, we can point our radio telescopes in any direction we like, and there it is: the Cosmic microwave background (CMB). It's almost the same temperature in every direction, but there are small differences (generally around one part in [math]10^5[/math]), and we have measured these tiny variations with extraordinary accuracy: first via the COBE satellite, which was then replaced by the more advanced WMAP, which was then replaced by the more advanced Planck (spacecraft), which is currently in operation.These tiny variations can tell us a lot about the early universe. For example, statistical analyses of these variations show the distinct signature of pressure waves propagating through that early plasma, and the nature of these Baryon acoustic oscillations can tell us a lot about what kinds of things were around. Specifically, the protons and electrons would be dragged along by the (dominant) photons, becoming part of the wave, but Dark Matter wouldn't, and would only be indirectly affected by the resulting small changes in gravity. The presence and abundance of Dark Matter therefore affects how these waves impact the temperature variations in the CMB.The formation of large-scale structure.The standard story given in popular science explanations goes like this: the Universe started out hot and dense and more or less uniform, then it expanded and cooled and clumped into stars and galaxies. However, this story is incomplete, in a way that means that galaxies wouldn't exist without dark matter.At a surface level, the story makes sense; heck, I got almost half-way through a Ph.D. in Physics without noticing any problem with it! It sounds so plausible because of how gravity works: if matter is distributed more or less evenly, but some places are a tiny bit more dense than others, gravity will tend to make those overdensities bigger and bigger. Why? Well, even if a region is just a little denser than its neighbors, it's still going to win the gravitational tug-of-war and gradually accumulate more and more mass. Of course, once it has more mass, it wins the tug-of-war by even more, and so it's a run-away process that ends in big gravitationally-bound clumps.So, what's the problem? Well, consider the air in the room with you right now. Are there tiny density variations? Of course, since perfect uniformity is impossible. But, is it forming into exponentially denser clumps? Certainly not! The reason for this is that, under these kinds of conditions, when the density of a gas goes up, so does its pressure. That pressure makes the over-dense region expand outwards again, returning the density back to average!Now, of course, the scales and temperatures involved are totally different. A huge region of gas will have more gravitational attraction than a tiny pocket of denser air in your room, and gas in space has no need to be at room temperature, either. So, if the gas can cool down enough, that can reduce the pressure enough for gravity to win. But, the more it compresses, the more it heats up, because it's converting gravitational energy into thermal energy, and so the pressure goes up again. This means that forming a galaxy is a very gradual process, during which it has to constantly be getting rid of tremendous amounts of energy. If it were just a cloud of gas, without any outside interference, this process wouldn't be nearly fast enough, and we wouldn't have galaxies today.But, as you know, hot things give off heat much faster than cold things. So, if we want galaxies to form by the present day (or, indeed, before the expansion of space makes matter too dilute to form galaxies at all), something has to be forcing the gas to compress and become denser and hotter than it would be able to under its own gravity. Enter: Dark Matter. Because it interacts only weakly, Dark Matter doesn't have pressure like gas does. So, the argument about the run-away gravitational process actually works for Dark Matter. DM can't get rid of energy very easily, and so conservation of energy and angular momentum mean that it can only collapse to about 200 times the background density, but the resulting Dark matter halo provides enough of a gravity well to "seed" the formation of visible galaxies. So, it's not a coincidence that the galactic rotational curves showed large amounts of dark matter... the galaxies wouldn't have formed there without it!As a result of this DM "seeding" process, theoretical models and computer simulations of the formation of DM structures have been fairly successful in describing the statistical properties of how galaxies are distributed now, as well as how they were distributed earlier in the history of the Universe (which we can measure by looking at very distant galaxies).Okay, so that's why we think Dark Matter exists. But, the next obvious question is... well... what is it? What's it actually made of? What are its properties? Here, we have only very partial knowledge, and multiple different theories, any combination of which could be correct (or, perhaps, none of them). This leads us to:What do we know about the properties of Dark Matter?Again, this is in no way exhaustive, but it should give you a decent idea.It's "cold".This is why the current dominant model of cosmology is called the Lambda-CDM model: "Lambda" ([math]\Lambda[/math]) stands for the Cosmological constant, and "CDM" stands for "Cold Dark Matter".When an astrophysicist describes something as "cold", they generally mean that the associated thermal velocity is much less than the speed of light. By this standard, the air in Death Valley is "cold". But, then again, to cosmologists, galaxies are basically point-particles, so everything's a matter of scale and perspective!So, why does DM need to be "cold"? Well, remember that DM clumping together was integral to the formation of structures like galaxies. However, if DM were very hot (and therefore the particles were moving very fast), this would prevent it from clumping properly. I have explained it in very vague terms, but the effects are actually well-understood mathematically. In fact, it's similar to something that does happen, with photons: Diffusion damping (or "Silk damping"). However, in the case of Dark Matter, the result would be a signNow delay (or even outright prevention) of the formation of galaxies, to the extent that "warm" Dark Matter can be observationally ruled out.Incidentally, this is how we know that it's not all just neutrinos: given what we know about the early Universe, they would be far too hot!It interacts only very weakly.This is somewhat part of the definition of Dark Matter, but it's good to see observational confirmation. I know fewer of the details on this, but I do know that there are observational bounds in the "interaction cross-section" of Dark Matter, both in terms of its interactions with luminous matter and for its theorized self-annihilation processes (in which two DM particles could interact and annihilate each other). Also, as discussed before, the Bullet Cluster shows giant dark matter halos more or less just passing through each other, which suggests very weak interactions.So... given those properties,What might Dark Matter be made of?There are two leading theories (as far as I'm aware) that suggest the existence of specific types of new particles. Both are well-motivated theoretically (as in, we have good reasons for suspecting that particles with those particular properties might exist), but neither has been experimentally confirmed yet. Interestingly, the two predicted particles are totally different from one another, not slight variations on the same theme.At the end of the day, either of these theories could be right, or both (given the existence of neutrinos, there's no need for all the rest of the DM to be a single type of particle), or, of course, neither.So, what are the theories?Axions.I feel morally obliged to put this one first, even though the other one is more popular at the moment, because my university is heavily involved in the Axion Dark Matter Experiment (ADMX), and so of course I'm rooting for my colleagues!The existence of Axions has been theorized since the 1970s, but we only recently have the technology to even properly start to try to measure them in the lab. Axions are extremely tiny particles (unlike WIMPs, the other leading option), and so they would have to exist in truly huge quantities. Still, because they interact so weakly, it's hard to detect them, even with billions of them passing through your detector in a tiny fraction of a second. The linked wiki articles do a better job of explaining the theoretical motivation and experimental search than I could. It's really quite elegant, and would solve a lot of outstanding mysteries in particle physics (like the Strong CP Problem), but I can't do it justice.Weakly Interacting Massive Particles (WIMPs)(Wiki reference: Weakly interacting massive particles)To explain why WIMPs are theoretically attractive, I have to take a little detour into "relic abundance", i.e., how many particles of a given type were left over after the Universe cooled down and generally became a more stable place.In the early universe, everything was very dense, and many different kinds of particles were "tightly coupled" (i.e., they interacted with each other frequently). However, as the universe got larger and cooler, these interaction rates slowed down, more or less to a stop, a phenomenon known as "freezing out". The time at which something "freezes out" depends on a number of things, including its mass and how strongly it interacts with other things. This "freezing out" has a huge effect on the abundances of various particles in the Universe. For example, consider the process[math]n \Leftrightarrow p + e^- + \overline{\nu_e}[/math],in which a neutron can turn into a proton, electron, and electron anti-neutrino (or vice versa). If you go back far enough, this reaction will be in thermodynamic equilibrium, just like with any chemical reaction that can go either direction. However, once the neutrinos "freeze out", equilibrium can't be maintained anymore (although other processes, like beta decay, can still happen). The relative abundance of protons and neutrons at the moment of freeze-out is determined by two factors: the mass difference [math]\Delta m[/math] between the two particles, and the temperature of the Universe when freeze-out occurred. These factors combine to determine by how much the lighter particle is thermodynamically favored, with an exponential dependence:[math] \frac{N_n}{N_p} \propto e^{-\Delta m c^2 / k T}[/math]where [math]k[/math] is Boltzmann's constant.This clearly impacts the "relic abundance" of the particles involved (here, protons and neutrons). So, in general, the abundance of a given particle in the Universe today is signNowly influenced by the mass of that particle and how strongly it interacts (since that affects freeze-out time and thus freeze-out temperature). This brings us to the so-called "WIMP miracle": a particle that interacts predominantly via the Weak Nuclear Force, and that has a mass near the mass scale associated with Weak interactions ([math]\sim 100 \text{ GeV}/c^2[/math]), would have a relic abundance that would match the measured abundance of Dark Matter in the Universe. Given that such a particle was already speculated to exist (in the context of Supersymmetry), this was very theoretically attractive to a lot of people, although our inability to find it so far has damped some of their spirits.So, there you have it: my summary of Dark Matter. Hope it was worth the time it took to read! (Let alone write...)
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What is the basic difference between different genres of music? (jazz, rock, pop, blues, rap and so on)
Thanks for the A2A.Jim Davis's answer to What are the differences between different music genres?Jim Davis's answer to Which music is the best?…and so my answer doesn’t get flagged for brevity:(alphabetically by genre/sub-genre; and no, not “every” genre is included. That would be physically impossible. This is closer to about 10% of all genres/sub-genres. You’re welcome.)Blues:Blues Rock; Similar to Electric Blues, but sometimes acoustic. Blues Rock can be played without having the power turned on. And it rocks. - Stoneground, Tommy Castro Band, Tom Waits, Jeff Healey, Chris Whitley, Paul Butterfield Blues BandChicago Blues; Sort of an urban blues using more piano and saxophone. These guys are quite often named Willie or "Big" something if not some kind of dog. Popular in Louisiana, strangely enough. - Willie Clarke, Willie Dixon, Willie Kent, Willie Murphy, Willie Nix, Big Bill Broonzy, Big Joe Turner, Big John Wrencher, Big Moose, Golden "Big" Wheeler, Eddie Shaw & The Wolf Gang, Hound Dog Taylor, Howlin' WolfDelta Blues; One of the earliest blues styles. The roots of the African-American styles honed in the Delta plains of the US in the midst of harsh mistreatment and soulful survival. Mostly acoustic guitar and harmonica. Best if played on the porch of an old, broken down shack. - Muddy Waters, Robert Johnson, Keb 'Mo', Memphis Jug Band, Johnny Shines, Tommy Johnson, Frank StokesElectric Blues; Blues that's plugged in and louder. Primarily guitar-based. When the power goes out it typically becomes Blues Rock. - B.B. King, Eric Clapton, Magic Slim, Taj Mahal, John Lee Hooker, John Mayall, Charlie MusselwhiteJump Blues; Up-tempo with more swing. upright bass, piano, horns. One might jump if the mood strikes. - Magic Sam, Ruth Brown, Sugar Blue, Hal Singer, Amos Milburn, Ray Charles, Roy BrownNew Orleans Blues; More jazz and island influence. various drums and keyboard instruments. Popular in Texas, strangely enough. - Art Neville, Lloyd Price, Guitar Slim, Screamin' Jay Hawkins, T-Bone Burnett, Rockin' Sidney, Louisiana RedSt. Louis Blues; more piano based. similar to ragtime. Popular in Illinois, strangely enough. - Big Maybelle, Big Walter Horton, Roy Milton, Willie Mabon, Roosevelt Sykes, Yank Rachell, "Ma" Rainey, Percy MayfieldSwamp Blues; incorporates some Zydeco and more aggressive styles. Best when heard from the banks of a swamp and followed to an old, broken down shack. - Sonny Terry, Smiley Lewis, Luther Allison, Irma Thomas, Clifton Chenier, Doctor Ross, Bobby MarchanTexas Blues; more swing than Electric Blues, but more guitar than Jump Blues. Popular in Missouri, strangely enough. - Albert King, Lightnin' Hopkins, Tutu Jones, T-Bone Walker, Smokin' Joe Kubek, Grady Gains, Lafayette LeakeZydeco; more Creole influence. Accordion and alternative percussion instruments. You can't understand a word these guys are saying. - Al Rapone, Zydeco Boneshakers, Wayne Toups, Dr. John, The Mavericks, Buckwheat ZydecoGospel: somewhere between Blues and Country. Dominantly Christian in lyrical form. - The Staple Singers, Shirley Caesar, Mahalia Jackson, Ira Tucker & The Dixie Hummingbirds, The Golden Gate Quartet, Fisk Jubilee Singers, The Blind Boys of AlabamaCountry:Bluegrass; up-tempo roots country using fiddle, banjo, jug, washtub bass. Should wear one-strap overalls and/or chew on a wheat stalk whilst playing. - Bill Monroe, Doc Watson, Laurie Lewis, The Del McCoury Band, The Cox Family, Don Reno, Carl Story, New Grass RevivalCountry Pop; pop-oriented country without the believable sadness. Mostly fifth and sixth generation Country for the sake of making