document_title: Joint

question_text: the only type of articulation with a joint cavity is a

text: Joint

text: Classification[edit]

text: Joints are mainly classified structurally and functionally. Structural classification is determined by how the bones connect to each other, while functional classification is determined by the degree of movement between the articulating bones. In practice, there is significant overlap between the two types of classifications.

text: Clinical, numerical classification[edit]

text:
monoarticular – concerning one joint
oligoarticular or pauciarticular – concerning 2–4 joints
polyarticular – concerning 5 or more joints

text: Structural classification (binding tissue)[edit]

text: Structural classification names and divides joints according to the type of binding tissue that connects the bones to each other.[1] There are three structural classifications of joints:[5]

text:
fibrous joint – joined by dense regular connective tissue that is rich in collagen fibers [6]
cartilaginous joint – joined by cartilage. There are two types: primary cartilaginous joints composed of hyaline cartilage, and secondary cartilaginous joints composed of hyaline cartilage covering the articular surfaces of the involved bones with fibrocartilage connecting them.
synovial joint – not directly joined – the bones have a synovial cavity and are united by the dense irregular connective tissue that forms the articular capsule that is normally associated with accessory ligaments.[6]
facet joint – joint between two articular processes between two vertebrae.[7][8]

text: Functional classification (movement)[edit]

text: Joints can also be classified functionally according to the type and degree of movement they allow:[1][9] Joint movements are described with reference to the basic anatomical planes.[3]

text:
synarthrosis – permits little or no mobility. Most synarthrosis joints are fibrous joints (e.g., skull sutures).
amphiarthrosis – permits slight mobility. Most amphiarthrosis joints are cartilaginous joints (e.g., intervertebral discs).
synovial joint (also known as a diarthrosis) – freely movable.[1][9] Synovial joints can in turn be classified into six groups according to the type of movement they allow: plane joint, ball and socket joint, hinge joint, pivot joint,[10][11] condyloid joint and saddle joint.[12]

text: Joints can also be classified, according to the number of axes of movement they allow, into nonaxial (gliding, as between the proximal ends of the ulna and radius), monoaxial (uniaxial), biaxial and multiaxial.[13] Another classification is according to the degrees of freedom allowed, and distinguished between joints with one, two or three degrees of freedom.[13] A further classification is according to the number and shapes of the articular surfaces: flat, concave and convex surfaces.[13] Types of articular surfaces include trochlear surfaces.[14]

text: Biomechanical classification[edit]

text: Joints can also be classified based on their anatomy or on their biomechanical properties. According to the anatomic classification, joints are subdivided into simple and compound, depending on the number of bones involved, and into complex and combination joints:[15]

text:
Simple joint: two articulation surfaces (e.g. shoulder joint, hip joint)
Compound joint: three or more articulation surfaces (e.g. radiocarpal joint)
Complex joint: two or more articulation surfaces and an articular disc or meniscus (e.g. knee joint)

text: Anatomical[edit]

text: The joints may be classified anatomically into the following groups:

text:
Joints of hand
Elbow joints
Wrist joints
Axillary articulations
Sternoclavicular joints
Vertebral articulations
Temporomandibular joints
Sacroiliac joints
Hip joints
Knee joints
Articulations of foot

text: Clinical significance[edit]

text: Damaging the cartilage of joints (articular cartilage) or the bones and muscles that stabilize the joints can lead to joint dislocations and osteoarthritis. Swimming is a great way to exercise the joints with minimal damage.[3]

text: A joint disorder is termed arthropathy, and when involving inflammation of one or more joints the disorder is called arthritis. Most joint disorders involve arthritis, but joint damage by external physical trauma is typically not termed arthritis.

text: Arthropathies are called polyarticular (multiarticular) when involving many joints and monoarticular when involving only a single joint.

