Headphone orientations are many and varied; however, headphones are seldom connected with fashion. For years, headphones seems to fail in being a fashionable sign, which is similar to that effect caused by Sony Walkman and Apple iPod – in the past we did doubt that if such little articles hanging on the ears could become a necessary fashionable decoration on people’s ears just like other ornaments such as necklace or earrings; while Monster Beats, which started to release headphones in 2008, only takes about one year to “fulfill this dream” which many other headphone brands could not in the past.

If you are a fashionable person who is very concerned about fashion but never heard of the brand Monster, then you are really OUT! Just look at those stars who wear these Monster Beats, now the brand Monster Beats is sweeping over the whole American market. Founded in 1979, Monster is a company specialized in production of HIFI Audio Cables and its founder is even an American-born Chinese. After 20 years of development, Monster has become the second largest professional company engaging in R&D and selling of cables in the world, quite well-known in audiophile circles. In America, many famous stars use Monster cables for their performance and daily life. What’s more, many musicians who won Grammy Awards, artists and engineers use Monster cables as well as some professional studios.

In 2008, Monster and Grammy Awards winner Dr. Dre together developed Monster’s first headphones, the ones mentioned above that famous stars wear. Monster names their headphone brand as “Beats” and Beats soon spread across the nation like wildfire. It is well known to all of us that it takes time to create a headphone brand. Some brands run the business for decades but their brand image has not been improved largely. Thanks to the good image left by its cable and HIFI fields for the last 30 years, Monster is proceeding smoothly in promoting the new products and creating the brand. It takes only about one year to increase its sales to No.2 in America, however, this result gives people great surprise.

Monster company successfully combines popular words such as fashion, sport and rock with its headphone brand tightly, attracting a lot of young consumers who pay attention to fashion and trends. Of course, the influence of Star users should not be neglected, either. When you see that Kobe wears the Monster Beats Studio on the press conference after the game, I think you could not neglect that and you will absolutely go to find out what the product is exactly.

Monster marketing team only promoted Studio and Tour in the past year, a headphone and an earphone and achieved an unprecedented success. Its success is mainly thanks to its good positioning as well as its high-level principles of outstanding acoustic and excellent workmanship. In the promoting process, Monster always links its products to the FASHION brands such as electronic bran Apple and sport brand Nike. Now we can see the Monster headphones in many Nike advertisements on TV. We have to admit that, it is hard for you not to notice Monster headphones with this bombing-style advertising methods.

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Our site has got one of the two main products of Monster several days ago. Thank Hotsalesmart.com for offering us the testing product. In the following we will introduce the details about this product.

Studio is the flagship product of Monster, which shows the word “High-end” well, no matter from its materials or design. Though the headphones are dealt with high-light-reflecting processing which will easily get fingerprint, its Mirror-like appearance is so shinning that people cannot resist it. Moreover, the Monster headphone logo “b” on the headphone unit shell is very outstanding. This kind of simple symbol will easily impress anyone. In this aspect Audio-Technica does the same, however, you cannot deny that comparing with Studio, the product package of Audio-Technica is not that good.

Though Studio is big in size, it will not prevent people from wearing it on the streets. As you can see in the previous pictures of accessories, Monster provides Studio with a elliptic case which is convenient for people to carry everywhere. On the Studo body there are also folding and flexible joints. These joints are not fixed by screws but very compact. Just as what we say, we do not have to worry about the quality and workmanship of Studio.

Studio headphones use breathable memory foam on the earcups. In hot summer, however, people will of course feel oppressed by the heat and sweat. We advise that people wear Studio out when it is a little cool. Finally, let’s talk about the advantage of Studio. No matter how outstanding the Studio appearance is and how excellent its workmanship and materials are, there’s still the advantage – the weight of Studio. As a user, maybe on normal conditions you will not feel any pressure while wearing the Studio as there’s the soft memory foam. However, when you want to lift up your head you will find the Studio cannot well fix on your ears because it is too heavy and not tight. So when wearing the Studio on the street, you’d better keep your head steady.

Except as a high-end headset, Studio has some other intimate functions. Maybe it is that these added functions raise the weight. On the right shell there’s a button on the logo “b” which can switch it to silent mode. On some past functional noise reduction headphones there’s also this function. Now, with this function, does it mean that Studio is also a noise reduction headphone?