money. - Carrie Underwood, Faith Hill, Lonestar, Pam Tillis, Juice Newton, Dixie Chicks, Martina McBrideHonky Tonk; up-tempo like Bluegrass, but more party-oriented and public. Drunken out-of-tune pianos and bar fights abound. Mostly second generation Country. - Rex Griffin, Lefty Frizzell, Hank Williams, Ernest Tubb, Jim Edward Brown, Red FoleyMountain; vocal harmonies, fast-pickin', nostalgia, and "ya gotta have a fiddle in the band". Judging by their names, they're usually related to someone if not each other. - Alabama, Oak Ridge Boys, Roy Acuff, The Forester Sisters, The Louvin Brothers, The Stanley Brothers, The Burch Sisters, The Cook Family SingersNeotraditional; the sort of "we wish we'd been alive before country was cool" artists. True to their form, but still "new". Mostly fifth generation Country. - Alan Jackson, Brad Paisley, Garth Brooks, Vince Gill, Mark ChesnuttOutlaw; the real deal. These guys invented the country themes; heartache, loss, being broke, depressed, lonely and/or in jail. Third and Fourth generation Country with no fancy band or artist names; just straight-forward actual names with lots of "N"s and "L"s. - Johnny Cash, Willie Nelson, Merle Haggard, Waylon Jennings, Hank Williams Jr., Charlie Daniels, David Allan Coe, Rodney Crowell, Leon RussellTraditional; the realer deal. Country for the sake of true mountain/southern expression. Hard workin' white trash sadness and hard times with an occasionally poppy feel later in the genre. Third and Fourth generation Country with lots of steel guitar twang, dobro, wailing fiddle and soft yet straight-forward 4/4 back beats that keep audiences clappin' on 1 and 3. - Loretta Lynn, Emmylou Harris, Porter Wagoner, Kenny Rogers, George Jones, Tanya Tucker, Ronnie Milsap, Dolly PartonWestern; Out on the range/prairie. Cowboy music of the American Frontier Mostly campfire sing-alongs with little to no percussion. Bouncy rhythms reminiscent of horse galloping. Mostly second generation Country and frequently named a group belonging to an individual. - Jean Shepard, Kitty Wells, Gene Autry, Tex Ritter, Skeets McDonald, Bob Wills & His Texas Playboys, Curly Williams and His Georgia Peach Pickers, Hank Penny and His Rodeo Cowboys, Leon McAuliffe and His Western Swing Band, Noel Boggs and His Day Sleepers, Tex Williams and His Western Caravan, Jack Guthrie and His Oklahomans, Milton Brown and His Brownies, Johnnie Lee Willis and His BoysElectronica:Acid Breaks; utilizes breakbeats and sampling of small rhythmic grooves to create longer song patterns. It is not a complete sentence explaining how acid reacts when dropped on the floor. - Zak Baney, DJ Icey, K-Swing, NAPT, Vigi, The Sables, Rozalla, C2CAggrotech; darker lyrics than most electronica, using high-mixed synth/saw leads and aggressive bass frequency oscillation. - Lights of Euphoria, Alien Vampires, Amduscia, Cenobita, Unter NullAmbient; emphasizes atmosphere and overall tone over song structure. Mood music.... if you're in the mood to feel ambient. - Etro Anime, Sneaker Pimps, Ceasefire, Aphex Twin, Kinobe, HalcyonColdwave; sort of industrial, electronic, punk. Angst ridden and aggressive, yet nebulous and icy in it’s emotional exposition. Often politically or socially oriented; and usually in an irreverent manner. - Artefact, Jacno, Museum of Devotion, Pavilion 7BDrone; minimalistic, repetitive, clustered patterns sustained throughout a piece with few, if any, alterations to chord/harmonic structure. Imagine a 100′ diameter, futuristic, spherical, steel eyeball floating around a city. The sound that would make? That’s drone. - Faust, Neu!, Phil Niblock, Yoshi WadaDubstep; characterized by sub-bass frequency oscillation and warbling along with broken beats, syncopation and "the drop". If you don't like it you're obviously too old. - Skrillex, Plastician, Magnetic Man, Nero, Deadmau5, SkreamElectronicore; electronic metalcore. There. make sense? A lot of sequencing, auto-tuning and screaming. Angry and “in-your-face” lyrics and breakbeats that figuratively knock your teeth out. But sometimes literally. - Abandon All Ships, Palisades, Himwaterdragon, Fall Emotions, Eskimo CallboyElectropop; Electronic music more accepted by the masses and general public. Deep, grinding electronic tones, frequencies and breakbeats coupled with more pop-friendly vocals and lyrics. Usually fronted by a female. - Elly Jackson, Ke$ha, Lady Gaga, Demi Lovato, PerfumeGrime; sort of a dirty, wet-floor, smoke-in-the-air, acrid B.O. type of Jungle or grimey-House music. Not music that might be played in a grimey house; but House music that is also grimey. - Boy Better Know, Ghetts, Kano, Newham Generals, Ruff Squad, SkeptaHouse; a style of electronic dance music that grew from disco production and reggae beats. Don't know why it's called "House". Maybe it just sounded cool. - Chemical Brothers, Daft Punk, MARRS, Sonique, Dirty VegasTechno; a form of EDM synthesizing funk, jazz, African rhythms and a general party-type atmosphere. This music is often directly from the future or outerspace. - Arab Strap, Rednex, Technotronic, LeClick, Culture Beat, RozallaTrance; repetition repetition repetition. Beats between 125 and 140 with lots of repetition. Melodic themes slowly layer and build to climaxes and then, you guessed it, repeat. - Life on Mars, Enigma, Blue States, B12, Craig Armstrong, AirTrip Hop; a more experimental style of electronic music that utilizes soul, funk, jazz, and blues forms. Sometimes danceable. Sometimes commercial. But always 100% hip-hop/ambient/soul/jazz/acid/dub/electronica. Or something... - Moby, Bossa Nostra, Fatboy Slim, Vanja Lazarova, Seph, Electric ChairsFolk:American Roots; 1800s' pre-Country acoustic. Not as upbeat as bluegrass. More akin to Mountain ballads stemming from Irish/Scottish roots in the Appalachian Mountains of the USA. - The Civil Wars, Mac Wiseman, Pete Seeger, The Wallin Family, Bass Mountain Boys, The Chuck Wagon GangFolk Pop; softer than folk rock. Folk music that people actually like while sober. - John Denver, Simon & Garfunkel, Don McLean, Leonard Cohen, Sonny and Cher, Partridge FamilyFolk Rock; slightly heavier than Folk Pop. Somewhat more instrument-based yet audience-friendly. - Dave Matthews Band, Indigo Girls, Joan Osborne, Mumford & Sons, KT Tunstall, Suzanne VegaJam; 20 minute dual guitar solos while singer stands, looking at the stage floor, head-bobbing slightly using the microphone stand to keep from falling over. Best enjoyed while under the influence of some sort of psychotropic substance. If sober, turn around and watch the crowd. Usually pretty fun shows but pretty boring albums. - The Grateful Dead, Bela Fleck & The Flecktones, Phish, Sister Hazel, The Pat McGee BandJazz:Acid Jazz; Jazz....on acid. Or with acid poured over it. I can't quite figure out which but there's definitely some form of actual acid involved and it's likely more potent than lactic or citric. Plus "acid" is a really cool word. Even cooler than "house". - Exodus Quartet; Medeski, Martin & Wood; DJ Logic, Count Basie, Quiet Boys, RadBebop; up-tempo, exemplifying instrumental mastery while not actually showing off. Lots of improvisation and elements that leant themselves eventually to the progressive rock styles; unison melodies, shrink/grow rhythm backings, solo breaks, etc. - Charlie Parker, Chet Baker, Dizzy Gillespie, Thelonious Monk, Bud Powell TrioBig Band; larger than a small band. Incorporating strong brass, woodwinds and dominant percussion throughout. Typically more happy and bouncy. And big. - Squirrel Nut Zippers, Glenn Miller Orchestra, Duke Ellington, Chickenhawks, Benny GoodmanJazz Funk; more of a solid back-beat groove than other jazz styles. Makes use of synthesizers and analog tone generation. More groove than pure jazz but more jazz than pure funk. - Wynton Marsalis, Grover Washington, The Whitefield Brothers, The Woo Woos, Entourage, Joe AugustineJazz Fusion; sort of Progressive Jazz. Fuses jazz with other styles like funk, R&B, rock, etc. "Fuse" is a cool jazzy sounding word. Almost as cool as "acid". - Plunge, Soulive, Tom Scott, Weather Report, Manhattan Transfer, NiacinLatin Jazz; exactly that. Utilizes latin beats and rhythms along with multiple and various percussion-centric structures. Incorporates anything from Bolero to Rhumba but doesn't quite "fuse" them.....I guess.... - Acoustic Alchemy, Gare Du Nord, Yutaka, Mas Mamones, Kim Pensyl, Al Di Meola, BrasiliaRagtime; socially and chronologically bridged the gap between classical and jazz. Strong syncopated rhythms and metric patterns pulled from African-American music from the early 20th Century. Primarily piano based. - Scott Joplin, Gene Austin, Ernest Hogan, Dorsey Brothers, Nora Bayes, Ted LewisSmooth Jazz; the music you listen to when you're winding down after a hard day of yoga classes and meditation. Relaxation akin to whale sounds and trickling rivers. - Yellowjackets, Kenny G, Where There's Smoke, J. Spencer, Ricky Ford, Dave KozSoft Jazz; see Smooth Jazz, but softer. Imagine winding down after a day of winding down after a day of yoga classes and...... you get the picture. - Mark Baldwin, Victor Goines, Ziggy Elfman, Eric Darken, Pat Coil, Phil WoodsTraditional Jazz; music for music's sake. The guys who originally broke the rules and continue to do so. They even broke the rules of jazz itself with their category name; since "Traditional Jazz" is itself oxymoronic. - Dave Brubeck, Lord Buckley, Diana Krall, Al Jolson, Elmer Bernstein, Chick WebbVocal Jazz; not all scat and beedoppadoops. The voice as an instrument. Focus on virtuosity of the voice and expression through vocal timbre and fluidity. The best ones were female. Sorry, Louis. - Nina Simone, Etta James, Louis Armstrong, Billie Holiday, Ethel Waters, Nat King ColeMetal:Avant-Garde Metal; the weird crap. The stuff that people either love or hate. Typically not as talented as the Progressive guys, but less heavy and hardcore than the pure metal guys. - System of a Down, Faith No More, Buckethead, King Crimson, Sikth, IntronautClassic Metal; where it all started. The first down-tuned, high-action riffs building from the oppressive industrial age in mid-century Great Britain. And the need to kick ass following all that rockabilly crap. - Scorpions, Black Sabbath, Judas Priest, Iron Maiden, Dio, Rainbow, Iron Butterfly, MotörheadDark Metal: including…Black Metal; similar to death metal, but slightly more atmospheric and extreme. These guys wear skull face-paint and dress like dead demons and other scary stuff. Lo-fi recordings with tremolo guitar and screeching, wailing vocals atop fast tempos/beats and low, thrumming bass. -Aurora Borealis, Behemoth, Setherial, Satanic Slaughter, Noctuary, Watain, Ethereal WoodsDeath Metal; metal about death. Or metal that sounds like it's dying or killing. Lots of blast beats and atonalities. Fast double-bass drums and down-tuned guitars. Screaming and growling. These guys don't play too many Bar Mitzvahs. - Napalm Death, Abysmal Dawn, Mortification, Dethklok, Fleshgore, Beneath the MassacreDoom Metal; like death metal but more ominous using slower tempos and more atmospheric tones. Lyrics are typically depressing and morose and will leave you wanting to kill others; including yourself. - Thergothon, Orodruin, The Hidden Hand, Mindrot, The Obsessed, Unholy, Witchfinder GeneralGoth Metal; somewhat of a horror theme pervades this category. Often times skull makeup or zombie/vampire/werewolf themes will be prevalent. Names often include prepositions. - In This Moment, Cradle of Filth, Within Temptation, Theatre of Tragedy, Cadaveria, AgathodaimonSludge Metal; usually has a somewhat dirtier, grimier feel to it. Slower deep-tuned crunchy riffs and distortion. Sometimes screaming and growling mixed with somewhat southern rock feeling styles. Themes include pessimism, hopelessness, anger. - Black Label Society, Rollins Band, Mastodon, Corrosion of Conformity, Haste, Soilent Green, EyehategodEmo Metal; usually pretty heavy and angst-ridden, but with some clear-voice singing and wailing throughout. Not all screams and growls like Metalcore; and sometimes no screaming or growling at all. Just sort of, “Life is tough and I’m gonna bitch about it” music - but good. -Anberlin, Good Charlotte, Motionless in White, My Chemical Romance, SkilletFusion Metal: including…Folk Metal: including…Celtic Metal; reminiscent of ancient Celtic/Irish battle music. Heavy and grinding, but with an air of ambient atmosphere and possibly pan flutes. Yes definitely pan flutes. One must paint one’s face blue and wear a loin cloth to fully appreciate this genre. - Agalloch, Cruachan, Finntroll, Eluveitie, Mael Mórdha, Geasa, SuidrakaGypsy Metal; crunchy, heavy guitars with fiddles and percussion instruments that might be found hanging in the fortune teller’s wagon of a traveling circus. Some themes get pretty heavy and mythological and really make little sense. But hey…it’s Metal. - Inspirit, Kultur Shock, Stella Arja, Tribe of Gypsies, The Crooked Fiddle BandMedieval Metal; similar to Doom Metal in that the mood is more somber and morose and oppressive. Imagine metal that’s been living in a dungeon for 650 years and has just now stepped out into the sun. Yeah. That. - Heimataerde, In Extremo, Letzte Instanz, Morgenstern, Saltatio Mortis, SkycladPagan Metal; Metal that stays true to the original pagan/wiccan image. Metal that rails against organized religion; especially monotheism. Metal that revels in worldly idolatry and basks in the indulgence of the physical. Lots of symbolism and iconography used on album covers. - Arkona, Asmergin, Finsterforst, Korpiklaani, Obtest, MoonsorrowPirate Metal; exactly what it sounds like. Swashbuckling, rum-guzzling, peg-legged, patch-eyed, hook-armed, parrot-perched ne’er-do-wells prowling the waters in wooden ships carrying gold, gems and ghosts of the sea. At least that’s what they sing about. I think in real life they’re just normal people who drive cars and pay taxes like the rest of us. - Alestorm, Blaxon Stone, Cat O’ Nine Tails, Iron Seawolf, Red Rum, Silverbones, SwashbuckleViking Metal; metal having to do with Vikings (mostly lyrically) and their respective culture. Many reminders that Vikings are likely the most "metal" culture in the history of the world. - Mortiis, Heidevolk, Hel, Turisas, Wolfchant, Grand Magus, BorknagarFunk Metal; relatively self-explanatory. Metal, with some funk. Or funk with a heavier vibe. Heavy crunchy; yet funky and danceable; grooves. slap-bass and wah-wah guitar often rear their heads. Tightly tuned snare drums and snappy bass drums with a lot of emphasis on the hi-hat; usually. -Infectious Grooves, Living Colour, Mordred, Primus, Fishbone, Mind FunkJazz Metal; metal with an air of pretense. Not as esoteric as Avant-Garde Metal and more artsy than Funk Metal. Elements of Jazz like improvisation and off-kilter chord structures prevail. -Conflux, Gru, Sithu Aye, Shining, Naked CityNeoclassical Metal; these guys would be composing for their respective local monarchs had they lived 200 years ago. This is metal with classical tendencies, but not necessarily classical instrumentation. Mostly guitar virtuosi hang out here. Their bands are typically comprised of musical over-achievers who don’t quite have what it takes to be fully progressive. -Yngwie Malmsteen, Vinnie Moore, Timmo Tolkki, Joshua Perahia, Marty FriedmanRap Metal; Pretty