Scientists Wonder If a Space Rock Could Destroy Life on Earth

Total Page:16

File Type:pdf, Size:1020Kb

Load more

n July 16, 1994, scientists there anything we could do to stop BY NANCY HONOVICH around the world turned the impact before it happens? Shara their telescopes toward discusses the possibilities. Jupiter to watch an amaz- ing event. A number of icy Why do space objects collide Oobjects known as the Shoemaker-Levy 9 in the first place? comet hurtled toward the giant planet All objects in the universe—such as at a speed of 60 kilometers (37 miles) asteroids, comets, planets, and stars— per second. As the comet hit the planet, experience gravity. This pulling force ou s e? it caused huge shock waves, which causes the objects to tug on each other r ? lifted large clouds of gas into the upper and to change each other’s path. Some- sh C part of the atmosphere. times, two objects move toward the a When the blasts were over, Jupiter same place at the same time. Because Cr was left with a few scars: Gray areas of these objects don’t have eyes, they gas and dust had formed in the planet’s don’tdon’t knowknow toto getget outout ofof thethe way.way. atmosphere and remained there for Sometimes,Sometimes, theythey collide.collide. Scientists wonder if a space several months. But for scientists—and anyone else who observed the AreAre anyany ofof thesethese When the Shoemaker-Levy 9 event—the effects were more objectsobjects headedheaded comet struck Jupiter, rock could destroy life on Earth. lasting. People everywhere were our way? it caused dark left wondering: Could this hap- Yes,Yes, many.many. ButBut spots to form on pen to Earth? they won’twon’t strikestrike the planet. After seeing Shoemaker- Earth any- Many scientists Levy 9 crash into Jupiter, people time soon. An predict that if began to pay closer attention asteroid called an asteroid were to objects that could strike MN4 will come to crash into Earth. These objects include within 35,400 Earth, the impact comets much like Shoemaker- km (21,997 mi) of would look like a Levy 9 and, more important, EarthEarth on AprilApril 13, fireball. large asteroids. As many of 2029. That’sThat’s prettypretty these objects move around the close,close, especially when ScientistScientist MikeMike SharaShara atat thethe AmericanAmerican sun, their paths sometimes youyou figurefigure that the moon MuseumMuseum ofof NaturalNatural HistoryHistory take them within 160,934 km is about 385,000 km (240,000 mi) (100,000 mi) of Earth. That may from Earth. And the asteroid is large. It seem far, but for most scientists, it’s a measures about 300 meters (984 feet) little too close for comfort. across—that’s about three times the Mike Shara, an astrophysicist (a- length of a football field. stroh-fih-zih-sist) at the American Museum of Natural History in New During its close flyby, will we be York, studies how objects in the uni- able to see MN4 from Earth? verse collide. He estimates that a space It depends on where you are and how object the size of a cruise ship narrowly clear it is outside. If the night is clear, misses Earth about every 10 years. it’ll appear almost as bright as the stars Could one of these objects actu- in the Big Dipper. The best views will be ally strike our planet? And if so, is from Asia, Europe, and Africa. DAVID A. HARDY/SPL/PHOTO RESEARCHERS, INC. (ASTEROID); PHOTO BY DENIS FINNIN. © AMERICAN MUSEUM OF NATURAL HISTORY (SCIENTIST); JUPITER (NASA) For more information, go to: www.scholastic.com/spacecrash 12 SUPERSCIENCE JANUARY 2006 13 ROCK AROUND THE SUN As MN4 circles the sun, its path A meteorite will take it very close to Earth. that crashed into MN4 Gravity Game You’ll Need 3 Empty, quart- 3 Pencil Earth caused EARTH Barringer size cardboard 3 Paper clip How does gravity affect different objects? milk carton Crater. 