In fact that was not the case, or you only say half of it. Studio is a headset which can hold batteries. Take off the unit shell on left earcup, there’s the battery case. It should pay attention that only with batteries the Studio can work. Studio is not like other functional noise reduction headphones which can work without electricity and this gives users some inconvenience. Studio headphones use two 7# (AAA) batteries which you can buy in the supermarkets and convenience stores. However, we suggest you buy the rechargeable batteries if you use Studio a lot. According to Monster workers’ opinions, two full 7# (AAA) batteries can continuously support Studio for about 20 hours. If people listen with Studio for 2 hours, then Studio can support for 10 days and needs charged for 3 time a month. Also there’s a power switch on the side of silent button. When you turn off you will hear the tiny electric current sound which is made by Open-circuit, harmless to headphones itself and the sound will disappear later.

As we have mentioned above, Studio is pure “American Sound”. It has thick low frequency power to play the American’s favorite music which requires low frequency and transiently showing on details. Comparing with Tour, Studio is more “balance”. Voice is not so sharp as that of Tour, but integrates into the whole music, making the whole music more harmonious not overstressing on some parts. Otherwise, Comparing with the Tour headphones we have met, Studio voice is a little more “well behaved” as it cuts the limit sounds partially on both extreme and the whole music becomes not that wild but outstanding balancing voice.

Low frequency is still Studio’s focus – performing pretty good in low frequency. Not like Tour, Studio low frequency is thicker and simpler, no exaggerating descending but just meeting the needs of music like Hip-Hop. High frequency is one of the aspects that we have criticized on Tour – it is too sharp and not pleasant at all. While Studio pays more attention to balance and low frequency – a little “overcompensation” on the high frequency, balanced and a little lacking of details. Therefore, as a whole Studio voice is centered in medium frequency and low frequency which is not very suitable for who like bright soprano voice.

At end of article, i recommend hotsalesmart.com to you, Monster beats by dr. dre studio is only 9 to 9 for free shipping your home.

More Music Studio Articles

Music, just like each and every other entertainment media, has gone through its developmental background with changes both in genre and in technological innovation. Now that music has become an electronic art, its connection towards the internet was inevitable. The music business is observing a brand new era brought about by this international connection, and it has altered Hip Hop Beats forever.

At very first the web was witnessed mostly as a threat to the livelihood of music artists and recording studios. Producers had been concerned for their financial books, since they believed internet sharing would kill their companies by leaving them with no indicates to produce profit from the music. The rush could not be stopped, however, and music has flooded the web via both legal, and at the moment illegal, means.

Music studios are starting to find out that in actuality a main benefit has arisen from this excited wave of free-sharing. More bands than ever just before are turning a profit that could otherwise have already been expected to fail, or would never ever have gathered consideration in any way. Individuals having a love for genres outside the effortlessly accepted norm have produced hundreds of self-categorized sub-genres that make demands for sound that common radio wouldn’t have provided a possibility.

With world wide web acting as a proliferation zone for both regular genres and subgenres, individual audio libraries are becoming extremely diverse. Though illegal downloading is nevertheless prevalent within society, producers have taken discover from the possible marketing strategies by way of free of charge song downloads. Numerous firms are now providing totally free song samples and restricted time specials to clients as an incentive for more obtain.

To far better cater to the public’s insatiable enjoy of music, programs like iTunes supplies vast retailers of individually priced songs and albums from as many years and genres as they can. The power of specialized genres is absolutely apparent when 1 browses through the nearly endless list of obtainable songs, and realizes that it really is constantly growing. ITunes is one of the most effective retailers to provide a person’s music library, together with other entertainment mediums, like films and television shows, straight to a portable device anyplace in the world.

Connection for the world-wide-web has also made the library itself a variable tool. In years past, there was only the default music player that came equipped in the software of the personal computer itself, but now a lot of diverse programs compete for one of the most well-known set up online. Some provide the music in stores, connect to a portable device like an iPod, burn disks, shrink file sizes, organize, and find all details for an untitled MP3. These programs have also inspired less complicated creation of independently created music from house that can be quickly shared using the planet with an easy click of the mouse.

Hip Hop Beats online have expanded, and continue to expand, thanks for the internet and the folks who make use of such a remarkable space. Though it may possibly be virtual, the enjoyment people get from the entertainment they receive on-line relays directly into real life audio and future conversations about favorite bands. While the internet promotes diversity, it has also opened the door for musical artists of all kinds, and truly diversified the industry.