self-explanatory. Combines rap and metal. - Linkin Park, P.O.D., Kid Rock, Rage Against The Machine, Papa Roach, Crazy Town, Limp BizkitSymphonic Metal; - again, pretty self-explanatory. Metal guys don't like to waste time with esoteric nomenclature like "Trip Hop" or "Bluegrass". - After Forever, Dimmu Borgir, Blind Guardian, Nightwish, Seraphim, Interfector, AyreonGlam Metal; including…Hair Metal; all about glitz and glamour. Make-up, hair-spray, tight red leather pants and ripped-off blues riffs. I love it. So do you. Many names include animals or a reference to something white. Or both. - Whitesnake, White Lion, Great White, Ratt, Def Leppard, Zebra, Bon Jovi, Firehouse, PoisonSleaze Metal; akin to Hair Metal, but with more grime. More about sex and drugs in the deviant and slimy way. Not really about partying, but about the actual sex and drugs. More leather and fringe than hairspray and makeup. Though you will find some hairspray. And makeup. -Billy Idol, Guns ’n’ Roses, Skid Row, Mötley Crüe, L.A. Guns, ExtremeGroove Metal; Metal with slightly more funk than pure Metal, slightly more balls than Jazz Metal and slightly more balls than pure Funk Metal. Imagine Funk Metal more laid back and less aggressive. Like….if Motown made Metal. Channel Zero, Soulfly, Tad, Fight, DevilDriver, Byzantine, Bleed From WithinIndustrial Metal; more digital sound than raw analog metal. Sometimes just one or two guys doing it all. Can become over-commercialized due to its attainability by the masses. - Rob Zombie, Front Line Assembly, God Lives Underwater, Skinny Puppy, NIN, Filter, The Union UndergroundMetalcore; growling, screaming and yelling. Angry people reside here; somewhere between extreme metal and hardcore punk. Hey wait.....Metalpunk? no....Extrard? no.....Punkstreme? no. Metalcore! There. That works. - SOiL, Drowning Pool, Biohazard, The Agonist, Trivium, HelmetNu Metal; guys who use digital production techniques and a more refined sound. Good hardcore stuff, but not raw and dirty. Often have numbers or present tense verbs/gerunds in their names. - 10 Years, 3 Days Grace, 30 Seconds To Mars, Breaking Benjamin, Dropping Daylight, Shinedown, Sevendust, Finger Eleven, KoЯnPower Metal; metal that combines the powerful elements of classic metal, speed metal and a bit of symphonic metal for added drama. These guys are in your face but not in a Death/Doom/Black Metal way. There’s more life and less death here. Not always happy, but driven and motivational. -Alestorm, Powerwolf, Metal Church, Iced Earth, Kamelot, HelloweenProgressive Metal; including…Classical Prog; Heavy, yet classical virtuosity runs rampant. Complex orchestrations and thematic derivatives abound. Their album covers are usually pretty Dungeons & Dragons-esque. - Adagio, Blind Guardian, Symphony X, Triumph, The Devin Townsend ProjectDjent; pretty much onomatopoeiaic. Those crunchy guitar sounds that are mimicked by Metalheads using their voices to project “DJENT DJENT DJENT DJENT….” as they mouth along with the kickass guitar riffs. - Animals As Leaders, Meshuggah, Mnemic, Periphery, Sikth, TesseracTMathcore; the guys who are more into technique than groove. Music that exhibits what a theoretical physicist’s chalkboard might sound like if transferred to aural perception. - Benea signNow, Botch, Daughters, Ion Dissonance, Psyopus, Spiral ArchitectMelodic Prog; the guys who are more about melody and tonality than about technical virtuosity. Don’t get me wrong, they’re still damn good, but they produce more memorable and catchy tunes than some other Progressive groups. - Crimson Glory, A Perfect Circle, Tool, Queensrÿche, Rhapsody of Fire, Shadow GalleryOmni Prog; the guys who can do it all. Classical, Rock, Jazz, Funk, Groove, Technique, Passion, Virtuosity, Acoustic, Electric, Slow, Fast, Flamenco, Baroque, etc. Pretty much the embodiment of “Musicians’ Bands”. - Dream Theater, Fates Warning, King’s X, Pain of Salvation, Liquid Tension Experiment, PlatypusPower Prog; virtuosity tempered with sheer power. Hard-driving beats and riffs with high-volume, in-your-face ass-kicking. - Adrenaline Mob, Frameshift, Nevermore, Orden Ogan, Ne Obliviscaris, Seventh WonderTechnical Death Metal; similar to the Mathcore guys but heavier. That’s about it. There are lots of prime numbered time signatures in this genre. - Cynic, Green Carnation, Obscura, Odious Mortem, PsycropticPunk: including…Garage Punk; early sixties punk that was raw, lo-fi, scratchy, distorted and fuzzy. Simple chords (I mean…it IS Punk…) and even simpler lyrics. - Black Lips, The Hives, The Humpers, The Mummies, TeengenerateGlam Punk; Punk railing against the status quo with high shock value. Makeup and crazy hair and facial prosthetics abound. - Cherry Vanilla, Flash Bastard, The Hot Dogs, New York Dolls, Shady Lady, Sick Six CrushHardcore; faster, more aggressive Punk. Same simple chords and song themes, but played faster and with more aggression. Usually very fast and/or aggressive. Basically…fast and aggressive Punk. With lyrical themes occasionally treated a bit more seriously for the sake of actual social commentary. - Bad Religion, Black flag, Fugazi, Sworn Enemy, Raised Fist, Social DistortionOi!; the UK scene that tried to bring Punk back to its roots and steal it back from all the spoiled, rich-kid wannabes that had started to become “punkers”. Music is raw, unproduced, natural; yet maintains an honesty that’s rare in a lot of musical styles. - Last Resort, Peter and the Test Tube Babies, Public Enemy, Street Dogs, SuperYob, Toy DollsPop Punk; music by and for the spoiled, rich-kid wannabes that had started to become “punkers”. Punk in the mainstream. The use of Punk stylings and techniques for the sake of selling albums and making money and becoming famous and rich. - American Hi-Fi, The Ataris, Green Day, OffspringPost-Punk; the evolution of Punk into a more personally stylistic and individually nuanced style. More experiementation and removal from the classic Punk traditions created a sort of Avant-Garde Punk movement which culminated in Post-Punk. - 23 Skidoo, Au Pairs, Bauhaus, Big Black, The Chills, The Cult, The StranglersProto-Punk; the ones who started it all. The original punks. The artists who originally went against the grain of the conventional Rock or Pop of their day to create what would become the Punk movement. - Iggy & The Stooges, MC5, NEU!, The Patti Smith Group, The Sonics, TelevisionPunk Rock; those groups that don’t really fit into any subgenre of Punk and just encapsulate what the common culture knows as “Punk”. - The Clash, The Jam, The Ramones, Sex Pistols, Sprung MonkeySpeed Metal; exactly that. Speed. Even the band names are so fast they only use one word. - Helloween, Overkill, Impellitteri, Cranium, Atomkraft, Annihilator, Sodom, Kreator, GravediggerThrash Metal; the guys you likely know best. The original Bay-Area metalheads themselves. - Metallica, Megadeth, Anthrax, Sepultura, Pantera, Slayer, Metal Church, Exodus, TestamentOrchestral:Broadway; the music that's played during those plays on Broadway in NYC. - Les Miserables, Phantom of the Opera, Miss Saigon, Jesus Christ SuperstarClassical; the dominant Western music from 1750 to 1830. - (composers) Antonin Dvořák, Claude Debussy, Franz Schubert, Hector Berlioz, Ludwig Van Beethoven, Wolfgang Mozart, Frédéric Chopin - (performers) Yo-Yo Ma, Mike Wollenberg, Lang Lang, Andre Rieu, The London Philharmonic, Woody PhillipsMovie Scores; the music that's played during those movies you watch sometimes. Either in NYC or elsewhere. - Alan Silvestri (Back to the Future, Forrest Gump); Danny Elfman (Batman, Beetlejuice, Pee-Wee's Big Adventure); James Horner (Titanic, Braveheart); John Williams (Star Wars, Indiana Jones, E.T., Jaws, Jurassic Park, Superman); Hans Zimmer (Gladiator, The Rock); Harold Faltermeyer (Beverly Hills Cop, Fletch, Top Gun)New Age; the music you listen to during your hard day of yoga classes and meditation. - Andreas Wollenweider, Jordan Rudess, Turin Brakes, Yanni, Gordon HemptonVocal; the vocal instrument applied to the rigors of Classical instrumentation - Andrea Bocelli, Josh Groban, Sarah Brightman, Luciano Pavarotti, Il Divo, Brooklyn Tabernacle ChoirPop:Adult Contemporary; a fancy name for the lame music your parents probably listened to. Mostly maudlin tunes about the lives and thoughts of privileged, white, middle-aged hipsters. - Anne Murray, Barry Manilow, Wilson Phillips, Neil Diamond, Carly SimonBeat Pop; the British invasion of back-beat driven pop icons of the late 50s and early 60s. Most bands are "The" something. - The Beatles, The Lovin' Spoonful, The Kingsmen, The Turtles, The Byrds, The Cuff Links, The Hollies, The Newbeats, The Left Banke, The Zombies, Gunhill RoadDance Pop; the popular music to dance to. Not as counter-culture as EDM, but slightly heavier than Bubble Gum Pop; which I didn't list as a category. - Bananarama, Billy Ocean, Katy Perry, Lady Gaga, Debbie Gibson, EMF, Will to Power, TiffanyDisco; formed from funk, psychedelic and soul; this style rebelled against the rock music of the day in a more visceral, primal way. All about body movement, dancing and the human spectacle, it stole colorful clothing and drugs from the Hippies, up-beat driven rhythms from the Beatniks and combined them in a sexy, seductive libido-based production praising dance and expressive human life. It is currently "dead". - ABBA, The Bee Gees, The Village People, KC & The Sunshine Band, Gloria Gaynor, Lipps Inc.Doo Wop; yet another mainstream derivative of African-American music, doo wop uses more nonsensical phrases and sounds to emphasize harmony and melody over lyrical substance. These names also are often "The" something. - The Dominoes, The Platters, The Tune-Weavers, The Casinos, The Dreamlovers, The Passions, The Penguins, The Rivieras, The Esquires, Bob & Earl.Indie Pop; somewhat contradictory, the emphasis on self-reliance and the whole DIY perspective is exploited to assure popularity and mainstream success. But somehow it works. - The Ting Tings, Fine Young Cannibals, Nil Lara, Karry Walker, Sundays, Hang UpsLatin Pop; exactly that. Pop with better beats and more complex rhythms that actually force you to dance even if you are unwilling. - Ricky Martin, Enrique Iglesias, Pit Bull, Shakira, Miami Sound Machine, Lou BegaPop Rock; slightly edgier pop. Or slightly more commercialized rock. Take your pick. - Fiona Apple, Jewel, Avril Lavigne, Natalie Imbruglia, Eric Carmen, Maroon 5Power Pop; high production music for the sake of performance. - Journey, Rick Springfield, Survivor, Duran Duran, Huey Lewis & The News, Go-Gos, Cutting Crew, The B52sSurf Pop; the music you listen to while watching people surf. Somehow this style became separate from other closely related similar styles and is audibly evident in every group it houses. - The Ventures, The Beach Boys, The Surfaris, Jan and Dean, The Rip-Chords, Dick DaleSynthpop; like power pop, but with the emphasis on synthesizers. - Tears For Fears, OMD, Herbie Hancock, When In Rome, Falco, Dead or Alive, Thomas DolbyTraditional Pop; the crooners. The original pop vocalists whose reputations continue to dazzle and impress. The Rat Pack. The Vegas Lounge Lizards. No, those aren't band names. - Perry Como, Wayne Newton, Tom Jones, Bobby Vinton, Frank Sinatra, Mel TormeR&B:Alternative Hip Hop; Hip Hop that doesn't quite fit the mold of standard R&B. Somewhat left of center and progressive by R&B standards. - Outkast, Black Eyed Peas, Jurassic 5, Wu-Tang Clan, Jadakiss, N.E.R.D., Insane Clown PosseFunk; emphasis on rhythm and groove rather than melody and harmony. Chords aren't as important as the bass line underneath them or the drum beat behind them. - The Brothers Johnson, Commodores, Kool & The Gang, George Clinton & the P-Funk All Stars, Curtis MayfieldNeo Soul; Soul, but newer. Neo is just a cool word for "new". Though not as cool as "acid". OOH!!! Acid Soul! Is that a genre?! If it isn't then it should be. - Jamiroquai, Amy Winehouse, Beyonce, Bruno Mars, Christina Aguilera, Terence Trent d'ArbyNew Jack Swing; "Neo Jack Swing" would sound pretentious and the R&B genre is anything but pretentious. And "Acid Jack Swing" would sound like drug or sex slang. These guys combined Urban Contemporary beats and Dance Pop composition to create a very catchy sound that showcased a lot of soulful melodies and harmonies. This was "The bomb" in the late '80s and early '90s. - Boyz II Men, Bel Biv DeVoe, En Vogue, DJ Jazzy Jeff & The Fresh Prince, New Edition, Kid 'n' Play, MC Hammer, Paula AbdulRap; talking. mostly. Though talking very well and rhyming with complex rhythms and rhyme schemes on top of looped beats and melody lines. - Eminem, Cypress Hill, Timbaland, Snoop Dogg, Grandmaster Flash, Digital Underground, Ludacris, Beastie BoysSoul; the s%*t that makes you wanna f%*k. - Teddy Pendergrass, The Righteous Brothers, Lionel Richie, Aaron Neville, Hall & Oates, Luther Vandross, John LegendUrban Contemporary; a combination of EDM, Reggae, Dance Pop, Soul and Rap that creates a very broad range of styles and expressions. - Usher, Nikki Minaj, Justin Timberlake, Missy Elliott, Trey Songz, Rihanna, Ne-Yo, Flo-Rida, DrakeReggae:Dancehall; Jamaican pop that strips down Reggae to the most crucial dance vibes necessary, though it added more digital instrumentation and faster rhythms. - Leonard Dillon, Toots Hibbert, Wailing Souls, Ebony Steelband, Aswad, Big MountainDub; mostly instrumental remixes of existing Reggae recordings. - Third World, Black Uhuru, Yellowman, Sly & Robbie, Freddie McGregorRagga; primarily electronic Reggae. Slower and more laid back than Dancehall, but more produced and digitized than Roots. - Steel Pulse, Trinidad Steel Drum Band, Inner Circle, Desmond Williams, Lasana Bandelé, Joe HiggsRoots; spiritual Rastafarian expression of life and experiences. Primal, raw and unmistakably catchy. - Bob Marley & The Wailers, Greyhound, Dhaima, Crucial Vibes, Kojak & Liza, Shorty the PresidentRock:Alternative; not quite squeezed into the "Rock" definition, but not quite squeezed out of it either. - Soul Asylum, U2, The Wallflowers, Jesus Jones, Beck, Toad the Wet SprocketAmericana; the music about the working class. The hopes and dreams of the free American people. Driving rock that you can hear in bars and stadiums alike. - Bruce Springsteen, Bryan Adams, The Traveling Wilburys, John Mellencamp, Tom Petty, John FogertyClassic Rock; the original rockers. If you haven't heard of these guys you haven't heard of Rock. - Led Zeppelin, The Who, Steve Miller Band, Queen, Eagles, Fleetwood Mac, The Rolling Stones, The TroggsCollege Rock; rock for the sake of getting laid in college. These guys pandered to the more sensitive female audience, thereby creating the necessity for the male audience to like them as well. Typically pretty stupid and nonsensical sounding names. - Vertical Horizon, Iffy, Counting Crows, Hoobastank, Goo Goo Dolls, Fastball, Dishwalla, Hootie & The Blowfish, Matchbox 20, Emmet SwimmingDark Wave; slightly more despondent and depressed. More morose and well......dark. - The Church, The Cure, Blue October, Depeche Mode, The Stone Roses, Joy DivisionFunk Rock; pretty self-explanatory. - Primus, Red Hot Chili Peppers, Spin Doctors, 311, Mother's Finest, Tina & The B-side MovementGrunge; these guys killed Glam Metal. But it was already beginning to show signs of weakness.