text: Arthritis is the leading cause of disability in people over the age of 55. There are many different forms of arthritis, each of which has a different cause. The most common form of arthritis, osteoarthritis (also known as degenerative joint disease), occurs following trauma to the joint, following an infection of the joint or simply as a result of aging and the deterioration of articular cartilage. Furthermore, there is emerging evidence that abnormal anatomy may contribute to early development of osteoarthritis. Other forms of arthritis are rheumatoid arthritis and psoriatic arthritis, which are autoimmune diseases in which the body is attacking itself. Septic arthritis is caused by joint infection. Gouty arthritis is caused by deposition of uric acid crystals in the joint that results in subsequent inflammation. Additionally, there is a less common form of gout that is caused by the formation of rhomboidal-shaped crystals of calcium pyrophosphate. This form of gout is known as pseudogout.

text: Temporomandibular joint syndrome (TMJ) involves the jaw joints and can cause facial pain, clicking sounds in the jaw, or limitation of jaw movement, to name a few symptoms. It is caused by psychological tension and misalignment of the jaw (malocclusion), and may be affecting as many as 75 million Americans.[3]

text: History[edit]

text: Etymology[edit]

text: The English word joint is a past participle of the verb join, and can be read as joined.[16] Joint is derived from Latin iunctus,[16] past participle of the Latin verb iungere, join together, unite, connect, attach.[17]

text: The English term articulation is derived from Latin articulatio.[16]

text: Humans have also developed lighter, more fragile joint bones over time due to the decrease in physical activity compared to thousands of years ago.[18]


document_title: Orbiting Jupiter

question_text: who is the main character in orbiting jupiter

root

text: Orbiting Jupiter

text: Synopsis[edit]

text: Jackson (Jack) Hurd narrates his experience while his family is fostering Joseph Brook, a fourteen-year-old boy who served a month's sentence in the fictional Stone Mountain juvenile detention center. Joseph is a teenage father who signed his parental rights away to allow his daughter Jupiter to be placed for adoption. Shortly after signing away his rights, he took unmarked yellow pills and assaulted a teacher, for which he was sent to Stone Mountain. The novel begins with Mrs. Stroud, the social worker assigned to Joseph's case, telling the Hurd family specific rules for dealing with Joseph.

tag: p

text: Development[edit]

text: The farm owned by the Hurds is based on a real organic farm in East Sumner, Maine that welcomes foster children and encourages them to develop self-responsible habits.[1] Schmidt based the character of Joseph on a boy he met while visiting a juvenile detention facility. He described the writing process as starting by listening for a narrator, which he found in Jack: "Sometimes it takes longest of all, but it’s everything. So I found this naïve 12-year-old who would grow throughout the book and has questions he’s beginning to ask for the first time. That voice, once it was there…then the book wasn’t too hard to write."[2]

text: Publication history[edit]

text:
— (6 October 2015). Orbiting Jupiter (1st, hc ed.). Houghton Mifflin Harcourt. ISBN 978-0-544-46222-9. Retrieved 14 May 2018.
— (2015). Orbiting Jupiter (eBook ed.). Houghton Mifflin Harcourt. ISBN 978-0-544-46264-9.  |access-date= requires |url= (help)
— (December 2015). Orbiting Jupiter (1st UK ed.). Andersen Press. ISBN 978-1783443949.  |access-date= requires |url= (help)

tag: ul

text: Characters[edit]

text:
Key children

Joseph Brook – 14-year-old father, served time in Stone Mountain after his conviction for assaulting a teacher, and child fostered by the Hurd family
Jackson (Jack) Hurd – 12-year-old child, narrator
Madeline Joyce – 13-year-old (when she met Joseph) mother of Jupiter, attends school in Andover
Jupiter Joyce – daughter of Joseph and Madeline

Adults

Mr. Brook – Joseph's father
Mr. and Mrs. Hurd – Jackson's parents and foster parents to other children
Mrs. Stroud – social worker

Hurd farm animals

Dahlia – cow
Quintus Sertorius – horse
Rosie – Joseph's favorite cow

Eastham Middle School adults

Mr. Canton – Vice-principal
Mr. Collum – 8th Grade Science
Mr. D'Ulney – 6th/7th/8th Grade Mathematics (pre-Algebra)
Mrs. Halloway – 6th Grade Language Arts
Mr. Haskell – bus driver
Mr. Oates – 6th Grade Social Studies teacher
Coach Swieteck – Physical Education. "Coach had lost both his legs to a land mine in Vietnam a long time ago",[3]:Ch.2 matching the description of Doug Swieteck's oldest brother Lucas in Schmidt's previous novel Okay for Now.[4]