Related Music Studio Articles

Richard Ford

In 1987, bass player Richard Ford had just finished working with Joe Jackson and was settling into the freelance music scene in New York. Richard had also played with Bill Nelson of Bee Bop Deluxe as well as many others. Originally from England, Richard came to the US and lived near my home town of Randolph, NJ before settling in Hoboken. He recommended me for work regularly, for which I’ll be forever grateful. He is a true musician and would be sorely missed by The Silos at the time of his departure from the band.
The Silos had just been voted Best Band in America by a Rolling Stone Magazine Critics Poll and were looking for a new rhythm section to carry them to major status, getting them signed to a major label record company. Richard was asked to play bass and he recommended me for the drum chair. The line up of The Silos was Bob Rupe and Walter Salas-Humara on guitars/vocals. Me and Richard Ford on drums and bass.

Getting Signed

In addition to a new rhythm section, the band also had a new business manager; Hoboken realtor Mark Zoltak. Mark was a former NYC DJ and was the motivational muscle behind the band. He had great ideas and knew the songs better than those of us in the band. He regularly spoke his mind and had strong opinions about music. To Mark, music was either great or it sucked. There was no in-between. Mark truly understood the essence of The Silos. He got it. He devised a business plan to unleash the improved band and get it signed to a major label. The band quickly became an unparalleled live act and played dozens of industry showcases in Los Angeles and in the Northeast. The plan worked. In March of 1989 the band was signed to RCA Records by the label’s president Bob Buziak. The trick now would be to capture the true essence of the band at a studio recording.

A One Man Band

I was not involved in the daily business of the band, so I can’t explain the rationale behind most of the business decisions. As the September recording date approached it was obvious that there was a power struggle within the band. Specifically, Walter was making it known to us that the band was his brain child. (Subtext: “The record deal is all mine!!”) Although Walter was indeed a strong songwriter, he was not even an adequate singer or guitar player. It was Bob Rupe’s Otis Redding voice and Neil Young guitar style that fleshed out Walter’s contributions. It was the way the ensemble executed the songs and the way we played together that made us a great band. It was my hope that Bob would hold fast to his co-leader status, checking Walter’s power grab. To my dismay however, Bob assumed the role of second-in-command.

To make things even worse, Walter then began hinting about playing the drums on the upcoming record. Yikes! Just what I needed, right? One month before our scheduled sessions, he invited me over to his apartment for dinner. After eating in awkward silence, he turned on the stereo and played tracks of great drummers like Al Jackson and Levon Helm. Next he played some of our demos, the ones I drummed on. Out of nowhere he then delivered this mandate: “Start playing like one of these drummers or I’ll find someone else to play drums in the band.” I thought, “What a douche bag!” Granted, those are two great drummers, but not really suitable for the guitar rock of The Silos. Also, not the drummer he sought out and hired for greater success-ME! Please don’t get me wrong. Most of my job as a drummer has been to listen to others and execute their music as they hear it. It’s also been my experience that when someone pulls shit like this there’s usually an ulterior motive. This was his first of many moves to play drums on our recordings. It was this need for control that would trump everything else. Even if it meant he’d sabotage the band’s record deal and chances of success.

There was great irony in the fact that the guy who was the worst singer, guitarist, bassist, drummer and producer; in fact the worst musician in the band was the one who wanted to play every instrument and do everything himself. Walter had no interest in being a member of band, unless perhaps it was a one-man band. His desire to play drums would weigh heavily on our upcoming Gainesville recording sessions and would eventually crush my desire to work with him altogether. In the meantime, while on a coffee break from one of our many Hoboken demo sessions, Richard revealed to me that he’d be quitting and would not be joining us in Florida for the recording of the record. For me, that was the beginning of the end.
We plowed ahead. Austin-based JD Foster would replace Richard on bass. Cowboy Junkies producer Peter J. Moore was brought in from Toronto. Ed Bair would run house/stage sound, and Peter Yianolis would be the recording engineer and operator of the mobile truck. On September 25, 1989, the band and crew settled into rented apartments in the town of Gainesville, Florida ready to record.

Why Gainesville?

During this period of The Silos, my real home was on Bergen Avenue in Jersey City. Richard, Walter and manager Mark Zoltak all lived in nearby Hoboken. Bob lived on the lower east side of Manhattan. We were all within a few miles of each other and within an easy commute to mid-town Manhattan, home to dozens of the world’s top recording studios. In spite of this, Walter somehow convinced RCA executives that recording our record in NYC would be too distracting (from what?). That instead, we’d need to record in Gainesville, Florida. The fact that there were no suitable recording studios in Gainesville led us to an abandoned theater. We used its stage and hallways for live sounds. A mobile recording truck parked next to the building and was where the producer and engineer spent most of their time. Admittedly, this made for an interesting story and good press. For us however, that’s all we got out of it. As we were rehearsing in the theater, we got word that RCA president and #1 Silos fan, Bob Buziak had been fired.