This music stripped away all image and pretense and left us with guys who were just good enough at their instrument to still allow every high-school boy in America to be able to play along...... to all their pretty songs......and shoot his gun. - Nirvana, Pearl Jam, Soundgarden, Alice In Chains, Garbage, L7, Mudhoney, Stone Temple Pilots, Local H, Love Battery, The MelvinsHard Rock; not Classic. But not Soft. Or Grungy. Just hard. Though not as hard as Metal. So maybe really hard wood or stone. Yeah that's it. Hard Rock. - Velvet Revolver, Audioslave, Midnight Oil, Pat Benatar, Billy Squier, Drivin' 'N' Cryin', LoverboyIndie Rock; rock that does it's own thing despite what the industry tells it to do. - R.E.M., Florence + The Machine, Monks Of Doom, The Connells, Cake, Juliette & The Licks, They Might Be GiantsNew Wave; more frenetic and impulsive than former rock, disco and punk. More guitar licks and rhythms that didn't just sit you down and leave you there. Somewhat electronic and experimental. Some might say, "new". - INXS, The Police, Crowded House, Spandau Ballet, Oingo Boingo, Shiny Toy Guns, Corey HartPost-Grunge; came after grunge, and was slightly more produced than grunge, but still held on to some of that Grunge angst that made it so successful. - Stone Sour, Ugly Kid Joe, Hinder, Collective Soul, Nickelback, Flyleaf, Candlebox, GodsmackProgressive Rock: including…1970s; Progressive Rock artists of the 1970s. Pretty self-explanatory. These guys were near the birth of what is known as Progressive Rock. Some of the earliest pioneers and trailblazers of the genre.- Deep Purple, Emerson Lake & Palmer, Rush, Kansas, Jethro Tull, Frank Zappa, GenesisArt Rock; Slightly skewed but still rock. More experimental and “out there”. Costumes are common. As is make-up and characterization. -David Bowie, Peter Gabriel, David Byrne, Velvet Underground, Radiohead, Incubus, Talking HeadsCanterbury Scene; named after a bunch of improvisational dudes from Canterbury got someone’s attention. These guys shifted into and out of each other’s bands all the time. Constantly changing and altering their lineups. - Caravan, Short Wave, Supersister, In Cahoots, Gong, Egg, GilgameshPost-Progressive; the spawn of and next generation following 1970s Progressive Rock. These guys adapted to the current zeitgeist and pushed the boundaries even more than their predecessors. I mean….that IS the definition of Progressive. - Attention Deficit, Bozzio Levin Stevens, Somnambulist, Transatlantic, Dali’s Dilemma, Chroma Key, BravePsychedelic Rock (Acid Rock); quirky, drugged-out hysterical nonsense rock with a lot of outward expression against normalcy. Fun shows that led to a lot of deaths; by drug and alcohol consumption; and pregnancies......by drug and alcohol consumption. - Big Brother & The Holding Company, The Doors, Quicksilver Messenger Service, Moody Blues, Sopwith Camel, Vanilla Fudge, DonovanRIO (Rock In Opposition); akin to the Canterbury guys I mentioned earlier, these Progressive musicians got pissed that no one was recognizing their talent and banded together against the music industry itself. Surprise: they still didn’t get very popular. - Aksak Maboul, Etron Fou Lelouban, Henry Cow, Art Bears, Stormy Six, Art ZoydPunk; the rebels who hated society and weren't afraid to let it be known. They'd bleed on stage, rip off their clothes and surf the crowd naked, dump buckets of sweat and other bodily fluids on the crowd while screaming and railing against authority and tradition. Oh and they sometimes held instruments too. - Sex Pistols, Bad Religion, Ramones, Iggy & The Stooges, The Clash, American Hi-FiRockabilly; what some call the original Rock & Roll. A combination of hillbilly and rock containing a western swing and a bouncing party vibe. With elements of piano-based Jump Blues and electric boogie woogie, it made it's mark on the music scene indelibly. Almost everyone's named contained a "Y". - Elvis Presley, Chuck Berry, Buddy Holly, Tommy Sands, Johnny Rivers, Jerry Lee Lewis, Freddy Cannon, Chubby Checker, Little RichardSka; rock with horns. This provided all those high school kids who chose to play brass in the school band a way to be cool... For about 18 months in the late '90s. - No Doubt, Fighting Gravity, Dispatch, Blue Meanies, Toots & The Maytals, Jack FridaySoft Rock; the rock you listen to on the radio when driving to your yoga or meditation class. - Traffic, Glenn Frey, Linda Ronstadt, Don Henley, Kim Carnes, Gerry RaffertySouthern Rock; rock from the south. Lots of twang and rough gravelly vocals mixed with two-step rhythms that keep audiences head-bobbin' and wavin' confederate flags. When "Free Bird" is yelled at one of these shows, it will be played. - Lynyrd Skynyrd, 38 Special, Blackfoot, Pride & Glory, Molly Hatchet, The Georgia SatellitesWorld: (please forgive my American/Euro-Centric categorizations. And please don't be offended if I've misplaced something that you feel should go elsewhere; in all the previous categories or in the following geographic generalizations. These are mostly all regional folk or traditional music of general locations named accordingly, and just those that I am familiar with and like. I know full well that many and various styles and cultures exist within the overall regions I’ve specified here.)African - Zap Mama, Zwabesho Sibisi, Eleja Choir, Turtle Island String Quartet, Habib Koité and Bamada, Coco LeeMiddle Eastern - Nusrat Fateh Ali Khan; Kaila Flexer; Ilhan Ersahin; Ighigou Haile; S-Tone, Inc.Asian - Liu Huan, Yungchen Lhamo, Itsuki No Komoriuta, Bhoora Singh and Party, Hoang Vuy, Imperial Household OrchestraEastern European - Goralska Orkestra, Stephanya G. Penchevya, Nikollë Nikprelaj, Raderman Beckerman Orchestra, Efta Botoca, Petrică PaşcaIrish/Celtic/Gaelic - Loreena McKennitt, Michael O'Suilleabhain, The Pogues, Enya, The Chieftains, The Tannahill Weavers, WolfstoneIsland - Sean Na'auao, Les Tamaru, Israel Kamakawiwo'ole, Andi Thakambau, Lord Composer, Kealoha KonoLatin/Hispanic - Ruben Blades, Tu Abandono, Adam Del Monte, Brian Keane, Elvis Crespo, Los UmbrellosMediterranean - Triki Triki, Stellákis Perpiniádhis, La Nina Del Los Peines, Márkos Vamvakáris, Effisio Melis, Marika KanaropoulouScandinavian - Värttinä, Hållbus Totte Mattson, Arto Järvelä, Gjallarhorn, Angelit, Annbjørg Lien, Sari Kaasinen...and that's all I can think of off the top of my head. -
What is ITR Form 7?
Income tax return.
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What is a good annotation of the Bitcoin white paper?
[BAD EARLY DRAFT - This is being continually revised and updated, with important edits from - I hope - you. If I use your suggestion, I will credit you (unless you prefer otherwise). I especially welcome help from developers, cyrptographers, cypherpunks and other writers. I have not coded since high school.]With your help, the best annotation of the Bitcoin white paper will be below - co-built by you, me and other Quorans working together.Our annotation will be the most informative, most plain English and most entertaining annotation of the Bitcoin white paper.Here we go.Bitcoin: A Peer-to-Peer Electronic Cash SystemPeer-to-peer means you and me and indirectly hints at no centralized entity.Electronic cash system means a way to move money (cash) over the internet. Think PayPal instead of paper dollar bills.Bitcoin is 9 years old and is barely used as electronic cash right now.People HODL (stick their Bitcoin under a virtual mattress), use Bitcoin as a capital flight conduit (from e.g. Venezuelan Bolivar to BTC to USD, Swiss Francs, gold, etc.)As inception, Bitcoin was not intended to be digital gold but maybe it’s destined to be that.This is changing as big exchanges like Coinbase (investor) add SegWit and Lightning.Satoshi Nakamoto satoshin@gmx.com http://www.bitcoin.orgSatoshi Nakamoto is a pseudonym. We still don’t know who wrote the paper. Though the NSA might. How the NSA identified Satoshi Nakamoto – CryptoMuse – MediumAbstract. A purely peer-to-peer version of electronic cash would allow online payments to be sent directly from one party to another without going through a financial institution.The phrases “purely peer-to-peer”, “sent directly” and “without going through a financial institution” strongly suggests the author’s anti-centralization DNA.Digital signatures provide part of the solution, but the main benefits are lost if a trusted third party is still required to prevent double-spending.Now we get at one of the foundational things the paper and the Bitcoin code solves. Bitcoin is a digital asset that I can give you, but if I do that, I can’t give it to someone else because the Bitcoin blockchain code does not permit it.We propose a solution to the double-spending problem using a peer-to-peer network.Bitcoin removes central points of failure.The network timestamps transactions by hashing them into an ongoing chain of hash-based proof-of-work, forming a record that cannot be changed without redoing the proof-of-work.Immutable. No one can change the Bitcoin transaction that happened. At all.The longest chain not only serves as proof of the sequence of events witnessed, but proof that it came from the largest pool of CPU power.Satoshi didn’t foresee the mining pool oligopoly that permeates Bitcoin and most Proof of Work cryptocurrencies today.As long as a majority of CPU power is controlled by nodes that are not cooperating to attack the network, they'll generate the longest chain and outpace attackers.What does controlled by nodes mean? Many people run nodes but only a few mining pools mine almost all the Bitcoin.This is also known as the 51% attack. But you just need one more node than 50% (e.g., 50% + 1) so it is more accurately a majority attack.The network itself requires minimal structure.Because?Messages are broadcast on a best effort basis, and nodes can leave and rejoin the network at will, accepting the longest proof-of-work chain as proof of what happened while they were gone.As Alex Seewald notes in the comments below, Satoshi is probably referring to best effort delivery. Best-effort delivery - WikipediaWho is doing the broadcasting?Like everything else in Bitcoin, you as a runner of full nodes are free to come and go as you please. That’s why many Bitcoin maximalists argue Bitcoin Core is not centralized.However, others disagree.Quantifying Decentralization – news.earn.com1. IntroductionCommerce on the Internet has come to rely almost exclusively on financial institutions serving as trusted third parties to process electronic payments.I think Satoshi is anti-bank, anti-PayPal and anti-Western Union. This is one reason why.While the system works well enough for most transactions, it still suffers from the inherent weaknesses of the trust based model.A key facet of Bitcoin is that it is trustless. You don’t have to trust JP Morgan.Completely non-reversible transactions are not really possible, since financial institutions cannot avoid mediating disputes.Unlike Bitcoin.The cost of mediation increases transaction costs, limiting the minimum practical transaction size and cutting off the possibility for small casual transactions, and there is a broader cost in the loss of ability to make non-reversible payments for non- reversible services.Debit cards payments are hard to reverse. Cash payments are even harder to reverse. Especially when either is combined with an “All Sales Final” condition.With the possibility of reversal, the need for trust spreads.Yes and many Americans prefer trusting American Express’ customer service over some random merchant on the internet that might rip you off.Merchants must be wary of their customers, hassling them for more information than they would otherwise need.BItcoin is just reallocating the risk from merchants back to consumers. It’s kind of anti-consumer tbh.A certain percentage of fraud is accepted as unavoidable.Yes, just like how so many of my friends have lost some crypto stolen or lost. Seems unavoidable!These costs and payment uncertainties can be avoided in person by using physical currency, but no mechanism exists to make payments over a communications channel without a trusted party.He should have said much earlier, “Unlike physical currency…”What is needed is an electronic payment system based on cryptographic proof instead of trust, allowing any two willing parties to transact directly with each other without the need for a trusted third party.Proof of work.Transactions that are computationally impractical to reverse would protect sellers from fraud, and routine escrow mechanisms could easily be implemented to protect buyers.Decentralized escrow? Are buyers to trust a third party centralized escrow service over American Express? As a buyer, I’m not doing that.In this paper, we propose a solution to the double-spending problem using a peer-to-peer distributed timestamp server to generate computational proof of the chronological order of transactions.Making it easier to follow the money i mean Bitcoin.The system is secure as long as honest nodes collectively control more CPU power than any cooperating group of attacker nodes.Bitcoin relies (trust?) the majority of full node runners to be honest. Here’s hoping mob rule, centralized mining or mass hysteria never takes over.2. TransactionsWe define an electronic coin as a chain of digital signatures.Very unexpected IMO. How is this anything like a normal coin? It is a ledger ledger of all the transactions relating to one asset, which isn’t even totally fungible with others. It seems we can literally give you the coin from Satoshi’s genesis block or another coin that we all know was mined today by F2Pool or whatever.Each owner transfers the coin to the next by digitally signing a hash of the previous transaction and the public key of the next owner and adding these to the end of the coin.Moving the digital signatures off the main chain is a bit scary to some folks - that’s why some dislike SegWit - which does that.A payee can verify the signatures to verify the chain of ownership.Who the heck wants to do an electronic title search every time they spend $100 of Bitcoin? This makes sense for big purchases like real estate and collectibles but not for small or even medium sized purchases.I’m not sure how pragmatic Satoshi was. He built great tech. He was not as great at guessing use cases and what unmet, urgent need Bitocin actually meets.Transaction[Would love it if someone can please help me and copy paste in the diagrams.]Owner 0's SignatureOwner 1's Private KeyTransactionOwner 1's SignatureOwner 2's Private KeyTransactionOwner 2's SignatureOwner 1's Public KeyOwner 2's Public KeyOwner 3's Public KeyHashHashHashThe problem of course is the payee can't verify that one of the owners did not double-spend the coin.Satoshi focuses a lot on double spending.A common solution is to introduce a trusted central authority, or mint, that checks every transaction for double spending.Mints and the entity that checks for double spending can be two different entities, no? In the analog world, the US government prints money. Maybe a private third party company like a PayPal checks for double spending among its users and customers.After each transaction, the coin must be returned to the mint to issue a new coin, and only coins issued directly from the mint are trusted not to be double-spent.This is bad if you believe, like Ray Dalio, government should increase the money supply (issue new coins) when no one’s spending, everyone’s HODLing and the token economy is shrinking. And you should decrease money suply (burn coins) if there is high or hyperinflation.The problem with this solution is that the fate of the entire money system depends on the company running the mint, with every transaction having to go through them, just like a bank.Broadly speaking, we have not really gotten away from that in Bitcoin. We just replaced banks with centralized mining chip makers, mining pools, developers, maintainers, client implementations, exchanges, wallets, owners, etc.We need a way for the payee to know that the previous owners did not sign any earlier transactions.This seems like a total pain. No wonder Hashcash didn’t work.For our purposes, the earliest transaction is the one that counts, so we don't care about later attempts to double-spend.What are the implications of this, if any?The only way to confirm the absence of a transaction is to be aware of all transactions.Awful.In the mint based model, the mint was aware of all transactions and decided which arrived first.To accomplish this without a trusted party, transactions must be publicly announced [1], and we need a system for participants to agree on a single history of the order in which they were received.The payee needs proof that at the time of each transaction, the majority of nodes agreed it was the first received.3. Timestamp ServerThe solution we propose begins with a timestamp server.A timestamp server works by taking a hash of a block of items to be timestamped and widely publishing the hash, such as in a newspaper or Usenet post [2-5].Hmmm…The timestamp proves that the data must have existed at the time, obviously, in order to get into the hash.Each timestamp includes the previous timestamp in its hash, forming a chain, with each additional timestamp reinforcing the ones before it.Owner 3's Private KeyHashHashBlock2BlockItemItem...ItemItem...VerifyVerifySignSign4. Proof-of-WorkTo implement a distributed timestamp server on a peer-to-peer basis, we will need to use a proof- of-work system similar to Adam Back's Hashcash [6], rather than newspaper or Usenet posts.Adam is the relatively (compared to unctuous CTO Greg Maxwell) cypherpunk and CEO of the controversial Blockstream, funded in part by Tencent in China.The proof-of-work involves scanning for a value that when hashed, such as with SHA-256, the hash begins with a number of zero bits.The average work required is exponential in the number of zero bits required and can be verified by executing a single hash.For our timestamp network, we implement the proof-of-work by incrementing a nonce in the block until a value is found that gives the block's hash the required zero bits.