Eastham Middle School students

Brian Boss – 8th Grade bully
Ernie Hupfer – 6th grade rider of Haskell's bus
Danny Nations – 6th grade rider of Haskell's bus
Jay Perkins – 8th Grade bully
Nick Porter – 8th Grade bully
John Wall – 6th grade rider of Haskell's bus

text: Reception[edit]

text: Publishers Weekly[5] and Kirkus Reviews[4] both gave the novel starred reviews. Jeff Giles, reviewing for The New York Times, called the novel warm and reassuring "though it has its share of tragedy".[6]

text: Awards[edit]

text: Orbiting Jupiter was placed on the longlist for the Carnegie Medal in 2017.[7]


document_title: List of islands of Indonesia

question_text: how many inhabited islands are there in indonesia

text: List of islands of Indonesia

text: History[edit]

text: The exact number of islands comprising Indonesia varies among definitions and sources. According to a geospatial survey conducted between 2007 and 2010 by Badan Koordinasi Survei dan Pemetaan Nasional (Bakorsurtanal), the National Coordinating Agency for Survey and Mapping, Indonesia has 13,466 islands.[2] However, according to earlier survey in 2002 by National Institute of Aeronautics and Space (LAPAN), the Indonesian archipelago has 18,307 islands, and according to the CIA World Factbook, there are  17,508 islands.[3] The discrepancy of the numbers of Indonesian islands was because that the earlier surveys include "tidal islands"; sandy cays and rocky reefs that appear during low tide and are submerged during high tide.[4] According to estimates made by the government of Indonesia 8,844 islands have been named, with 922 of those permanently inhabited.[5]

text: Major islands[edit]

text:
Sunda Islands
Greater Sunda Islands
Sumatra, formerly Swarna Dwipa.
Java, formerly Jawa Dwipa.
Borneo: divided between the Indonesian region Kalimantan, the country of Brunei and the country of Malaysia's states of Sabah and Sarawak.
Sulawesi, formerly Celebes.
Lesser Sunda Islands: the island of Timor divided between Indonesian West Timor and the country of East Timor
Maluku Islands
New Guinea: divided between the two Indonesian provinces of Papua and West Papua and the country of Papua New Guinea.

text: List of islands[edit]

text: The following islands are listed by province:

text: Java[edit]

text: Banten[edit]

text:
Panaitan
Sangiang
Tinjil
Umang

text: Central Java[edit]

text:
Karimun Java
Nusa Kambangan

text: Special Capital Region of Jakarta[edit]

text: Thousand Islands (Kepulauan Seribu)

text: East Java[edit]

text:
Bawean
Kangean Islands
Madura
Raas
Nusa Barung
Raja Island
Sempu Island

text: West Java[edit]

text: Pulau Biawak (Monitor Lizard Island), Indramayu

text: Sumatra[edit]

text: Aceh[edit]

text: 199 islands

text:
Banyak Islands, 99 islands
Tuangku
Lasia Island
Simeulue
Weh

text: North Sumatra[edit]

text: 479 islands

text:
Batu Islands (formerly Batoe Eilanden), 51 islands
Berhala on the Strait of Malacca
Hinako Islands
Pulau Makole
Pulau Masa
Nias Islands
Samosir, on Lake Toba
Bukit Lawang

text: West Sumatra[edit]

text:
Mentawai Islands
North Pagai
Siberut
Sipura (Sipora)
South Pagai
Pasumpahan
Sikuai

text: Bengkulu[edit]

text:
Enggano Island
Mega Island

text: Lampung[edit]

text:
Child of Krakatoa (Anak Krakatau)
Legundi
Sebesi
Sebuku

text: Riau[edit]

text:
Basu Island
Bengkalis
Padang
Rangsang
Rupat
Tebing Tinggi Island

text: Riau Islands[edit]