This magic word is enough for the budding musicians to sign up on these sites.As compared before where you need to hunt every recording mogul for them to even hear a minute of your demo, now you just need to upload your craft online and let the social network for music connect you with your possible managers. It is somehow the hub for your songs to be spread to fans as well. Of course before you get to the top of the pillar of success, you have to go through the struggles of musicians. Having financial problems is one of those and with these; it can help you get gigs within your local area first. Not only do you get to have some earnings, you may also view this as a way for you to showcase your talent. Every exposure is still a venture for you to be nearer your goal.Once you are already known in the music community, your fans will be multiplied. Every musician will surely agree when I say that these screams and cheers will help build your morale. To be honest, being an artist is really more than the paycheck, it is being able to show to everyone what God has given you.

Showing to the world what you can do and being able to express what you feel through lyrics and notes is definitely priceless.The music community also has to thank these forms of sites because it is easier for them to look for artists to have a go see with. Instead of going to miles and miles just to check out if the artist with the demo really is for real, they can check out the reviews of other music followers and they are already set to know the market value of the band. We all know this industry is still a business.Social network for music serves a bridge between the artists and the music industry. This does not only open a lot of opportunities for them to meet big people it also enables the band to affect a person with every song they perform.

When it comes to the Indie music, most of these musicians are professionals at their work, and they are so very good at work. According to one survey report, the younger generations are more passion about these indie rock songs in earlier days. And now most of the people irrespective of the country are recognizing the music passion and growing rapidly every year. Most of the album manufactures are searching g for a new talent in this Indie music.When it comes to the choices in this music, you have a wide range so options available for your needs. Apart from these, if you want to learn, there are so many web sties are offering these music numbers and also some of the forums are also working for you, which will help you to learn this Indie Rock songs.

However, there are some music professionals are interested with these local bands.With the new type rock songs are shaking the music worlds and so many people are interested to listen to them. And coming to album makers, most of them are trying to encourage some local talents to make an album. Finally, there are some well established and experienced web sites are offering this kind of music for their loyal customers. For more information and details, please visit their valuable web site.

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Most computer users can remember a time when slow connections meant waiting a long time for just about everything to arrive on one’s screen. Whether it was dozens of minutes for an email attachment or an entire hour just for one song, the days of dial-up meant a slower pathway to the information of the world wide web. For anyone who is still using dial-up, a lot of the biggest leaps forward online have gone largely unnoticed, not for lack of trying. Nowhere is this more obvious than in the world of music online, where countless avid fans and listeners are able to trade everything from dubiously-legal copied albums to rare live performances and obscure singles. Anyone who loves music and has a satellite internet connection or faster these days can suddenly access an entire underworld devoted not just to each genre, but to a growing number of bands and performers, too.

For those who don’t necessarily have the time to dig through the millions of web pages out there that are devoted to facilitating an exchange of music, the music blogs are often the best spot to start. For those who are particular about a specific genre, there are just as many offshoots of country, reggae, rock, and ska to make it possible to only focus on one particular decade, recording studio, or even geographical location. And having the right satellite internet connection means that if the nearest big town and its great record stores happens to be a long drive away, there’s still a way to stay in touch and find out what the great new songs are, as well as keeping up to date on old reissues.

For anyone who is new to a faster world wide web, here are six great music blogs to start with. Remember, the big and established ones often are able to post songs without worrying about them being taken down, since they already cleared it with PR people and labels, so don’t feel concerned that downloading anything is going to be a problem.

#6 – BeatElectric. For anyone who loves the classic sounds of boogie, house, disco, and funk, there is no better resource out there. Actual DJs take the time to upload their actual vinyl, as well as giving insight into the best club nights happening all over the country. Hilarious photos paired with the the mp3s of the day is part for the course as far as downloads are concerned. Best of all, most songs are in high quality, meaning that digital DJs can try them out, and music listeners can enjoy the sonic difference at home.

#5 – Popdose. Not entirely focused on posting mp3s, this site is still one of the best sources for interesting music news. The ongoing bottom feeders series gives attention to tracks from yesteryear that weren’t at the top of the Billboard charts, while White Label Wednesdays make it possible to snag under-appreciated dance floor classics.