[Can someone help translate all this into plain English?]Once the CPU effort has been expended to make it satisfy the proof-of-work, the block cannot be changed without redoing the work.Immutable.As later blocks are chained after it, the work to change the block would include redoing all the blocks after it.The proof-of-work also solves the problem of determining representation in majority decision making.If the majority were based on one-IP-address-one-vote, it could be subverted by anyone able to allocate many IPs.Wonder what Satoshi thought of Proof of Stake at the time he wrote the white paper in 2008.Proof-of-work is essentially one-CPU-one-vote.Does hash rate matter more than full nodes?The majority decision is represented by the longest chain, which has the greatest proof-of-work effort invested in it.Some developers like Gavin Andressen IIRC tweeted that the real Bitcoin is the one with the longest chain, and that might be Bitcoin Cash.If a majority of CPU power is controlled by honest nodes, the honest chain will grow the fastest and outpace any competing chains.This is why small blockers want to ensure that blocksizes per second remain small - or become even smaller - so that many people - not just miners - can run full nodes and keep miners honest and reduce the risk of miners colluding and engaging a majority attack.To modify a past block, an attacker would have to redo the proof-of-work of the block and all blocks after it and then catch up with and surpass the work of the honest nodes.It would appear that Bitcoin is only immutable to the extent that most of the CPU power is controlled by honest nodes.We will show later that the probability of a slower attacker catching up diminishes exponentially as subsequent blocks are added.Arguably Bitcoin becomes harder to attack as blocks grow.To compensate for increasing hardware speed and varying interest in running nodes over time, the proof-of-work difficulty is determined by a moving average targeting an average number of blocks per hour. If they're generated too fast, the difficulty increases.5. NetworkThe steps to run the network are as follows:1) New transactions are broadcast to all nodes.2) Each node collects new transactions into a block.3) Each node works on finding a difficult proof-of-work for its block.4) When a node finds a proof-of-work, it broadcasts the block to all nodes.5) Nodes accept the block only if all transactions in it are valid and not already spent.6) Nodes express their acceptance of the block by working on creating the next block in the chain, using the hash of the accepted block as the previous hash.Nodes always consider the longest chain to be the correct one and will keep working on extending it. If two nodes broadcast different versions of the next block simultaneously, some nodes may receive one or the other first. In that case, they work on the first one they received, but save the other branch in case it becomes longer. The tie will be broken when the next proof- of-work is found and one branch becomes longer; the nodes that were working on the other branch will then switch to the longer one.3BlockBlockPrev HashNoncePrev HashNonceTxTx...TxTx...New transaction broadcasts do not necessarily need to signNow all nodes. As long as they signNow many nodes, they will get into a block before long. Block broadcasts are also tolerant of dropped messages. If a node does not receive a block, it will request it when it receives the next block and realizes it missed one.6. IncentiveBy convention, the first transaction in a block is a special transaction that starts a new coin owned by the creator of the block. This adds an incentive for nodes to support the network, and provides a way to initially distribute coins into circulation, since there is no central authority to issue them. The steady addition of a constant of amount of new coins is analogous to gold miners expending resources to add gold to circulation. In our case, it is CPU time and electricity that is expended.The incentive can also be funded with transaction fees. If the output value of a transaction is less than its input value, the difference is a transaction fee that is added to the incentive value of the block containing the transaction. Once a predetermined number of coins have entered circulation, the incentive can transition entirely to transaction fees and be completely inflation free.The incentive may help encourage nodes to stay honest. If a greedy attacker is able to assemble more CPU power than all the honest nodes, he would have to choose between using it to defraud people by stealing back his payments, or using it to generate new coins. He ought to find it more profitable to play by the rules, such rules that favour him with more new coins than everyone else combined, than to undermine the system and the validity of his own wealth.7. Reclaiming Disk SpaceOnce the latest transaction in a coin is buried under enough blocks, the spent transactions before it can be discarded to save disk space. To facilitate this without breaking the block's hash, transactions are hashed in a Merkle Tree [7][2][5], with only the root included in the block's hash. Old blocks can then be compacted by stubbing off branches of the tree. The interior hashes do not need to be stored.BlockBlock Header (Block Hash)Prev HashNonceRoot HashHash01Hash23Hash0Hash1Hash2Hash3Tx0Tx1Tx2Tx3BlockBlock Header (Block Hash)Prev HashNonceRoot HashHash01Hash23Hash2Hash3Tx3Transactions Hashed in a Merkle Tree After Pruning Tx0-2 from the BlockA block header with no transactions would be about 80 bytes. If we suppose blocks are generated every 10 minutes, 80 bytes * 6 * 24 * 365 = 4.2MB per year. With computer systems typically selling with 2GB of RAM as of 2008, and Moore's Law predicting current growth of 1.2GB per year, storage should not be a problem even if the block headers must be kept in memory.48. Simplified Payment VerificationIt is possible to verify payments without running a full network node. A user only needs to keep a copy of the block headers of the longest proof-of-work chain, which he can get by querying network nodes until he's convinced he has the longest chain, and obtain the Merkle branch linking the transaction to the block it's timestamped in. He can't check the transaction for himself, but by linking it to a place in the chain, he can see that a network node has accepted it, and blocks added after it further confirm the network has accepted it.Longest Proof-of-Work ChainBlock HeaderBlock HeaderBlock HeaderPrev HashNoncePrev HashNoncePrev HashNonceMerkle RootMerkle RootMerkle RootHash01 Hash23Merkle Branch for Tx3Hash2 Hash3Tx3As such, the verification is reliable as long as honest nodes control the network, but is more vulnerable if the network is overpowered by an attacker. While network nodes can verify transactions for themselves, the simplified method can be fooled by an attacker's fabricated transactions for as long as the attacker can continue to overpower the network. One strategy to protect against this would be to accept alerts from network nodes when they detect an invalid block, prompting the user's software to download the full block and alerted transactions to confirm the inconsistency. Businesses that receive frequent payments will probably still want to run their own nodes for more independent security and quicker verification.9. Combining and Splitting ValueAlthough it would be possible to handle coins individually, it would be unwieldy to make a separate transaction for every cent in a transfer. To allow value to be split and combined, transactions contain multiple inputs and outputs. Normally there will be either a single input from a larger previous transaction or multiple inputs combining smaller amounts, and at most two outputs: one for the payment, and one returning the change, if any, back to the sender.It should be noted that fan-out, where a transaction depends on several transactions, and those transactions depend on many more, is not a problem here. There is never the need to extract a complete standalone copy of a transaction's history.5TransactionInOutIn......10. PrivacyThe traditional banking model achieves a level of privacy by limiting access to information to the parties involved and the trusted third party. The necessity to announce all transactions publicly precludes this method, but privacy can still be maintained by breaking the flow of information in another place: by keeping public keys anonymous. The public can see that someone is sending an amount to someone else, but without information linking the transaction to anyone. This is similar to the level of information released by stock exchanges, where the time and size of individual trades, the "tape", is made public, but without telling who the parties were.Traditional Privacy ModelTransactionsNew Privacy ModelIdentities TransactionsAs an additional firewall, a new key pair should be used for each transaction to keep them from being linked to a common owner. Some linking is still unavoidable with multi-input transactions, which necessarily reveal that their inputs were owned by the same owner. The risk is that if the owner of a key is revealed, linking could reveal other transactions that belonged to the same owner.11. CalculationsWe consider the scenario of an attacker trying to generate an alternate chain faster than the honest chain. Even if this is accomplished, it does not throw the system open to arbitrary changes, such as creating value out of thin air or taking money that never belonged to the attacker. Nodes are not going to accept an invalid transaction as payment, and honest nodes will never accept a block containing them. An attacker can only try to change one of his own transactions to take back money he recently spent.The race between the honest chain and an attacker chain can be characterized as a Binomial Random Walk. The success event is the honest chain being extended by one block, increasing its lead by +1, and the failure event is the attacker's chain being extended by one block, reducing the gap by -1.The probability of an attacker catching up from a given deficit is analogous to a Gambler's Ruin problem. Suppose a gambler with unlimited credit starts at a deficit and plays potentially an infinite number of trials to try to signNow breakeven. We can calculate the probability he ever signNowes breakeven, or that an attacker ever catches up with the honest chain, as follows [8]:p = probability an honest node finds the next block q = probability the attacker finds the next block qz = probability the attacker will ever catch up from z blocks behindIdentitiesTrusted Third PartyPublicq ={ 1 if p≤q} z q/pz if pq6CounterpartyPublicGiven our assumption that p > q, the probability drops exponentially as the number of blocks the attacker has to catch up with increases. With the odds against him, if he doesn't make a lucky lunge forward early on, his chances become vanishingly small as he falls further behind.We now consider how long the recipient of a new transaction needs to wait before being sufficiently certain the sender can't change the transaction. We assume the sender is an attacker who wants to make the recipient believe he paid him for a while, then switch it to pay back to himself after some time has passed. The receiver will be alerted when that happens, but the sender hopes it will be too late.The receiver generates a new key pair and gives the public key to the sender shortly before signing. This prevents the sender from preparing a chain of blocks ahead of time by working on it continuously until he is lucky enough to get far enough ahead, then executing the transaction at that moment. Once the transaction is sent, the dishonest sender starts working in secret on a parallel chain containing an alternate version of his transaction.The recipient waits until the transaction has been added to a block and z blocks have been linked after it. He doesn't know the exact amount of progress the attacker has made, but assuming the honest blocks took the average expected time per block, the attacker's potential progress will be a Poisson distribution with expected value:=z q pTo get the probability the attacker could still catch up now, we multiply the Poisson density for each amount of progress he could have made by the probability he could catch up from that point:∞ ke−{q/pz−k ifk≤z} ∑k=0 k!⋅ 1 ifkzRearranging to avoid summing the infinite tail of the distribution...z ke− z−k 1−∑k=0 k! 1−q/p Converting to C code... #include
double AttackerSuccessProbability(double q, int z) { double p = 1.0 - q; double lambda = z * (q / p); double sum = 1.0; int i, k; for (k = 0; k <= z; k++) { double poisson = exp(-lambda); for (i = 1; i <= k; i++) poisson *= lambda / i; sum -= poisson * (1 - pow(q / p, z - k)); }return sum; }7Running some results, we can see the probability drop off exponentially with z. q=0.1 z=0 P=1.0000000 z=1 P=0.2045873 z=2 P=0.0509779 z=3 P=0.0131722 z=4 P=0.0034552 z=5 P=0.0009137 z=6 P=0.0002428 z=7 P=0.0000647 z=8 P=0.0000173 z=9 P=0.0000046 z=10 P=0.0000012 q=0.3 z=0 P=1.0000000 z=5 P=0.1773523 z=10 P=0.0416605 z=15 P=0.0101008 z=20 P=0.0024804 z=25 P=0.0006132 z=30 P=0.0001522 z=35 P=0.0000379 z=40 P=0.0000095 z=45 P=0.0000024 z=50 P=0.0000006 Solving for P less than 0.1%... P < 0.001 q=0.10 z=5 q=0.15 z=8 q=0.20 z=11 q=0.25 z=15 q=0.30 z=24 q=0.35 z=41 q=0.40 z=89 q=0.45 z=340 12. ConclusionWe have proposed a system for electronic transactions without relying on trust. We started with the usual framework of coins made from digital signatures, which provides strong control of ownership, but is incomplete without a way to prevent double-spending. To solve this, we proposed a peer-to-peer network using proof-of-work to record a public history of transactions that quickly becomes computationally impractical for an attacker to change if honest nodes control a majority of CPU power.Do coins have a majority of CPU power?The network is robust in its unstructured simplicity. Nodes work all at once with little coordination. They do not need to be identified, since messages are not routed to any particular place and only need to be delivered on a best effort basis. Nodes can leave and rejoin the network at will, accepting the proof-of-work chain as proof of what happened while they were gone. They vote with their CPU power, expressing their acceptance of valid blocks by working on extending them and rejecting invalid blocks by refusing to work on them.Any needed rules and incentives can be enforced with this consensus mechanism.The controversial UASF (User Activated Soft Fork) push for SegWit was arguably an example of consensus and honest folk running full nodes forcing the Bitcoin community (miners) to make SegWit an option for users, merchants, exchanges, etc. and pave the way for SegWit adoption.8References[1] W. Dai, "b-money," http://www.weidai.com/bmoney.txt, 1998.[2] H. Massias, X.S. Avila, and J.-J. Quisquater, "Design of a secure timestamping service with minimal trust requirements," In 20th Symposium on Information Theory in the Benelux, May 1999.[3] S. Haber, W.S. Stornetta, "How to time-stamp a digital document," In Journal of Cryptology, vol 3, no 2, pages 99-111, 1991.[4] D. Bayer, S. Haber, W.S. Stornetta, "Improving the efficiency and reliability of digital time-stamping," In Sequences II: Methods in Communication, Security and Computer Science, pages 329-334, 1993.[5] S. Haber, W.S. Stornetta, "Secure names for bit-strings," In Proceedings of the 4th ACM Conference on Computer and Communications Security, pages 28-35, April 1997.[6] A. Back, "Hashcash - a denial of service counter-measure," http://www.hashcash.org/papers/h..., 2002.[7] R.C. Merkle, "Protocols for public key cryptosystems," In Proc. 1980 Symposium on Security and Privacy, IEEE Computer Society, pages 122-133, April 1980.[8] W. Feller, "An introduction to probability theory and its applications," 1957.9 -
Which music is the best?