3 Clay 3 Scissors SUN THINK: Suppose you and your teacher were to weigh 3 1 cup of dry 3 Thick rubber Cheerios cereal yourselves on a scale. Who would weigh more? band 3 1 cup of jelly PREDICT: Gravity is a force that pulls all objects toward 3 Piece of twine, beans one another. It is the same force that pulls objects towards 36 cm (14 in.) long 3 1 cup of Earth. The more mass an object has, the greater the pull of uncooked rice 3 Ruler gravity. Suppose you had three equal-sized cartons: one full of cereal, one full of jelly beans, and one full of rice. Which has the most mass? Which experiences the most gravity? STEP 4 What would happen if an boulders out of the ground. These object has a lot of mass, gravity Procedure: q 6. Place a piece of clay on the floor against a wall. Stick asteroid like MN4 were to boulders would crash back down would cause it to tug gently on the q 1. Cut the milk carton into strike Earth? all over Earth for the next few days. asteroid. Over time, this object’s 2 pieces—the bottom part one end of the ruler into the It would not mean the end of It’s also possible that MN4 would pulling force would move the should measure 7.5 centime- clay. The ruler should be up- right against the wall. Have a life on Earth, but it would still turn into a fireball, which would asteroid out of the way. ters (3 inches) high. Keep the friend grasp the scale by the be terrible. In Arizona, there is set off forest fires for hundreds of bottom part, but throw the rubber band and hold it so a hole in the ground that mea- miles. The fires would then release top part away. What would you say to kids that the top of the carton is sures roughly one mile across. huge amounts of ash into the atmo- who are scared that a large q 2. Choose one side of the even with the top of the ruler. This hole, called Barringer Crater, sphere—and that might block out asteroid will crash into Earth? carton and measure 2.5 cm was formed by a meteorite that light from the sun. If it were to crash Scientists are scanning the sky Pour the cereal into the (1 in.) down from the top. q 7. Thread one end of crashed into Earth about 50,000 into the ocean, it would cause a all the time to make sure that a Using a pencil, poke a hole carton. This is carton 1. twine through each hole. years ago. MN4 is about 10 times giant tsunami, or wave, which large asteroid isn’t headed our through this area. Make sure Watch the carton drop bigger than that meteorite. It has could destroy many coastal cities. way anytime soon. The chance the hole is centered. q 8. STEP a thousand times more mass and that Earth will be struck by a large alongside the ruler. Mea- sure how many centimeters would release a lot more energy If scientists discovered that asteroid or comet during your q 3. Repeat Step 2 on the 8 or inches the carton has as it crashed. So just imagine the a large asteroid was headed lifetime is almost zero. opposite side of the carton. dropped. Be sure to measure size of the crater it would cause! towards Earth, what could we from the top of the carton. do to prevent a collision? q 4. Create a handle for your Words to Know carton: Thread one end of Would you be affected if you There are many possible solu- Comet — a ball of ice, rock, and twine through each hole. q 9. Empty the carton. lived far from the impact site? tions. One idea is to take an object frozen gases that circles a star Tie a knot at each end. Yes. If MN4 were to crash on that has a lot of mass up into space Atmosphere — the layers of gas that q 10. Repeat Steps 7 to 9 using jelly beans instead of land, it would blow billions of and park it within a few hundred surround a planet q 5. Attach a paper clip to the yards of the asteroid. Because that Asteroid — a rock that moves around top of the string handle and a cereal. This is carton 2. the sun and is smaller than a planet rubber band to the other end or a moon q Repeat Steps 7 to 9 check it out of the paper clip. You now 11. In early 2006, the American Museum of Natural History’s Hayden Planetarium Astrophysicist — a scientist who have a spring scale! using rice instead of cereal. studies the universe This is carton 3. Watch the carton of cereal drop in the Rose Center for Earth and Space will open a new Space Show that journeys alongside the ruler. through the night sky to explore collisions of meteorites, stars, and galaxies that Gravity — the pulling force between shape our universe. The Museum has been researching and celebrating the natural objects Conclusions ALL PHOTOS JAMES LEVIN STUDIO world for more than 135 years, and has more than 30 million objects in its entire Meteorite — a space rock that has 1. Which carton was pulled the most by gravity? Which was pulled the least? collection. The Museum’s 200 scientists travel around the world on 100 field expe- hit Earth ditions each year, studying everything from wasps to ocean life to the universe. Mass — the amount of matter in an 2.
Recommended publications
  • MUSIC 262: Art/Prog Rock [Brian Ward Demonstrates a Tune on Piano