#4 – David Byrne’s blog. This might not be a place to get music for free, but the frontman of the Talking Heads and one of the most interesting musicians out there definitely knows how to recommend great bands and records to check out. Whether it’s obscure Nigerian folk music or the latest fantastic metal band from Providence, Byrne definitely gives it all a chance.

#3 – Aquarium Drunkard. While a lot of satellite internet users might be sick of hearing typical top 40 country on the radio, there are plenty of others who appreciate a chance to check out a Willie Nelson classic from time to time. This blog focuses on Americana, alt-country, and the classics, making it a great place for those looking for some country that’s a bit different.

#2 – Mangos and Mandolins. It might not seem normal to pair bluegrass and Brazilian music, but this blog does, and the results are incredible. A great place to find truly undiscovered gems, and a true eye-opener.

#1 – Largehearted Boy – One of the first-round picks of music blogs, this site has been around for awhile, offering up free mp3s and the chance for satellite internet users to read the author’s musings. Expect classic songs from the likes of Neil Young and Tom Petty to pop up next to the hot indie band of the moment.

You can learn all there is to know about beginning a recording studio business in about 3 hours. That means anyone can get into this industry and succeed. People seeking a recording studio want to feel cool. They want to hang out with a cool studio owner, have a good time and be relaxed during the recording process. When you become the “cool guy” in the studio business, you instantly win half the battle.

You may be wondering, “Where will I find clients to record?” There can’t be that many bands out there. However, because of the record industry being in a shambles right now, many bands are recording and selling their own CD’s, creating their own label and keeping all their copyrights too. Many wonderful bands, singers and other artists are not recording with large expensive studios because it’s just not cost effective. It simply isn’t in their budget. These people have nowhere to go when they want to record a CD. When you learn how to create your own recording studio you will be resolving a need for these everyday musicians and be making a quick, consistent profit. 

Forget about the doom and gloom of our current economic cycle. The recording industry has been in a shambles for years now. Again, technology has changed that playing field and bands are discovering that they do not need a big name record company or its big costs, fees and contracts to support or promote their new CD’s. With the internet and software, independent homegrown recording studios can provide the same excellent quality without all the strings that record companies want to have over bands.

The recording studio business has always been one of the most difficult industries to break into because of its glamour and rock star lifestyle. Now, because of technology, recording studios are starting out being created at home and growing into a large business that has a new name and a reliable income. These recording studios are called homegrown recording studios because people who have wanted to work in the “who do you know” recording studio business could now build one from home and start booking bands to record part time. As this business began to expand, the owner moved from part time to full time making thousands of dollars each week.

Reuben Rock is one of the foremost homegrown studio owners whose advice many people look for when it comes to building homegrown recording studios. He teaches people how to “shortcut” their way to owning a lucrative recording studio that earns a rock solid income every single week.  He shows people with no experience how to create this kind of money generating business in less than 30 days.

Reuben says, “Here is what you usually find in the recording studio business. Usually the recording studio is state of the art but it ain’t new. Bands have been recording at professional studios for decades now and those “big time” studios of yesterday can’t compete with the new studios because of the innovation made available through technology. This always provides new clients to work with. I know that sounds unbelievable, but just think about how many musicians you know. There are always new bands forming, breaking up, doing solo albums and forming side projects all the time. This is why not even ‘hard economic times’ can kill the studio business.”

If you have always wanted to have a recording studio business, technology and software will allow you to begin from your home and produce a strong, dependable income with your own successful recording studio. Don’t let your dreams pass you buy. Make moves now and rock your revenue!     

However, technology and software changed all that and with the right system you can discover the secrets to getting behind the music and making platinum profits. These recording studios are called homegrown recording studios because people who have wanted to work in the “who do you know” recording studio industry could now create one from home and begin booking bands to record part time. As this business began to grow, the owner moved from part time to full time making thousands of dollars each week.

Reuben Rock is one of the premier homegrown studio owners whose advice many people seek when it comes to creating homegrown recording studios. He shows people how to “shortcut” their way to owning a lucrative recording studio that earns a rock solid income every single week.

It’s a rare day indeed that I get a CD from an artist that I can truthfully say does not have a bad track in the bunch. I’m more than happy to announce that’s exactly what I must say about this one. There simply is NOT a bad one in the bunch. No fillers here at all.

One of the refreshingly nice things about this CD is the way all of the participating artists seem to be really enjoying themselves. Combine that with the overall presentation and you’ve got one of Gregg Allman’s most impressive releases ever.