EDIT: The question used to be, "What is some good music?" Hence the length of my answer. Somehow "some good" got changed to "the best" and now my answer isn't quite right for the question. Oh well. I'll leave it. Just bear that in mind. :)My favorites are progressive and symphonic metal. Dream Theater, Symphony X, After Forever, A Perfect Circle, Adagio, Evergrey, Pain of Salvation, Nightwish, Therion...But since this isn't Twitter and I'm not confined to 140 characters or fewer...Blues:Blues Rock; Similar to Electric Blues, but sometimes acoustic. Blues Rock can be played without having the power turned on. And it rocks. - Stoneground, Tommy Castro Band, Tom Waits, Jeff Healey, Chris Whitley, Paul Butterfield Blues BandChicago Blues; Sort of an urban blues using more piano and saxophone. These guys are quite often named Willie or "Big" something if not some kind of dog. Popular in Louisiana, strangely enough. - Willie Clarke, Willie Dixon, Willie Kent, Willie Murphy, Willie Nix, Big Bill Broonzy, Big Joe Turner, Big John Wrencher, Big Moose, Golden "Big" Wheeler, Eddie Shaw & The Wolf Gang, Hound Dog Taylor, Howlin' WolfDelta Blues; One of the earliest blues styles. The roots of the African-American styles honed in the Delta plains of the US in the midst of harsh mistreatment and soulful survival. Mostly acoustic guitar and harmonica. Best if played on the porch of an old, broken down shack. - Muddy Waters, Robert Johnson, Keb 'Mo', Memphis Jug Band, Johnny Shines, Tommy Johnson, Frank StokesElectric Blues; Blues that's plugged in and louder. Primarily guitar-based. When the power goes out it typically becomes Blues Rock. - B.B. King, Eric Clapton, Magic Slim, Taj Mahal, John Lee Hooker, John Mayall, Charlie MusselwhiteJump Blues; Up-tempo with more swing. upright bass, piano, horns. One might jump if the mood strikes. - Magic Sam, Ruth Brown, Sugar Blue, Hal Singer, Amos Milburn, Ray Charles, Roy BrownNew Orleans Blues; More jazz and island influence. various drums and keyboard instruments. Popular in Texas, strangely enough. - Art Neville, Lloyd Price, Guitar Slim, Screamin' Jay Hawkins, T-Bone Burnett, Rockin' Sidney, Louisiana RedSt. Louis Blues; more piano based. similar to ragtime. Popular in Illinois, strangely enough. - Big Maybelle, Big Walter Horton, Roy Milton, Willie Mabon, Roosevelt Sykes, Yank Rachell, "Ma" Rainey, Percy MayfieldSwamp Blues; incorporates some Zydeco and more aggressive styles. Best when heard from the banks of a swamp and followed to an old, broken down shack. - Sonny Terry, Smiley Lewis, Luther Allison, Irma Thomas, Clifton Chenier, Doctor Ross, Bobby MarchanTexas Blues; more swing than Electric Blues, but more guitar than Jump Blues. Popular in Missouri, strangely enough. - Albert King, Lightnin' Hopkins, Tutu Jones, T-Bone Walker, Smokin' Joe Kubek, Grady Gains, Lafayette LeakeZydeco; more Creole influence. Accordion and alternative percussion instruments. You can't understand a word these guys are saying. - Al Rapone, Zydeco Boneshakers, Wayne Toups, Dr. John, The Mavericks, Buckwheat ZydecoGospel: somewhere between Blues and Country. Dominantly Christian in lyrical form. - The Staple Singers, Shirley Caesar, Mahalia Jackson, Ira Tucker & The Dixie Hummingbirds, The Golden Gate Quartet, Fisk Jubilee Singers, The Blind Boys of AlabamaCountry:Bluegrass; up-tempo roots country using fiddle, banjo, jug, washtub bass. Should wear one-strap overalls and/or chew on a wheat stalk whilst playing. - Bill Monroe, Doc Watson, Laurie Lewis, The Del McCoury Band, The Cox Family, Don Reno, Carl Story, New Grass RevivalCountry Pop; pop-oriented country without the believable sadness. Mostly fifth and sixth generation Country for the sake of making money. - Carrie Underwood, Faith Hill, Lonestar, Pam Tillis, Juice Newton, Dixie Chicks, Martina McBrideHonky Tonk; up-tempo like Bluegrass, but more party-oriented and public. Drunken out-of-tune pianos and bar fights abound. Mostly second generation Country. - Rex Griffin, Lefty Frizzell, Hank Williams, Ernest Tubb, Jim Edward Brown, Red FoleyMountain; vocal harmonies, fast-pickin', nostalgia, and "ya gotta have a fiddle in the band". Judging by their names, they're usually related to someone if not each other. - Alabama, Oak Ridge Boys, Roy Acuff, The Forester Sisters, The Louvin Brothers, The Stanley Brothers, The Burch Sisters, The Cook Family SingersNeotraditional; the sort of "we wish we'd been alive before country was cool" artists. True to their form, but still "new". Mostly fifth generation Country. - Alan Jackson, Brad Paisley, Garth Brooks, Vince Gill, Mark ChesnuttOutlaw; the real deal. These guys invented the country themes; heartache, loss, being broke, depressed, lonely and/or in jail. Third and Fourth generation Country with no fancy band or artist names; just straight-forward actual names with lots of "N"s and "L"s. - Johnny Cash, Willie Nelson, Merle Haggard, Waylon Jennings, Hank Williams Jr., Charlie Daniels, David Allan Coe, Rodney Crowell, Leon RussellTraditional; the realer deal. Country for the sake of true mountain/southern expression. Hard workin' white trash sadness and hard times with an occasionally poppy feel later in the genre. Third and Fourth generation Country with lots of steel guitar twang, dobro, wailing fiddle and soft yet straight-forward 4/4 back beats that keep audiences clappin' on 1 and 3. - Loretta Lynn, Emmylou Harris, Porter Wagoner, Kenny Rogers, George Jones, Tanya Tucker, Ronnie Milsap, Dolly PartonWestern; Out on the range/prairie. Cowboy music of the American Frontier Mostly campfire sing-alongs with little to no percussion. Bouncy rhythms reminiscent of horse galloping. Mostly second generation Country and frequently named a group belonging to an individual. - Jean Shepard, Kitty Wells, Gene Autry, Tex Ritter, Skeets McDonald, Bob Wills & His Texas Playboys, Curly Williams and His Georgia Peach Pickers, Hank Penny and His Rodeo Cowboys, Leon McAuliffe and His Western Swing Band, Noel Boggs and His Day Sleepers, Tex Williams and His Western Caravan, Jack Guthrie and His Oklahomans, Milton Brown and His Brownies, Johnnie Lee Willis and His BoysElectronica:Acid Breaks; utilizes breakbeats and sampling of small rhythmic grooves to create longer song patterns. It is not a complete sentence explaining how acid reacts when dropped on the floor. - Zak Baney, DJ Icey, K-Swing, NAPT, Vigi, The Sables, Rozalla, C2CAggrotech; darker lyrics than most electronica, using high-mixed synth/saw leads and aggressive bass frequency oscillation. - Lights of Euphoria, Alien Vampires, Amduscia, Cenobita, Unter NullAmbient; emphasizes atmosphere and overall tone over song structure. Mood music.... if you're in the mood to feel ambient. - Etro Anime, Sneaker Pimps, Ceasefire, Aphex Twin, Kinobe, HalcyonColdwave; sort of industrial, electronic, punk. Angst ridden and aggressive, yet nebulous and icy in it’s emotional exposition. Often politically or socially oriented; and usually in an irreverent manner. - Artefact, Jacno, Museum of Devotion, Pavilion 7BDrone; minimalistic, repetitive, clustered patterns sustained throughout a piece with few, if any, alterations to chord/harmonic structure. Imagine a 100′ diameter, futuristic, spherical, steel eyeball floating around a city. The sound that would make? That’s drone. - Faust, Neu!, Phil Niblock, Yoshi WadaDubstep; characterized by sub-bass frequency oscillation and warbling along with broken beats, syncopation and "the drop". If you don't like it you're obviously too old. - Skrillex, Plastician, Magnetic Man, Nero, Deadmau5, SkreamElectronicore; electronic metalcore. There. make sense? A lot of sequencing, auto-tuning and screaming. Angry and “in-your-face” lyrics and breakbeats that figuratively knock your teeth out. But sometimes literally. - Abandon All Ships, Palisades, Himwaterdragon, Fall Emotions, Eskimo CallboyElectropop; Electronic music more accepted by the masses and general public. Deep, grinding electronic tones, frequencies and breakbeats coupled with more pop-friendly vocals and lyrics. Usually fronted by a female. - Elly Jackson, Ke$ha, Lady Gaga, Demi Lovato, PerfumeGrime; sort of a dirty, wet-floor, smoke-in-the-air, acrid B.O. type of Jungle or grimey-House music. Not music that might be played in a grimey house; but House music that is also grimey. - Boy Better Know, Ghetts, Kano, Newham Generals, Ruff Squad, SkeptaHouse; a style of electronic dance music that grew from disco production and reggae beats. Don't know why it's called "House". Maybe it just sounded cool. - Chemical Brothers, Daft Punk, MARRS, Sonique, Dirty VegasTechno; a form of EDM synthesizing funk, jazz, African rhythms and a general party-type atmosphere. This music is often directly from the future or outerspace. - Arab Strap, Rednex, Technotronic, LeClick, Culture Beat, RozallaTrance; repetition repetition repetition. Beats between 125 and 140 with lots of repetition. Melodic themes slowly layer and build to climaxes and then, you guessed it, repeat. - Life on Mars, Enigma, Blue States, B12, Craig Armstrong, AirTrip Hop; a more experimental style of electronic music that utilizes soul, funk, jazz, and blues forms. Sometimes danceable. Sometimes commercial. But always 100% hip-hop/ambient/soul/jazz/acid/dub/electronica. Or something... - Moby, Bossa Nostra, Fatboy Slim, Vanja Lazarova, Seph, Electric ChairsFolk:American Roots; 1800s' pre-Country acoustic. Not as upbeat as bluegrass. More akin to Mountain ballads stemming from Irish/Scottish roots in the Appalachian Mountains of the USA. - The Civil Wars, Mac Wiseman, Pete Seeger, The Wallin Family, Bass Mountain Boys, The Chuck Wagon GangFolk Pop; softer than folk rock. Folk music that people actually like while sober. - John Denver, Simon & Garfunkel, Don McLean, Leonard Cohen, Sonny and Cher, Partridge FamilyFolk Rock; slightly heavier than Folk Pop. Somewhat more instrument-based yet audience-friendly. - Dave Matthews Band, Indigo Girls, Joan Osborne, Mumford & Sons, KT Tunstall, Suzanne VegaJam; 20 minute dual guitar solos while singer stands, looking at the stage floor, head-bobbing slightly using the microphone stand to keep from falling over. Best enjoyed while under the influence of some sort of psychotropic substance. If sober, turn around and watch the crowd. Usually pretty fun shows but pretty boring albums. - The Grateful Dead, Bela Fleck & The Flecktones, Phish, Sister Hazel, The Pat McGee BandJazz:Acid Jazz; Jazz....on acid. Or with acid poured over it. I can't quite figure out which but there's definitely some form of actual acid involved and it's likely more potent than lactic or citric. Plus "acid" is a really cool word. Even cooler than "house". - Exodus Quartet; Medeski, Martin & Wood; DJ Logic, Count Basie, Quiet Boys, RadBebop; up-tempo, exemplifying instrumental mastery while not actually showing off. Lots of improvisation and elements that leant themselves eventually to the progressive rock styles; unison melodies, shrink/grow rhythm backings, solo breaks, etc. - Charlie Parker, Chet Baker, Dizzy Gillespie, Thelonious Monk, Bud Powell TrioBig Band; larger than a small band. Incorporating strong brass, woodwinds and dominant percussion throughout. Typically more happy and bouncy. And big. - Squirrel Nut Zippers, Glenn Miller Orchestra, Duke Ellington, Chickenhawks, Benny GoodmanJazz Funk; more of a solid back-beat groove than other jazz styles. Makes use of synthesizers and analog tone generation. More groove than pure jazz but more jazz than pure funk. - Wynton Marsalis, Grover Washington, The Whitefield Brothers, The Woo Woos, Entourage, Joe AugustineJazz Fusion; sort of Progressive Jazz. Fuses jazz with other styles like funk, R&B, rock, etc. "Fuse" is a cool jazzy sounding word. Almost as cool as "acid". - Plunge, Soulive, Tom Scott, Weather Report, Manhattan Transfer, NiacinLatin Jazz; exactly that. Utilizes latin beats and rhythms along with multiple and various percussion-centric structures. Incorporates anything from Bolero to Rhumba but doesn't quite "fuse" them.....I guess.... - Acoustic Alchemy, Gare Du Nord, Yutaka, Mas Mamones, Kim Pensyl, Al Di Meola, BrasiliaRagtime; socially and chronologically bridged the gap between classical and jazz. Strong syncopated rhythms and metric patterns pulled from African-American music from the early 20th Century. Primarily piano based. - Scott Joplin, Gene Austin, Ernest Hogan, Dorsey Brothers, Nora Bayes, Ted LewisSmooth Jazz; the music you listen to when you're winding down after a hard day of yoga classes and meditation. Relaxation akin to whale sounds and trickling rivers. - Yellowjackets, Kenny G, Where There's Smoke, J. Spencer, Ricky Ford, Dave KozSoft Jazz; see Smooth Jazz, but softer. Imagine winding down after a day of winding down after a day of yoga classes and...... you get the picture. - Mark Baldwin, Victor Goines, Ziggy Elfman, Eric Darken, Pat Coil, Phil WoodsTraditional Jazz; music for music's sake. The guys who originally broke the rules and continue to do so. They even broke the rules of jazz itself with their category name; since "Traditional Jazz" is itself oxymoronic. - Dave Brubeck, Lord Buckley, Diana Krall, Al Jolson, Elmer Bernstein, Chick WebbVocal Jazz; not all scat and beedoppadoops. The voice as an instrument. Focus on virtuosity of the voice and expression through vocal timbre and fluidity. The best ones were female. Sorry, Louis. - Nina Simone, Etta James, Louis Armstrong, Billie Holiday, Ethel Waters, Nat King ColeMetal:Avant-Garde Metal; the weird crap. The stuff that people either love or hate. Typically not as talented as the Progressive guys, but less heavy and hardcore than the pure metal guys. - System of a Down, Faith No More, Buckethead, King Crimson, Sikth, IntronautClassic Metal; where it all started. The first down-tuned, high-action riffs building from the oppressive industrial age in mid-century Great Britain. And the need to kick ass following all that rockabilly crap. - Scorpions, Black Sabbath, Judas Priest, Iron Maiden, Dio, Rainbow, Iron Butterfly, MotörheadDark Metal: including…Black Metal; similar to death metal, but slightly more atmospheric and extreme. These guys wear skull face-paint and dress like dead demons and other scary stuff. Lo-fi recordings with tremolo guitar and screeching, wailing vocals atop fast tempos/beats and low, thrumming bass. -Aurora Borealis, Behemoth, Setherial, Satanic Slaughter, Noctuary, Watain, Ethereal WoodsDeath Metal; metal about death. Or metal that sounds like it's dying or killing. Lots of blast beats and atonalities. Fast double-bass drums and down-tuned guitars. Screaming and growling. These guys don't play too many Bar Mitzvahs. - Napalm Death, Abysmal Dawn, Mortification, Dethklok, Fleshgore, Beneath the MassacreDoom Metal; like death metal but more ominous using slower tempos and more atmospheric tones. Lyrics are typically depressing and morose and will leave you wanting to kill others; including yourself. - Thergothon, Orodruin, The Hidden Hand, Mindrot, The Obsessed, Unholy, Witchfinder GeneralGoth Metal; somewhat of a horror theme pervades this category. Often times skull makeup or zombie/vampire/werewolf themes will be prevalent. Names often include prepositions. - In This