    MUSIC 262: Art/Prog Rock [Brian Ward Demonstrates a Tune on Piano

    MUSIC 262: Art/Prog Rock [Brian Ward demonstrates a tune on piano] [Brian Ward]: So around this time in rock and roll we really start to see a lot of fragmentation going on, and that’s reflected in this course. The way we have this designed is so that we can go in different directions with the music, and that’s what the music did all sort of at the same time. One of the directions is what we now call art rock and also progressive rock. Now art rock and progressive rock are terms that are used loosely. A good way to describe it is art rock is rock and roll that is influenced by classical music while progressive rock is more influenced by jazz, so- but you have different elements in varying degrees of influence and in different ways. A good illustration of that is one of the first bands that I want to talk about is The Who. Now The Who were definitely a straight down the line rock and roll band, and they started like a lot of these other British bands: imitating the blues and rhythm and blues music from the United States, but The Who were very unique. They had probably the most four individualized members of any band of all time. All four members of the band, Pete Townshend, Roger Daltrey, John Entwistle, and Keith Moon, were all very, very different people coming from different backgrounds, and that reflected in their music, and they used that to their advantage quite a bit. But with The Who I think rock star first becoming an art form in the sense that they had longer forms and they used many structures that eventually became mini-operas and they eventually made a rock opera called “Tommy.” Now when they started out they were more on the cutting edge of hard rock.
  • Space Rock, the Popular Music Inspired by the Stars Above Us

    Space Rock, the Popular Music Inspired by the Stars Above Us

    SPACE ROCK, THE POPULAR MUSIC INSPIRED BY THE STARS ABOVE US JARKKO MATIAS MERISALO 79222N ASTRONOMICAL VIEW OF THE WORLD PART B S-92.3299AALTO UNIVERSITY 0 TABLE OF CONTENTS Table of contents ................................................................................................................. 1 1. Introduction ................................................................................................................... 2 2. What is space rock and how it was born? ..................................................................... 3 3. The Golden era ............................................................................................................. 5 3.1. Significant artists and songs to remember ................................................................ 5 3.2. Masks and Glitter – Spacemen and rock characters ................................................. 7 4. Modern times .............................................................................................................. 10 5. Conclusions ................................................................................................................. 12 6. References .................................................................................................................. 13 7. Appendices ................................................................................................................. 14 1. INTRODUCTION When the Soviets managed to launch “Sputnik 1”, the first man-made object to the Earth’s orbit in November 1957,
  • Freak Emporium

    Freak Emporium

    Search: go By Artist By Album Title More Options... Home | Search | My Freak Emporium | View Basket | Checkout | Help | Links | Contact | Log In Bands & Artists: a b c d e f g h i j k l m n o p q r s t u v w x y z | What's New | DVDs | Books | Top Sellers Browse Over 120 Genres: Select a genre... 60's & 70's Compilations - Blues (9 Email Me about new products in this genre | More Genres products) > LIST ALL | New See Also: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Year Offer 60's & 70's Euro Folk Rock 60's & 70's UK Folk Rock 60's & 70's Japanese / Korean / Asian Rock and Pop 60's & 70's Compilations - Pop & Rock Search 60's & 70's Compilations - Blues : go! 60's & 70's Acid Folk & Singer/Songwriter Search Entire Catalogue > 60's & 70's Compilations - Psychedelia 60's & 70's Psychedelia 60's & 70's Compilations - Garage, Beat, Freakbeat, Surf, R&B 60's & 70's Prog Rock 60s Texan Psych And Garage Mod / Freakbeat Latest additions & updates to our catalogue: Paint It Black - Various. CD, £12.00 Blues For Dotsie - Various. CD, £12.00 (Label: EMI, Cat.No: 367 2502) (Label: Ace, Cat.No: CDCHD 1115) Fascinating twenty track Everything from Jump to Down Home to Boogie compilation CD of Rolling Stones Woogie babes on this collection of West Coast covers by some of the greatest Blues cut for and by Dootsie Williams.
  • Extreme Rock from Japan