If you’re a Gregg Allman fan, or just a fan of Rock music this is a CD your collection simply should not be without.

While the entire CD is really very good the truly standout tunes are track 3 – Come Back And Help Me, track 4 – Silence Ain’t Golden Anymore, and track 13 – Startin’ Over.

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 – Whippin’ Post. Wow!

Searching For Simplicity Release Notes:

Gregg Allman originally released Searching For Simplicity on November 11, 1997 on the 550 Music label.

CD Track List Follows:

1. Whippin’ Post 2. House Of Blues 3. Come Back And Help Me 4. Silence Ain’t Golden Anymore 5. Rendezvous With The Blues 6. Wolf’s A Howlin’ 7. Love The Posion 8. Don’t Deny Me 9. Dark End Of The Street 10. Neighbor, Neighbor 11. I’ve Got News For You 12. Memphis In The Meantime 13. Startin’ Over

Personnel includes: Gregg Allman (vocals, Hammond B-3); Carla Russell (vocals); Jack Pearson (acoustic, electric & slide guitars, guitar, dobro); Scott Boyer (electric guitar, background vocals); Derek Trucks (slide guitar); Kelvin Holly, Johnny Sandlin (guitar); Topper Price, Jimmy Hall (harmonica); Sam Levine, Hank Crawford (alto saxophone); Harvey Thompson (tenor & baritone saxophones); Jim Horn (baritone saxophone); Vinnie Ciesielski, Gary Armstrong (trumpet); Charles Rose (trombone); Clayton Ivey (piano, Wurlitzer, Hammond B-3, Clavinet); N.C. Thurman (piano); Oteil Burbridge, David Hood, Tommy Miller (bass); Bill Stewart, Preston L. Thrall (drums); Mickey Buckins, Roger Hawkins (percussion).

Engineers: Johnny Sandlin, Mark Harrelson, Vincent Wojno.

Recorded at Duck Tape Music Studio, Decatur, Alabama and Fantasy Recording, Berkeley, California.

The world changed dramatically during the second half of the Twentieth Century, Visit Here http://newmoviesong.blogspot.com

as the United States became the most powerful nation both politically and culturally. One American phenomenon that has left its mark in all corners of the world is pop music. Here is my list of the most important pop songs of the Twentieth Century, in chronological order. Perhaps they were not the first, the best or the most original, but they were the right thing at the right time, and they changed history.

1. “Rock Around the Clock,” (1954). Bill Haley and the Comets. In the early years of Rock music, the inclusion of this song would be a no brainer. It was the first great Rock and Roll hit, selling 25 million copies. Nowadays, we may have a desire to right the record, and say that black performers like Big Joe Turner, Bo Diddley and Ike Turner were the real originators of the style, but the fact is that in the segregated atmosphere of that time, it was necessary for a talented white group to champion the music to a larger audience. The Comets were able to rise to the occasion.

2. “Only You,” (1955). The Platters. They became the personification of the emerging doo-wop style which was a blend of rock and roll combos and vocal styling that can be traced back to the Ink Spots and other performers of the Big Band era. Doo-wop was first successfully introduced by the Penguins a year earlier, with “Earth Angel,” but it was The Platters, a classy act from the West Coast that really established the genre. Their many hits, such as “The Great Pretender” and “My Prayer,” served as a standard of quality for other groups to strive for. With its popularity in the multi-ethnic society of the Northeast, doo-wop was the first racially integrated style, and it still has a devoted following to this day, thanks to the many brilliant vocal performances.

3. “Hound Dog,” (1956). Elvis Presley. In that year Elvis exploded on the scene with this hit, plus “Blue Suede Shoes”, “Heartbreak Hotel” and others. He was revolutionary in the McCarthy era age of conformity. The influence of Elvis Presley cannot be underestimated: he introduced national audiences to rockabilly music, white audiences to black rock and roll and his on-stage persona made venues accessible for the even more flamboyant acts like Little Richard, Chuck Berry and Jerry Lee Lewis. He created the Rock and roll version of the teen idol, updating the image from Frank Sinatra’s time.

4. “La Bamba,” (1958). Ritchie Valens. This song is important on two counts: it brought the Spanish language and Mexican tradition into the mainstream of Rock music. The opening phrase, “Para bailar la Bamba,” sounds like an historic cry, “un grito.” It is also important because it launched the fad of dance songs that conceived of dance as an expression of the inner self, rather than a dating ritual. “In order to dance the Bamba, you have to have a touch of grace,” and listeners began to see dancing in a new light, as communication with their own bodies.