text: about 3,200 islands

text:
Natuna Islands (Kepulauan Natuna)
Anambas Islands
Natuna Besar Islands
South Natuna Islands
Tambelan Islands
Badas Islands
Riau Archipelago
Batam
Bintan
Bulan
Galang
Karimun islands
Great Natuna
Penyengat
Great Karimun
Little Karimun
Kundur
Rempang
Lingga Islands
Lingga with nearby islands:
Singkep with nearby islands:

text: Bangka-Belitung Islands[edit]

text:
Bangka
Belitung

text: Kalimantan[edit]

text: Central Kalimantan[edit]

text:
Damar
Palau Baning
Palau Buaya
Palau Burung

text: East Kalimantan[edit]

text:
Balabalagan Islands
Derawan Islands
Kakaban
((Balikpapan))

text: North Kalimantan[edit]

text:
Bunyu
Sebatik
Tarakan

text: South Kalimantan[edit]

text:
Laut
Laut Kecil Islands
Sebuku

text: West Kalimantan[edit]

text:
Bawal
Galam
Karimata Islands
Karimata
Maya Karimata (Maya)

text: Sulawesi[edit]

text: Central Sulawesi[edit]

text:
Banggai Islands
Banggai
Bowokan Islands (Kepulauan Treko)
Peleng
Togian Islands
Togian *Tolitoli

text: North Sulawesi[edit]

text:
Bangka
Bunaken
Lembeh
Manado Tua
Nain
Sangihe Islands
Nanipa
Bukide
Sangir Besar (Sangir)
Siau
Tagulandang
Talaud Islands
Kabaruan
Karakelang
Salibabu
Talise

text: South Sulawesi[edit]

text:
Pabbiring Islands
Sabalana Islands
Selayar Islands
Selayar Island
Takabonerate Islands
Tengah Islands

text: Southeast Sulawesi[edit]

text:
Buton
Kabaena
Muna
Tukangbesi Islands
Wakatobi
Wangiwangi
Wowoni

text: Lesser Sunda Islands[edit]

text: Bali[edit]

text:
Bali
Menjangan Island
Nusa Lembongan
Nusa Penida
Serangan Island
Nusa Ceningan

text: East Nusa Tenggara[edit]

text:
Alor Islands, 14 islands + 1 (East Timor)
Alor
Kepa
Pantar
Flores
Babi
Mules Island
Komodo
Gili Lawadarat
Gili Lawalaut
Pulau Mangiatan
Pulau Makasar
Taka Makasar
Pulau Mauwang
Pulau Pararambah
Pulau Siaba Besar
Pulau Siaba Kecil
Pulau Mangiatan
Pulau Tatawa
Tukoh Pemaroh
Pulau Pararambah
Padar
Pulau Batubilah
Pulau Padar Kecil
Palu'e (Palu)
Rinca
Gili Motang
Golo Mori
Pulau Muang
Pulau Rohbong
Tukoh Gagak
Tukoh Rohbongkoe
Pulau Papagaran Besar
Pulau Papagaran Kecil
Pulau Batu
Pulau Mole
Pulau Pengah Besar
Pulau Pengah Kecil
Pulau Batupengah
Rote Island
Savu (Sawu)
Solor Islands
Adonara
Lembata (Lomblen)
Solor
Sumba
Timor, divided between Indonesia (West Timor) and the independent nation of East Timor

text: West Nusa Tenggara[edit]

text:
Gili Air
Banta Island
Gili Biaha
Gili Meno
Gili Mimpang
Gili Selang
Gili Tepekong
Gili Trawangan
Lombok
Medang Island
Moyo Island
Pulau Menjangan
Sangeang
Satonda
Sumbawa

text: Maluku Islands[edit]

text: Maluku[edit]

text:
Aru Islands
Enu
Kobroor
Maikoor
Trangan
Wokam
Babar
Banda
Barat Daya Islands
Damer
Liran
Romang
Wetar
Boano
Buru
Gorong archipelago
Kai Islands
Kelang
Leti Islands
Lakor
Leti (island)
Moa
Manipa
Nusa Laut
Seram
Ambon (Amboyna)
Osi
Saparua
Tanimbar Islands
Selaru
Yamdena
Small volcanic islands in Banda Sea
Tayandu Islands (Kepulauan Tayahad)
Watubela archipelago