    Extreme Rock from Japan

    Extreme Rock From Japan Joe Paradiso MIT Media Lab Japan • Populaon = 127 million people (10’th largest) – Greater Tokyo = 30 million people (largest metro in world) – 3’rd largest GDP, 4’th largest exporter/importer • Educated, complex, and hyper mo<vated populace – OCD Paradise… • Many musicians, and the level of musicianship is high! • Japan readily absorbs western influences, but reinterprets them in its own special way… – Creavity bubbles up in crazy ways from restric<ve uniformity – Get Western idioms “wonderfully” wrong! – And does it with gusto! Nipponese Prog • Prog Rock is huge in Japan (comparavely speaking….) – And so is psych, electronica, thrash bands, Japanoise (industrial), metal, etc. • I will concentrate on Early Synth music - Symphonic Prog – Fusion/jazz - RIO (quirky) prog – Psychedelic/Space Rock – by Nature Incomplete • Ian will cover Hip Hop, Miku, etc. Early (70s) Electronics – Isao Tomta 70’s Rock Electronics - YMO • Featuring Ryuichi Sakamoto 70s Berlin-School/Floydish Rock Far East Family band • Parallel World produced by Klaus Schulze – Entering – 6:00, Saying to the Land (4:00) 70’s Progish Jazz – Stomu Yamash'ta • Supergroup “Go” • Freedom is Frightening, 5:00, Go side B Other Early 70’s Psych (Flower Travelin’ band) • Satori, pt. II, middle Early Symphonic Prog - Shingetsu 1979 • Led by Makoto Kitayama (Japanese Peter Gabriel) • Oni Early Symphonic Prog – Outer Limits (1985) 1987 2007 • The Scene Of Pale blue (Part One) – middle • Plas<c Syndrome, Consensus More Early Symphonic Prog – Mr. Sirius 1987 1990
  • Brazilian/American Trio São Paulo Underground Expands Psycho-Tropicalia Into New Dimensions on Cantos Invisíveis, a Global Tapestry That Transcends Place & Time

    Brazilian/American Trio São Paulo Underground Expands Psycho-Tropicalia Into New Dimensions on Cantos Invisíveis, a Global Tapestry That Transcends Place & Time

    Bio information: SÃO PAULO UNDERGROUND Title: CANTOS INVISÍVEIS (Cuneiform Rune 423) Format: CD / DIGITAL Cuneiform Promotion Dept: (301) 589-8894 / Fax (301) 589-1819 Press and world radio: [email protected] | North American and world radio: [email protected] www.cuneiformrecords.com FILE UNDER: JAZZ / TROPICALIA / ELECTRONIC / WORLD / PSYCHEDELIC / POST-JAZZ RELEASE DATE: OCTOBER 14, 2016 Brazilian/American Trio São Paulo Underground Expands Psycho-Tropicalia into New Dimensions on Cantos Invisíveis, a Global Tapestry that Transcends Place & Time Cantos Invisíveis is a wondrous album, a startling slab of 21st century trans-global music that mesmerizes, exhilarates and transports the listener to surreal dreamlands astride the equator. Never before has the fearless post-jazz, trans-continental trio São Paulo Underground sounded more confident than here on their fifth album and third release for Cuneiform. Weaving together a borderless electro-acoustic tapestry of North and South American, African and Asian, traditional folk and modern jazz, rock and electronica, the trio create music at once intimate and universal. On Cantos Invisíveis, nine tracks celebrate humanity by evoking lost haunts, enduring love, and the sheer delirious joy of making music together. São Paulo Underground fully manifests its expansive vision of a universal global music, one that blurs edges, transcends genres, defies national and temporal borders, and embraces humankind in its myriad physical and spiritual dimensions. Featuring three multi-instrumentalists, São Paulo Underground is the creation of Chicago-reared polymath Rob Mazurek (cornet, Mellotron, modular synthesizer, Moog Paraphonic, OP-1, percussion and voice) and two Brazilian masters of modern psycho- Tropicalia -- Mauricio Takara (drums, cavaquinho, electronics, Moog Werkstatt, percussion and voice) and Guilherme Granado (keyboards, synthesizers, sampler, percussion and voice).
  • Nightlight: Tradition and Change in a Local Music Scene