5. “Shop Around,” (1960). Smokey Robinson and the Miracles. A perfectly crafted blend of doo-wop vocals and driving rock and roll beats, this is the recording that launched Motown. The Shirelles, a New York “girl group” had scored a hit a few months earlier with “Dedicated to the One I Love,” (1959), thus establishing the genre. The Shirelles were trailblazers, building on the success of the earlier doo-wop oriented Chantels and leading to many other girl groups, but it was Motown that became the spiritual home of this new musical style that eventually came to be called “soul music,” and so the Motown recording is the one that made history. Motown was one of the richest veins of pop music of this entire period, culminating in the landmark recording, “Papa was a Rollin’ Stone,” (1972) by the Temptations. By that point the cultural revolution that was the 1960s had transformed the Motown sound into something completely different.

6. “At Last,” (1961). Etta James. Mixed the styles of raucous R and B, Rock and roll and the female slow groove. She did not have the jazz cachet of her contemporary Dinah Washington, instead she represented a new, rebellious era of earthy hedonism. She opened the way for the acceptance of other iconoclastic female performers like Aretha Franklin and Janis Joplin (with her distinctive version of “Summertime”). It proved to be fertile ground for male singers, as well, notably, Percy Sledge with “When a Man Loves a Woman,” (1969).

7. “She Loves You,” (1963). The Beatles. Though not an American group, they had an enormous influence on the history of American music and the pop culture of the 1960s. “I Wanna Hold your Hand” was their first U.S. hit in January, 1964, and was followed almost immediately by this song. The two songs taken together illustrate the innovative quality of the Beatles in terms of melody, song structure and vocal harmonic style. “She Loves You,” however, was the more iconic of the two, with its “Yeah, Yeah, Yeah” refrain that came to symbolize this genre. The British Invasion that followed changed music history.

8. “(I Can’t Get No) Satisfaction,” (1965). The Rolling Stones. The Beatles were soon followed across the Atlantic by their bizarro-world evil twins, the Rolling Stones. If the Beatles had little halos, the Stones had horns. Their spirit of rebelliousness would find fertile ground in the atmosphere of the 1960s. They stayed true to their heavy guitar based genre, even as the Beatles became more cerebral and psychedelic. The Rolling Stones can be seen as the fathers of Heavy Metal, and through their influence on groups like the Velvet Underground, the spiritual fathers of Alternative Rock.

9. “Subterranean Homesick Blues,” (1965). Bob Dylan. As a singer of protest songs, Bob Dylan had been one of the leading performers of the early 1960s folk movement. His move to “folk rock” in 1965 was shocking to his fan base, and when he appeared on stage at the Newport Folk Festival with an electric guitar, he was vigorously booed, in one of the most famous incidents of the period. This song was revolutionary not only for its innovative blend of musical styles, but also for its new use of language. The intensity of imagery was something that had never been heard before in pop music and would not be equaled again until Grand Master Flash and “The Message” of 1982. (See below).

10. “White Rabbit” (1967). Jefferson Airplane. This was their second hit song to come out of the album “Surrealistic Pillow,” after “Don’t You Want Somebody to Love.” “White Rabbit” really exemplified the West Coast psychedelic style of the 1967 Summer of Love, with its surrealistic lyrics and mindblowing crescendo. Grace Slick single handedly invented the concept of the powerhouse rocker female. Other important West Coast groups at this time were the Doors with “Light My Fire,” and the Byrds, with their cover of Dylan’s “Mr. Tambourine Man.” Anybody going to San Francisco?

11. “Hey, Joe,” (1967). Jimi Hendrix. Working mainly in New York and London, he represents the Atlantic variant of the psychedelic rock scene. His guitar work and his performance style made him a trailblazer of that period, along with the Who and Cream. He is a giant of pop music history because he bridged black and white musical styles so successfully, and with his creativity helped to launch both the Heavy Metal style and the Funk style of the 1970s.

12. “Respect” (1968). Aretha Franklin. With the overwhelming impact of the British Invasion and the psychedelic styles, soul music had lost its luster as a vanguard form of pop music. Aretha changed that with her infusion of gospel and driving rhythms to the old formulas of Motown music, bringing the music back to its African-American roots. Respect is a perfectly appropriate title for this achievement, because suddenly the centrality of black music to the creative spirit of American pop music became indisputable.

13. “Living for the City,” (1973). Stevie Wonder. Profoundly significant both from a musical and a social perspective. The use of synthesizers and the spoken interlude in the song gave it an innovative structure. The social commentary and spoken dialog led the way for the development of rap music later in the decade.