Moment, Cradle of Filth, Within Temptation, Theatre of Tragedy, Cadaveria, AgathodaimonSludge Metal; usually has a somewhat dirtier, grimier feel to it. Slower deep-tuned crunchy riffs and distortion. Sometimes screaming and growling mixed with somewhat southern rock feeling styles. Themes include pessimism, hopelessness, anger. - Black Label Society, Rollins Band, Mastodon, Corrosion of Conformity, Haste, Soilent Green, EyehategodEmo Metal; usually pretty heavy and angst-ridden, but with some clear-voice singing and wailing throughout. Not all screams and growls like Metalcore; and sometimes no screaming or growling at all. Just sort of, “Life is tough and I’m gonna bitch about it” music - but good. -Anberlin, Good Charlotte, Motionless in White, My Chemical Romance, SkilletFusion Metal: including…Folk Metal: including…Celtic Metal; reminiscent of ancient Celtic/Irish battle music. Heavy and grinding, but with an air of ambient atmosphere and possibly pan flutes. Yes definitely pan flutes. One must paint one’s face blue and wear a loin cloth to fully appreciate this genre. - Agalloch, Cruachan, Finntroll, Eluveitie, Mael Mórdha, Geasa, SuidrakaGypsy Metal; crunchy, heavy guitars with fiddles and percussion instruments that might be found hanging in the fortune teller’s wagon of a traveling circus. Some themes get pretty heavy and mythological and really make little sense. But hey…it’s Metal. - Inspirit, Kultur Shock, Stella Arja, Tribe of Gypsies, The Crooked Fiddle BandMedieval Metal; similar to Doom Metal in that the mood is more somber and morose and oppressive. Imagine metal that’s been living in a dungeon for 650 years and has just now stepped out into the sun. Yeah. That. - Heimataerde, In Extremo, Letzte Instanz, Morgenstern, Saltatio Mortis, SkycladPagan Metal; Metal that stays true to the original pagan/wiccan image. Metal that rails against organized religion; especially monotheism. Metal that revels in worldly idolatry and basks in the indulgence of the physical. Lots of symbolism and iconography used on album covers. - Arkona, Asmergin, Finsterforst, Korpiklaani, Obtest, MoonsorrowPirate Metal; exactly what it sounds like. Swashbuckling, rum-guzzling, peg-legged, patch-eyed, hook-armed, parrot-perched ne’er-do-wells prowling the waters in wooden ships carrying gold, gems and ghosts of the sea. At least that’s what they sing about. I think in real life they’re just normal people who drive cars and pay taxes like the rest of us. - Alestorm, Blaxon Stone, Cat O’ Nine Tails, Iron Seawolf, Red Rum, Silverbones, SwashbuckleViking Metal; metal having to do with Vikings (mostly lyrically) and their respective culture. Many reminders that Vikings are likely the most "metal" culture in the history of the world. - Mortiis, Heidevolk, Hel, Turisas, Wolfchant, Grand Magus, BorknagarFunk Metal; relatively self-explanatory. Metal, with some funk. Or funk with a heavier vibe. Heavy crunchy; yet funky and danceable; grooves. Slap bass and wah-wah guitar often rear their heads. Tightly tuned snare drums and snappy bass drums with a lot of emphasis on the hi-hat; usually. -Infectious Grooves, Living Colour, Mordred, Primus, Fishbone, Mind FunkJazz Metal; metal with an air of pretense. Not as esoteric as Avant-Garde Metal and more artsy than Funk Metal. Elements of Jazz like improvisation and off-kilter chord structures prevail. -Conflux, Gru, Sithu Aye, Shining, Naked CityNeoclassical Metal; these guys would be composing for their respective local monarchs had they lived 200 years ago. This is metal with classical tendencies, but not necessarily classical instrumentation. Mostly guitar virtuosi hang out here. Their bands are typically comprised of musical over-achievers who don’t quite have what it takes to be fully progressive. -Yngwie Malmsteen, Vinnie Moore, Timmo Tolkki, Joshua Perahia, Marty FriedmanRap Metal; Pretty self-explanatory. Combines rap and metal. - Linkin Park, P.O.D., Kid Rock, Rage Against The Machine, Papa Roach, Crazy Town, Limp BizkitSymphonic Metal; - again, pretty self-explanatory. Metal guys don't like to waste time with esoteric nomenclature like "Trip Hop" or "Bluegrass". - After Forever, Dimmu Borgir, Blind Guardian, Nightwish, Seraphim, Interfector, AyreonGlam Metal; including…Hair Metal; all about glitz and glamour. Make-up, hair-spray, tight red leather pants and ripped-off blues riffs. I love it. So do you. Many names include animals or a reference to something white. Or both. - Whitesnake, White Lion, Great White, Ratt, Def Leppard, Zebra, Bon Jovi, Firehouse, PoisonSleaze Metal; akin to Hair Metal, but with more grime. More about sex and drugs in the deviant and slimy way. Not really about partying, but about the actual sex and drugs. More leather and fringe than hairspray and makeup. Though you will find some hairspray. And makeup. -Billy Idol, Guns ’n’ Roses, Skid Row, Mötley Crüe, L.A. Guns, ExtremeGroove Metal; Metal with slightly more funk than pure Metal, slightly more balls than Jazz Metal and slightly more balls than pure Funk Metal. Imagine Funk Metal more laid back and less aggressive. Like….if Motown made Metal. Channel Zero, Soulfly, Tad, Fight, DevilDriver, Byzantine, Bleed From WithinIndustrial Metal; more digital sound than raw analog metal. Sometimes just one or two guys doing it all. Can become over-commercialized due to its attainability by the masses. - Rob Zombie, Front Line Assembly, God Lives Underwater, Skinny Puppy, NIN, Filter, The Union UndergroundMetalcore; growling, screaming and yelling. Angry people reside here; somewhere between extreme metal and hardcore punk. Hey wait.....Metalpunk? no....Extrard? no.....Punkstreme? no. Metalcore! There. That works. - SOiL, Drowning Pool, Biohazard, The Agonist, Trivium, HelmetNu Metal; guys who use digital production techniques and a more refined sound. Good hardcore stuff, but not raw and dirty. Often have numbers or present tense verbs/gerunds in their names. - 10 Years, 3 Days Grace, 30 Seconds To Mars, Breaking Benjamin, Dropping Daylight, Shinedown, Sevendust, Finger Eleven, KoЯnPower Metal; metal that combines the powerful elements of classic metal, speed metal and a bit of symphonic metal for added drama. These guys are in your face but not in a Death/Doom/Black Metal way. There’s more life and less death here. Not always happy, but driven and motivational. -Alestorm, Powerwolf, Metal Church, Iced Earth, Kamelot, HelloweenProgressive Metal; including…Classical Prog; Heavy, yet classical virtuosity runs rampant. Complex orchestrations and thematic derivatives abound. Their album covers are usually pretty Dungeons & Dragons-esque. - Adagio, Blind Guardian, Symphony X, Triumph, The Devin Townsend ProjectDjent; pretty much onomatopoeiaic. Those crunchy guitar sounds that are mimicked by Metalheads using their voices to project “DJENT DJENT DJENT DJENT….” as they mouth along with the kickass guitar riffs. - Animals As Leaders, Meshuggah, Mnemic, Periphery, Sikth, TesseracTMathcore; the guys who are more into technique than groove. Music that exhibits what a theoretical physicist’s chalkboard might sound like if transferred to aural perception. - Benea signNow, Botch, Daughters, Ion Dissonance, Psyopus, Spiral ArchitectMelodic Prog; the guys who are more about melody and tonality than about technical virtuosity. Don’t get me wrong, they’re still damn good, but they produce more memorable and catchy tunes than some other Progressive groups. - Crimson Glory, A Perfect Circle, Tool, Queensrÿche, Rhapsody of Fire, Shadow GalleryOmni Prog; the guys who can do it all. Classical, Rock, Jazz, Funk, Groove, Technique, Passion, Virtuosity, Acoustic, Electric, Slow, Fast, Flamenco, Baroque, etc. Pretty much the embodiment of “Musicians’ Bands”. - Dream Theater, Fates Warning, King’s X, Pain of Salvation, Liquid Tension Experiment, PlatypusPower Prog; virtuosity tempered with sheer power. Hard-driving beats and riffs with high-volume, in-your-face ass-kicking. - Adrenaline Mob, Frameshift, Nevermore, Orden Ogan, Ne Obliviscaris, Seventh WonderTechnical Death Metal; similar to the Mathcore guys but heavier. That’s about it. There are lots of prime numbered time signatures in this genre. - Cynic, Green Carnation, Obscura, Odious Mortem, PsycropticPunk: including…Garage Punk; early sixties punk that was raw, lo-fi, scratchy, distorted and fuzzy. Simple chords (I mean…it IS Punk…) and even simpler lyrics. - Black Lips, The Hives, The Humpers, The Mummies, TeengenerateGlam Punk; Punk railing against the status quo with high shock value. Makeup and crazy hair and facial prosthetics abound. - Cherry Vanilla, Flash Bastard, The Hot Dogs, New York Dolls, Shady Lady, Sick Six CrushHardcore; faster, more aggressive Punk. Same simple chords and song themes, but played faster and with more aggression. Usually very fast and/or aggressive. Basically…fast and aggressive Punk. With lyrical themes occasionally treated a bit more seriously for the sake of actual social commentary. - Bad Religion, Black flag, Fugazi, Sworn Enemy, Raised Fist, Social DistortionOi!; the UK scene that tried to bring Punk back to its roots and steal it back from all the spoiled, rich-kid wannabes that had started to become “punkers”. Music is raw, unproduced, natural; yet maintains an honesty that’s rare in a lot of musical styles. - Last Resort, Peter and the Test Tube Babies, Public Enemy, Street Dogs, SuperYob, Toy DollsPop Punk; music by and for the spoiled, rich-kid wannabes that had started to become “punkers”. Punk in the mainstream. The use of Punk stylings and techniques for the sake of selling albums and making money and becoming famous and rich. - American Hi-Fi, The Ataris, Green Day, OffspringPost-Punk; the evolution of Punk into a more personally stylistic and individually nuanced style. More experiementation and removal from the classic Punk traditions created a sort of Avant-Garde Punk movement which culminated in Post-Punk. - 23 Skidoo, Au Pairs, Bauhaus, Big Black, The Chills, The Cult, The StranglersProto-Punk; the ones who started it all. The original punks. The artists who originally went against the grain of the conventional Rock or Pop of their day to create what would become the Punk movement. - Iggy & The Stooges, MC5, NEU!, The Patti Smith Group, The Sonics, TelevisionPunk Rock; those groups that don’t really fit into any subgenre of Punk and just encapsulate what the common culture knows as “Punk”. - The Clash, The Jam, The Ramones, Sex Pistols, Sprung MonkeySpeed Metal; exactly that. Speed. Even the band names are so fast they only use one word. - Helloween, Overkill, Impellitteri, Cranium, Atomkraft, Annihilator, Sodom, Kreator, GravediggerThrash Metal; the guys you likely know best. The original Bay-Area metalheads themselves. - Metallica, Megadeth, Anthrax, Sepultura, Pantera, Slayer, Metal Church, Exodus, TestamentOrchestral:Broadway; the music that's played during those plays on Broadway in NYC. - Les Miserables, Phantom of the Opera, Miss Saigon, Jesus Christ SuperstarClassical; usually considered the dominant Western music from 1750 to 1830; but spans a bit farther in both directions. Typically divided up into eras instead of genres; at least when separating Composers from Performers. ___________________________________________________________________ (composers)500–1600 - Medieval: Dom Dinis, Leorenzo da Firenze, Jaufre Rudel, Sordello, Bernard of Cluny1401–1600 - Renaissance: Biquardus, Jefimija, Isaiah the Serb, Garnier, Annibale Padovano1601–1750 - Baroque: Gaspar Sariz, Antonio Lucio Vivaldi, Johann Sebastian Bach, Domenico Scarlatti, Tomaso Albinoni1751–1830 - High Classical: Franz Schubert, Wolfgang Mozart, Gioacchino Antonio Rossini, Arunachala Kavi, Franz Joseph Haydn1831–1900 - Romantic: Antonin Dvořák, Claude Debussy, Hector Berlioz, Ludwig Van Beethoven, Frédéric Chopin1901–2000 - 20th Century: Aaron Copland, Paul Dukas, Joaquin Rodrigo, George Gershwin, Aram Il’yich, Khachaturian2001-Present - Contemporary: Max Richter, Krzysztof Penderecki, Steve Reich, Michael Van der Aa ________________________________________________________________ (performers)Yo-Yo Ma, Mike Wollenberg, Lang Lang, Andre Rieu, The London Philharmonic, Woody PhillipsMovie Scores; the music that's played during those movies you watch sometimes. Either in NYC or elsewhere. - Alan Silvestri (Back to the Future, Forrest Gump); Danny Elfman (Batman, Beetlejuice, Pee-Wee's Big Adventure); James Horner (Titanic, Braveheart); John Williams (Star Wars, Indiana Jones, E.T., Jaws, Jurassic Park, Superman); Hans Zimmer (Gladiator, The Rock); Harold Faltermeyer (Beverly Hills Cop, Fletch, Top Gun)New Age; the music you listen to during your hard day of yoga classes and meditation. - Andreas Wollenweider, Jordan Rudess, Turin Brakes, Yanni, Gordon HemptonVocal; the vocal instrument applied to the rigors of Classical instrumentation - Andrea Bocelli, Josh Groban, Sarah Brightman, Luciano Pavarotti, Il Divo, Brooklyn Tabernacle ChoirPop:Adult Contemporary; a fancy name for the lame music your parents probably listened to. Mostly maudlin tunes about the lives and thoughts of privileged, white, middle-aged hipsters. - Anne Murray, Barry Manilow, Wilson Phillips, Neil Diamond, Carly SimonBeat Pop; the British invasion of back-beat driven pop icons of the late 50s and early 60s. Most bands are "The" something. - The Beatles, The Lovin' Spoonful, The Kingsmen, The Turtles, The Byrds, The Cuff Links, The Hollies, The Newbeats, The Left Banke, The Zombies, Gunhill RoadDance Pop; the popular music to dance to. Not as counter-culture as EDM, but slightly heavier than Bubble Gum Pop; which I didn't list as a category. - Bananarama, Billy Ocean, Katy Perry, Lady Gaga, Debbie Gibson, EMF, Will to Power, TiffanyDisco; formed from funk, psychedelic and soul; this style rebelled against the rock music of the day in a more visceral, primal way. All about body movement, dancing and the human spectacle, it stole colorful clothing and drugs from the Hippies, up-beat driven rhythms from the Beatniks and combined them in a sexy, seductive libido-based production praising dance and expressive human life. It is currently "dead". - ABBA, The Bee Gees, The Village People, KC & The Sunshine Band, Gloria Gaynor, Lipps Inc.Doo Wop; yet another mainstream derivative of African-American music, doo wop uses more nonsensical phrases and sounds to emphasize harmony and melody over lyrical substance. These names also are often "The" something. - The Dominoes, The Platters, The Tune-Weavers, The Casinos, The Dreamlovers, The Passions, The Penguins, The Rivieras, The Esquires, Bob & Earl.Indie Pop; somewhat contradictory, the emphasis on self-reliance and the whole DIY perspective is exploited to assure popularity and mainstream success. But somehow it works. - The Ting Tings, Fine Young Cannibals, Nil Lara, Karry Walker, Sundays, Hang UpsLatin Pop; exactly that. Pop with better beats and more complex rhythms that actually force you to dance even if you are unwilling. - Ricky Martin, Enrique Iglesias, Pit Bull, Shakira, Miami Sound Machine, Lou BegaPop Rock; slightly edgier pop. Or slightly more commercialized rock. Take your pick. - Fiona Apple, Jewel, Avril Lavigne, Natalie Imbruglia, Eric Carmen, Maroon 5Power