    Nightlight: Tradition and Change in a Local Music Scene

    NIGHTLIGHT: TRADITION AND CHANGE IN A LOCAL MUSIC SCENE Aaron Smithers A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Curriculum of Folklore. Chapel Hill 2018 Approved by: Glenn Hinson Patricia Sawin Michael Palm ©2018 Aaron Smithers ALL RIGHTS RESERVED ii ABSTRACT Aaron Smithers: Nightlight: Tradition and Change in a Local Music Scene (Under the direction of Glenn Hinson) This thesis considers how tradition—as a dynamic process—is crucial to the development, maintenance, and dissolution of the complex networks of relations that make up local music communities. Using the concept of “scene” as a frame, this ethnographic project engages with participants in a contemporary music scene shaped by a tradition of experimentation that embraces discontinuity and celebrates change. This tradition is learned and communicated through performance and social interaction between participants connected through the Nightlight—a music venue in Chapel Hill, North Carolina. iii ACKNOWLEDGEMENTS Any merit of this ethnography reflects the commitment of a broad community of dedicated individuals who willingly contributed their time, thoughts, voices, and support to make this project complete. I am most grateful to my collaborators and consultants, Michele Arazano, Robert Biggers, Dave Cantwell, Grayson Currin, Lauren Ford, Anne Gomez, David Harper, Chuck Johnson, Kelly Kress, Ryan Martin, Alexis Mastromichalis, Heather McEntire, Mike Nutt, Katie O’Neil, “Crowmeat” Bob Pence, Charlie St. Clair, and Isaac Trogden, as well as all the other musicians, employees, artists, and compatriots of Nightlight whose combined efforts create the unique community that define a scene.
  • How to Catch a Space Rock

    How to Catch a Space Rock

    How to Catch a Space Rock (you can't) - asteroid, comet, meteor, dwarf planet How to Catch a Space Rock (you can't) asteroid, comet, meteor, dwarf planet Astronomy Unit On Earth, a rock is a rock . right? Of course not! There are boulders! There are pebbles! There are flat rocks that are perfect for skipping across water. There are pet rocks! And there are Pop Rocks! Those are the only rocks you can eat. The others will break your teeth. In space, there are very different kinds of rocks. It depends on where they are, what they are doing, and how big they are. Warning: do not eat, skip, or pet space rocks. Let's begin way, way, way out in space. A comet is a big piece of ice and rock that has a shiny tail behind it and is found on the very edge of our space neighborhood. A comet is made of ice and gases that make a cloud around it called a coma. You can see its tail when it passes close to a star and the ice around it starts to melt, trailing a light line of melting water. Grab a butterfly net and stick it way up into space to try to catch one. You won't, though. As we take some steps closer to the sun, we will start to see some bodies spinning around the sun that are a lot bigger than a comet. A dwarf planet is a very big piece of rock that moves around a star and is big enough to be round but is not big enough to be a called a planet.
  • Forma Y Fondo En El Rock Progresivo