14. “I Will Survive,” (1978). Gloria Gaynor. It is the anthem of the disco mania of the 1970s. Previous disco hits had been “The Hustle,” (1975) by Van McCoy and the Soul City Symphony, and “Tangerine,” (1976) by Salsoul Orchestra. These instrumentals allowed dancers to focus on the rhythms and steps as they learned the new dance crazes of the period, be they partner dances, like the Latin Hustle, or line dances like the Bus Stop. The 1977 film, “Saturday Night Fever” included songs with vocal parts by the BeeGees (Stayin’ Alive) and the Trammps, “Disco Inferno.” However, the lyrics to these songs were always secondary and usually barely intelligible. With the soaring vocal performance of Gloria Gaynor on this song, and the message in the lyrics, the hustle finally found its voice and came alive.

15. “Rapper’s Delight,” (1979). Sugar Hill Gang. This song marked the beginning of rap music. It is a moment of pop music history every bit as significant as anything done by Elvis or the Beatles. The rap style was soon perfected and packaged by other groups, notably Run-DMC, and went on to permeate Western pop music in the following decades.

16. “The Message” (1982). Grand Master Flash and the Furious Five. By infusing their verses with such powerful social commentary, they demonstrated the immense power of the rap style. The syncopated line of monosyllables, “Don’t push me ’cause I’m close to the edge, I’m try-in’ not to lose my head,” was unprecedented, and the little laugh that followed it was truly haunting. With their virtuoso command of language, they did for rap music what Bob Dylan did for folk rock. The form was brought to complete commercial fruition 13 years later with Coolio’s “Gangster’s Paradise,” (1995).

17. “Thriller,” (1982). Michael Jackson. A huge event. Musically, it was a synthesis of many styles that came before: funk, rock, r n b, disco, novelty song, but it was so much more than its parts, as it seamlessly fused these styles together. It was also the prototypical music video, a visual accomplishment that has never been duplicated. The album is the best selling album of all time.

18. “Like a Virgin,” (1984). Madonna. Both she and Cyndi Lauper crashed onto the music scene at the same time in 1983, as the first female performers to create every aspect of their onstage personas and to present themselves as performance artists rather than simply artists who perform. However, Lauper’s style remained idiosyncratic and inimitable, but Madonna’s style became a genre. She created the sexy, leggy female pop idol, in the tradition of male performers like Michael Jackson and Prince, and she was followed by an endless string of other women, some imitators, some artists in their own right.

19. “Conga,” (1985). Miami Sound Machine. It introduced English speaking music lovers to the Caribbean Hispanic style that had been percolating on the East coast for the previous two decades. Gloria Estefan’s clipped phrasing even gave the English lyrics a Spanish feeling. She matched or even surpassed this achievement with “Oye Mi Canto” in 1989. World Music and Latin fusion are concepts that began to take their present form here.

20. “Smells Like Teen Spirit,” (1991). Nirvana. The grunge style of the 1990s got its most iconic performance in this. Kurt Cobain’s stage persona and aesthetics have influenced all the alternative rock singers that have come after him, giving them an alternative to the fake cockney whines that had dominated before. The members of Nirvana were particularly articulate through their music and artistic statements, thus codifying the characteristics of this new style.

This is a list of twenty very different and unique songs, but there are certain characteristics. One striking thing is the low number of women on this list (six, including Grace Slick and Gloria Estefan). It seems that women have had a hard time being seen as innovators and being given the opportunity to take a lead role. An example of this double standard can be seen in the way that Mick Jagger, with his middle class British background from the opposite end of the English speaking world, never faced serious questioning about his embracing of black performance and musical styles, but Janis Joplin, born and raised in the Deep South, was criticized as being derivative or worse, and her reputation suffered for many years because of this. A clear division of styles along racial lines is, in fact, one of the most persistent traits of pop music even to this day. However, if such divides are normally seen as polarizing and undesirable elsewhere, that is not necessarily the case in pop music.

Here, they have created the terrain for multi-faceted and rich traditions that thrive on cross-pollination, and when we allow performers to bridge these gaps with their creativity, we get some of the greatest performers, such as Elvis Presley and Jimi Hendrix. As American pop music has grown in complexity, the opportunities have emerged for more productive mixtures, but the innovative spirit seems to have hit a dry patch. It remains to be seen where the next great song will come from; it’s been a long time coming.Visit Here http://newmoviesong.blogspot.com