Pop; high production music for the sake of performance. - Journey, Rick Springfield, Survivor, Duran Duran, Huey Lewis & The News, Go-Gos, Cutting Crew, The B52sSurf Pop; the music you listen to while watching people surf. Somehow this style became separate from other closely related similar styles and is audibly evident in every group it houses. - The Ventures, The Beach Boys, The Surfaris, Jan and Dean, The Rip-Chords, Dick DaleSynthpop; like power pop, but with the emphasis on synthesizers. - Tears For Fears, OMD, Herbie Hancock, When In Rome, Falco, Dead or Alive, Thomas DolbyTraditional Pop; the crooners. The original pop vocalists whose reputations continue to dazzle and impress. The Rat Pack. The Vegas Lounge Lizards. No, those aren't band names. - Perry Como, Wayne Newton, Tom Jones, Bobby Vinton, Frank Sinatra, Mel TormeR&B:Alternative Hip Hop; Hip Hop that doesn't quite fit the mold of standard R&B. Somewhat left of center and progressive by R&B standards. - Outkast, Black Eyed Peas, Jurassic 5, Wu-Tang Clan, Jadakiss, N.E.R.D., Insane Clown PosseFunk; emphasis on rhythm and groove rather than melody and harmony. Chords aren't as important as the bass line underneath them or the drum beat behind them. - The Brothers Johnson, Commodores, Kool & The Gang, George Clinton & the P-Funk All Stars, Curtis MayfieldNeo Soul; Soul, but newer. Neo is just a cool word for "new". Though not as cool as "acid". OOH!!! Acid Soul! Is that a genre?! If it isn't then it should be. - Jamiroquai, Amy Winehouse, Beyonce, Bruno Mars, Christina Aguilera, Terence Trent d'ArbyNew Jack Swing; "Neo Jack Swing" would sound pretentious and the R&B genre is anything but pretentious. And "Acid Jack Swing" would sound like drug or sex slang. These guys combined Urban Contemporary beats and Dance Pop composition to create a very catchy sound that showcased a lot of soulful melodies and harmonies. This was "The bomb" in the late '80s and early '90s. - Boyz II Men, Bel Biv DeVoe, En Vogue, DJ Jazzy Jeff & The Fresh Prince, New Edition, Kid 'n' Play, MC Hammer, Paula AbdulRap; talking. mostly. Though talking very well and rhyming with complex rhythms and rhyme schemes on top of looped beats and melody lines. - Eminem, Cypress Hill, Timbaland, Snoop Dogg, Grandmaster Flash, Digital Underground, Ludacris, Beastie BoysSoul; the s%*t that makes you wanna f%*k. - Teddy Pendergrass, The Righteous Brothers, Lionel Richie, Aaron Neville, Hall & Oates, Luther Vandross, John LegendUrban Contemporary; a combination of EDM, Reggae, Dance Pop, Soul and Rap that creates a very broad range of styles and expressions. - Usher, Nikki Minaj, Justin Timberlake, Missy Elliott, Trey Songz, Rihanna, Ne-Yo, Flo-Rida, DrakeReggae:Dancehall; Jamaican pop that strips down Reggae to the most crucial dance vibes necessary, though it added more digital instrumentation and faster rhythms. - Leonard Dillon, Toots Hibbert, Wailing Souls, Ebony Steelband, Aswad, Big MountainDub; mostly instrumental remixes of existing Reggae recordings. - Third World, Black Uhuru, Yellowman, Sly & Robbie, Freddie McGregorRagga; primarily electronic Reggae. Slower and more laid back than Dancehall, but more produced and digitized than Roots. - Steel Pulse, Trinidad Steel Drum Band, Inner Circle, Desmond Williams, Lasana Bandelé, Joe HiggsRoots; spiritual Rastafarian expression of life and experiences. Primal, raw and unmistakably catchy. - Bob Marley & The Wailers, Greyhound, Dhaima, Crucial Vibes, Kojak & Liza, Shorty the PresidentRock:Alternative; not quite squeezed into the "Rock" definition, but not quite squeezed out of it either. - Soul Asylum, U2, The Wallflowers, Jesus Jones, Beck, Toad the Wet SprocketAmericana; the music about the working class. The hopes and dreams of the free American people. Driving rock that you can hear in bars and stadiums alike. - Bruce Springsteen, Bryan Adams, The Traveling Wilburys, John Mellencamp, Tom Petty, John FogertyClassic Rock; the original rockers. If you haven't heard of these guys you haven't heard of Rock. - Led Zeppelin, The Who, Steve Miller Band, Queen, Eagles, Fleetwood Mac, The Rolling Stones, The TroggsCollege Rock; rock for the sake of getting laid in college. These guys pandered to the more sensitive female audience, thereby creating the necessity for the male audience to like them as well. Typically pretty stupid and nonsensical sounding names. - Vertical Horizon, Iffy, Counting Crows, Hoobastank, Goo Goo Dolls, Fastball, Dishwalla, Hootie & The Blowfish, Matchbox 20, Emmet SwimmingDark Wave; slightly more despondent and depressed. More morose and well......dark. - The Church, The Cure, Blue October, Depeche Mode, The Stone Roses, Joy DivisionFunk Rock; pretty self-explanatory. - Primus, Red Hot Chili Peppers, Spin Doctors, 311, Mother's Finest, Tina & The B-side MovementGrunge; these guys killed Glam Metal. But it was already beginning to show signs of weakness.
This music stripped away all image and pretense and left us with guys who were just good enough at their instrument to still allow every high-school boy in America to be able to play along...... to all their pretty songs......and shoot his gun. - Nirvana, Pearl Jam, Soundgarden, Alice In Chains, Garbage, L7, Mudhoney, Stone Temple Pilots, Local H, Love Battery, The MelvinsHard Rock; not Classic. But not Soft. Or Grungy. Just hard. Though not as hard as Metal. So maybe really hard wood or stone. Yeah that's it. Hard Rock. - Velvet Revolver, Audioslave, Midnight Oil, Pat Benatar, Billy Squier, Drivin' 'N' Cryin', LoverboyIndie Rock; rock that does it's own thing despite what the industry tells it to do. - R.E.M., Florence + The Machine, Monks Of Doom, The Connells, Cake, Juliette & The Licks, They Might Be GiantsNew Wave; more frenetic and impulsive than former rock, disco and punk. More guitar licks and rhythms that didn't just sit you down and leave you there. Somewhat electronic and experimental. Some might say, "new". - INXS, The Police, Crowded House, Spandau Ballet, Oingo Boingo, Shiny Toy Guns, Corey HartPost-Grunge; came after grunge, and was slightly more produced than grunge, but still held on to some of that Grunge angst that made it so successful. - Stone Sour, Ugly Kid Joe, Hinder, Collective Soul, Nickelback, Flyleaf, Candlebox, GodsmackProgressive Rock: including…1970s; Progressive Rock artists of the 1970s. Pretty self-explanatory. These guys were near the birth of what is known as Progressive Rock. Some of the earliest pioneers and trailblazers of the genre.- Deep Purple, Emerson Lake & Palmer, Rush, Kansas, Jethro Tull, Frank Zappa, GenesisArt Rock; Slightly skewed but still rock. More experimental and “out there”. Costumes are common. As is make-up and characterization. -David Bowie, Peter Gabriel, David Byrne, Velvet Underground, Radiohead, Incubus, Talking HeadsCanterbury Scene; named after a bunch of improvisational dudes from Canterbury got someone’s attention. These guys shifted into and out of each other’s bands all the time. Constantly changing and altering their lineups. - Caravan, Short Wave, Supersister, In Cahoots, Gong, Egg, GilgameshPost-Progressive; the spawn of and next generation following 1970s Progressive Rock. These guys adapted to the current zeitgeist and pushed the boundaries even more than their predecessors. I mean….that IS the definition of Progressive. - Attention Deficit, Bozzio Levin Stevens, Somnambulist, Transatlantic, Dali’s Dilemma, Chroma Key, BravePsychedelic Rock (Acid Rock); quirky, drugged-out hysterical nonsense rock with a lot of outward expression against normalcy. Fun shows that led to a lot of deaths; by drug and alcohol consumption; and pregnancies......by drug and alcohol consumption. - Big Brother & The Holding Company, The Doors, Quicksilver Messenger Service, Moody Blues, Sopwith Camel, Vanilla Fudge, DonovanRIO (Rock In Opposition); akin to the Canterbury guys I mentioned earlier, these Progressive musicians got pissed that no one was recognizing their talent and banded together against the music industry itself. Surprise: they still didn’t get very popular. - Aksak Maboul, Etron Fou Lelouban, Henry Cow, Art Bears, Stormy Six, Art ZoydPunk; the rebels who hated society and weren't afraid to let it be known. They'd bleed on stage, rip off their clothes and surf the crowd naked, dump buckets of sweat and other bodily fluids on the crowd while screaming and railing against authority and tradition. Oh and they sometimes held instruments too. - Sex Pistols, Bad Religion, Ramones, Iggy & The Stooges, The Clash, American Hi-FiRockabilly; what some call the original Rock & Roll. A combination of hillbilly and rock containing a western swing and a bouncing party vibe. With elements of piano-based Jump Blues and electric boogie woogie, it made it's mark on the music scene indelibly. Almost everyone's named contained a "Y". - Elvis Presley, Chuck Berry, Buddy Holly, Tommy Sands, Johnny Rivers, Jerry Lee Lewis, Freddy Cannon, Chubby Checker, Little RichardSka; rock with horns. This provided all those high school kids who chose to play brass in the school band a way to be cool... For about 18 months in the late '90s. - No Doubt, Fighting Gravity, Dispatch, Blue Meanies, Toots & The Maytals, Jack FridaySoft Rock; the rock you listen to on the radio when driving to your yoga or meditation class. - Traffic, Glenn Frey, Linda Ronstadt, Don Henley, Kim Carnes, Gerry RaffertySouthern Rock; rock from the south. Lots of twang and rough gravelly vocals mixed with two-step rhythms that keep audiences head-bobbin' and wavin' confederate flags. When "Free Bird" is yelled at one of these shows, it will be played. - Lynyrd Skynyrd, 38 Special, Blackfoot, Pride & Glory, Molly Hatchet, The Georgia SatellitesWorld: (please forgive my American/Euro-Centric categorizations. And please don't be offended if I've misplaced something that you feel should go elsewhere; in all the previous categories or in the following geographic generalizations. These are mostly all regional folk or traditional music of general locations named accordingly, and just those that I am familiar with and like. I know full well that many and various styles and cultures exist within the overall regions I’ve specified here.)African - Zap Mama, Zwabesho Sibisi, Eleja Choir, Turtle Island String Quartet, Habib Koité and Bamada, Coco LeeMiddle Eastern - Nusrat Fateh Ali Khan; Kaila Flexer; Ilhan Ersahin; Ighigou Haile; S-Tone, Inc.Asian - Liu Huan, Yungchen Lhamo, Itsuki No Komoriuta, Bhoora Singh and Party, Hoang Vuy, Imperial Household OrchestraEastern European - Goralska Orkestra, Stephanya G. Penchevya, Nikollë Nikprelaj, Raderman Beckerman Orchestra, Efta Botoca, Petrică PaşcaIrish/Celtic/Gaelic - Loreena McKennitt, Michael O'Suilleabhain, The Pogues, Enya, The Chieftains, The Tannahill Weavers, WolfstoneIsland - Sean Na'auao, Les Tamaru, Israel Kamakawiwo'ole, Andi Thakambau, Lord Composer, Kealoha KonoLatin/Hispanic - Ruben Blades, Tu Abandono, Adam Del Monte, Brian Keane, Elvis Crespo, Los UmbrellosMediterranean - Triki Triki, Stellákis Perpiniádhis, La Nina Del Los Peines, Márkos Vamvakáris, Effisio Melis, Marika KanaropoulouScandinavian - Värttinä, Hållbus Totte Mattson, Arto Järvelä, Gjallarhorn, Angelit, Annbjørg Lien, Sari Kaasinen...and that's all I can think of off the top of my head. So there's some good music. -
What are some must have Android apps?
Edit: I wrote this answer for “must have Android apps” but these are same apps which have changed the way I used to live my life. Each and every App has helped me in one or the other way. I hope you will also find them helpful and a bit life changing. So here is the list: 10. Psiphon For those who use WiFi with proxy settings. So Psiphon bypasses and tunnel the websites or app through a different IP Address. 9. Mirror It's a simple app to record your mobile screen. Based on the concept of CamStudio in PC where you can record your screen, Mirror offers recording of your Mobile screen. 8. NTES- National Train Enquiry System If you are from India and you want to know the running status, cancelled train (partial or fully), Live Station and other features, this App is a must have. 7. VOLT Simple but effective for those who want to learn new vocabulary. That's too obvious, then why not others? Coz here you get the “memory key” which helps you relate the words and easier to remember them. 6. Parchi It a note making app. But here’s a catch. You can view, review, edit and add right from your lockscreen without need to open the app. Isn't that amazing! I personally find this app very useful. 5. edX If you are student or a learner who wants learn something new everyday, and cannot afford to go in the prestigious institutions like MIT, Harvard University, Cambridge, IITM, etc ten it is a must have app. Enroll yourself in any course and Bazinga!! You are ready to learn from the most amazing professors. Similar to edX, we have Coursera. 4. Walnut Manage your expenses on your finger tips. Its easier then that. It shows you your monthly expenditure, ATM locations, bill remainders and many more features. Its a must have app. 3. CamScanner Everyone doesn’t own a scanner but most of us have camera. So click the pic, upload to CamScanner and voila you are done. You have the scanned copy of your documents, notes, Marksheet and upload them on your DigiLocker. 2. inshorts Till now you all must be knowing this app. The tagline is also simple “News in 60 words” and trust me it is worth having. In this “I don't have time” world, you need news to be fast and accurate so here it is. 1. DigiLocker If you have this app then you don’t need to carry your personal documents like driving license, Adhar card, voter ID card, or even your Marksheets. Keep them safe in actual locker and leave the rest to your DigiLocker. And the best part is that it is acceptable as the original ones at every governmental or non governmental institution because it is developed under Digital India initiative. That's it for the day. Thank you and Enjoy !!! Update 1: Today I came across two new apps which I found useful. Hope it would help you all. 1.Forest : Stay focused Features • A self-motivated and interesting way to help you beat phone addiction • Stay focused and get more things done • Share your forest and compete with friends • Track your history in a simple and pleasant way • Earn reward and unlock more tree species • Customize your whitelist : Leaving Forest and using apps in whitelist won’t kill your tree. 2. Swachh Bharat Toilet Locator Swachh Bharat Toilet Locator is specifically useful for Indians who're committed for Swachh Bharat. Update 2: So I am back with yet another interesting app for you all. And trust me it is worth hanving. You are bored just go through it and kaboooom !!! You are into a black hole. Enjoy the ride. 3. Curiosity It is the latest app I installed but got addicted to it. It’s exactly works like its name, generates a curiosity which inturn increases your knowledge. It covers a large field of scope from Humanity to science to faith and many more. This app deserves more snapshots but why to increase the length of my answer. Comment below if you think the list should be updated? Thank you.
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