    Forma Y Fondo En El Rock Progresivo

    Forma y fondo en el rock progresivo Trabajo de fin de grado Alumno: Antonio Guerrero Ortiz Tutor: Juan Carlos Fernández Serrato Grado en Periodismo Facultad de Comunicación Universidad de Sevilla CULTURAS POP Índice Resumen 3 Palabras clave 3 1. Introducción. Justificación del trabajo. Importancia del objeto de investigación 4 1.1. Introducción 4 1.2. Justificación del trabajo 6 1.3. Importancia del objeto de investigación 8 2. Objetivos, enfoque metodológico e hipótesis de partida del trabajo 11 2.1. Objetivos generales y específicos 11 2.1.1. Objetivos generales 11 2.1.2. Objetivos específicos 11 2.2. Enfoque metodológico 11 2.3. Hipótesis de partida 11 3. El rock progresivo como tendencia estética dentro de la música rock 13 3.1. La música rock como denostado fenómeno de masas 13 3.2. Hacia una nueva calidad estética 16 3.3. Los orígenes del rock progresivo 19 3.4. La difícil definición (intensiva) del rock progresivo 25 3.5. Hacia una definición extensiva: las principales bandas de rock progresivo 27 3.6. Las principales escenas del rock progresivo 30 3.7. Evoluciones ulteriores 32 3.8. El rock progresivo hoy en día 37 3.9. Algunos nombres propios 38 3.10. Discusión y análisis final 40 4. Conclusiones 42 5. Bibliografía 44 5.1. De carácter teórico-metodológico (fuentes secundarias) 44 5.2. General: textos sobre pop y rock 45 5.3. Específica: rock progresivo 47 ANEXO I. Relación de documentos audiovisuales de interés 50 ANEXO II. PROGROCKSAMPLER 105 2 Resumen Este trabajo, que constituye un ejercicio de periodismo cultural, en el que se han puesto en práctica conocimientos diversos adquiridos en distintas asignaturas del Grado de Periodismo, trata de definir el concepto de rock progresivo desde dos perspectivas complementarias: una interna y otra externa.
  • Progressive Rock Drumming

    Progressive Rock Drumming

    Progressive Rock Drumming Progressive Rock Drumming | 1495000494, 9781495000492 | Hal Leonard Corporation, 2014 | 136 pages | 2014 | Dan Maske (Drum Instruction). Progressive Rock Drumming explores many of the techniques used by the founding prog drummers and shows how drummers can create their own drumset parts based on these techniques, while also demonstrating how multiple and very different drumset parts can be created for the same music. While this book explores some advanced techniques, it also teaches the reader how to create original and inventive drumset parts without the need to play in a demanding virtuosic style. The book addresses a wide variety of progressive rock styles, including such subgenres as symphonic, classical, fusion, neo-progressive, progressive metal, Rock In Opposition (RIO), and space rock. The package includes 55 audio examples featuring both demo and play- along tracks (with and without drums) for nine songs in various prog rock styles. The book includes charts for all of the songs that have written-out drum parts as well as condensed band parts to help one see how the drum part relates to the song, resulting in a very musical approach to progressive rock drumming. Pdf http://projecttn.org/.AYJWQ.pdf In this article, I discuss aspects of national identity in the performance style of the German rock band Rammstein from the perspectives of imagery, vocal style and the textual content of their songs. Investigation into Rammsteinâ™s music reveals transformations of signifiers from earlier German performance styles and earlier textual themes that the band use as a means of relocating notions of German identity into their own performances.
  • Resenv Research Update 4/16 Joe Paradiso an Introduction to Prog Rock Prof

    Resenv Research Update 4/16 Joe Paradiso an Introduction to Prog Rock Prof

    ResEnv Research Update 4/16 Joe Paradiso An Introduction to Prog Rock Prof. J. Paradiso – MIT Media Lab Session 1: Intro - Things your dad should have told you about Prog Session 2; Canterbury Session 3: Rock in Opposition Session 4: Zeuhl Session 5: Space Rock and Neopsychedelia Session 6: French & Quebecois Prog Session 7: Rock Progressivo Italiano Session 8: Germany, Berlin, and Krautrock (perhaps some Scandavania too) Session 9: Japanese Prog Lecture 1 – Introduction, Roots of Prog, Classic Prog ResEnv Research Update 4/16 Joe Paradiso 1/10/2018 IAP 2018 Books on Prog…. And books on many bands – e.g., Soft Machine, Hawkwind… 4/08 JAP Resources ‘Romantic Warriors’ DVD set by Adele Schmidt & José Zegarra Holder In MIT’s Music Library Krautrock documentary in progress – Italian prog and perhaps space rock, etc. coming…. 4 4/08 JAP Magazines In Lewis Music Library! 5 4/08 JAP Some Websites & Resources http://www.progarchives.com http://www.proggnosis.com http://www.expose.org Chris Cutler’s Podcasts: http://ccutler.co.uk/ccpodcast.htm Many Facebook Groups: Avant Progressive, Canterbury, etc., etc. 7 4/08 JAP Vendors… http://synphonicmusic.com/ https://www.lasercd.com/ http://www.waysidemusic.com 7 More Vendors (UK) http://home.btconnect.com/ultimathule/index.html https://burningshed.com/ http://www.rermegacorp.com/ http://www.progrock.co.uk/ Prog Festivals! https://burgherzberg-festival.de/ http://rockinopposition.rocktime.org/ https://www.progday.net/ https://proglodytes.com/2017/12/07/exhaustive-prog-festival-list-2018/ http://www.gaudela.net/gar/ 4/08 JAP A Historical Perspective 10 ~14K Albums – most on CD! 4/08 JAP Music <> Exploration - I seek out music everywhere! 12 4/08 JAP • WMFO, WMBR, WZBC Radio Shows • 1974 – 1994 • Still sporadically – e.g.
  • The History of Rock Music - the Nineties

    The History of Rock Music - the Nineties

    The History of Rock Music - The Nineties The History of Rock Music: 1995-2001 Drum'n'bass, trip-hop, glitch music History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Post-post-rock (These are excerpts from my book "A History of Rock and Dance Music") The Louisville alumni 1995-97 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The Squirrel Bait and Rodan genealogies continued to dominate Kentucky's and Chicago's post-rock scene during the 1990s. Half of Rodan, i.e. Tara Jane O'Neil (now on vocals and guitar) and Kevin Coultas, formed Sonora Pine with keyboardist and guitarist Sean Meadows, violinist Samara Lubelski and pianist Rachel Grimes. Their debut album, Sonora Pine (1996), basically applied Rodan's aesthetics to the format of the folk lullaby. Another member of Rodan, guitarist Jeff Mueller, formed June Of 44 (11), a sort of supergroup comprising Sonora Pine's guitarist Sean Meadows, Codeine's drummer and keyboardist Doug Scharin, and bassist and trumpet player Fred Erskine. Engine Takes To The Water (1995) signaled the evolution of "slo-core" towards a coldly neurotic form, which achieved a hypnotic and catatonic tone, besides a classic austerity, on the mini-album Tropics And Meridians (1996). Sustained by abrasive and inconclusive guitar doodling, mutant rhythm and off-key counterpoint of violin and trumpet, Four Great Points (1998) metabolized dub, raga, jazz, pop in a theater of calculated gestures.
  • Krautrock and the West German Counterculture

    Krautrock and the West German Counterculture

    “Macht das Ohr auf” Krautrock and the West German Counterculture Ryan Iseppi A thesis submitted in partial fulfillment of the requirements for the degree of BACHELOR OF ARTS WITH HONORS DEPARTMENT OF GERMANIC LANGUAGES & LITERATURES UNIVERSITY OF MICHIGAN April 17, 2012 Advised by Professor Vanessa Agnew 2 Contents I. Introduction 5 Electric Junk: Krautrock’s Identity Crisis II. Chapter 1 23 Future Days: Krautrock Roots and Synthesis III. Chapter 2 33 The Collaborative Ethos and the Spirit of ‘68 IV: Chapter 3 47 Macht kaputt, was euch kaputt macht: Krautrock in Opposition V: Chapter 4 61 Ethnological Forgeries and Agit-Rock VI: Chapter 5 73 The Man-Machines: Krautrock and Electronic Music VII: Conclusion 85 Ultima Thule: Krautrock and the Modern World VIII: Bibliography 95 IX: Discography 103 3 4 I. Introduction Electric Junk: Krautrock’s Identity Crisis If there is any musical subculture to which this modern age of online music consumption has been particularly kind, it is certainly the obscure, groundbreaking, and oft misunderstood German pop music phenomenon known as “krautrock”. That krautrock’s appeal to new generations of musicians and fans both in Germany and abroad continues to grow with each passing year is a testament to the implicitly iconoclastic nature of the style; krautrock still sounds odd, eccentric, and even confrontational approximately twenty-five years after the movement is generally considered to have ended.1 In fact, it is difficult nowadays to even page through a recent issue of major periodicals like Rolling Stone or Spin without chancing upon some kind of passing reference to the genre.