text: North Maluku[edit]

text:
Bacan
Erà Islands
Halmahera, with nearby islands:
Makian
Ternate
Tidore
Hiri
Moti
Rau
Kakara
Meti
Medi
Tagalaya
Cumo
Widi Islands
Morotai, with nearby islands:
Rau
Obi Islands
Sula islands

text: New Guinea[edit]

text: islands near the Indonesian half of New Guinea island

text: West Papua[edit]

text: 610 islands, 35 inhabited

text:
Asia Islan
Ayu Islands
Palau Ayu
Palau Reni
Karas
Raja Ampat Islands
Batanta
Boo Islands
Fam Islands
Misool
Waigeo
Gam
Kawe
Semai

text: Papua[edit]

text:
Biak Islands
Biak
Mios Num
Numfor
Supiori
Yapen
Komoran
Yos Sudarso


document_title: Music of New York City

question_text: the primary new york destination for the folk scene beginning in the 1940s

text: Music of New York City

text: Institutions and venues[edit]

text: New York has been a center for the American music industry since the earliest records in the early 20th century. Since then, a number of companies and organizations have set up headquarters in New York, from the Tin Pan Alley publishers and Broadway to modern independent rock and hip hop labels, non-profit organizations, and others. Many music magazines are or were headquartered in New York, including Blender, Punk, Spin, and Rolling Stone.[3]

text: Carnegie Hall is one of the most important music venues in the world, especially for classical music; the hall is noted for its excellent acoustics. The venue was named for philanthropist Andrew Carnegie, but fell into disrepair in the 20th century until being renovated between 1983 and 1995. Radio City Music Hall was also a major venue after opening in 1932, and was also recently renovated; it is now a significant architectural attraction as an example of the Art Deco style.[4]

text: Lincoln Center for the Performing Arts is the largest performing arts center in the world. The center is home to twelve resident organizations, including the Metropolitan Opera, New York Philharmonic, New York City Ballet, Chamber Music Society, New York City Opera, Juilliard School, Lincoln Center Theater, and Jazz at Lincoln Center.[5] The New York Philharmonic, which performs at Avery Fisher Hall, is the oldest orchestra in the United States, founded in 1842. As of 2005[update], Lorin Maazel is the conductor. The Philharmonic has made more than 500 recordings since 1917, and was one of the first to broadcast live performances, beginning in 1922.[6] The New York Philharmonic produced celebrated composers such as George Bristow and Theodore Thomas. Bristow was a fiercely nationalistic composer who left the Philharmonic because he felt it did not glorify American music adequately, a situation he, and later Thomas, attempted to rectify.[7]

text: Other institutions and organizations in New York include the Brooklyn Academy of Music, New York City Ballet, and the Jazz Foundation of America. Notable venues that have closed include the Aeolian Hall of Rhapsody in Blue fame and the old Metropolitan Opera (demolished in 1967) at 1411 Broadway. The Apollo Theater has long been a place for African American performers to begin their careers; it has such an iconic status that Congress has declared it a National Historic Landmark.

text: Club influence[edit]

text: The New York club scene is an important part of the city's music scene, the birthplace of many styles of music from disco to punk rock; some of these clubs, such as Studio 54, Max's Kansas City, Mercer Arts Center, ABC No Rio, and CBGB, reached iconic statuses in the United States and the world. New York is home to several major jazz clubs, including Birdland, Sweet Rhythm (formerly Sweet Basil), Village Vanguard, and The Blue Note, the latter being one of the premier spots for jazz lovers. There was a time—now long gone—when 52nd Street in Manhattan, with its numerous clubs, was one of the epicenters of jazz. Future generations of music venues would retain the prolific elements of this culture. Since transmogrifying the local dance scene (deep house) to form "acid-jazz" in the late 1980s, Groove Academy/Giant Step has launched several major-label bands such as Groove Collective and Nuyorican Soul.[8]

text: The Greenwich Village folk scene is home to venues such as the long-standing landmark The Bottom Line. New York's rock scene includes clubs such as Irving Plaza, while the city's avant-garde "downtown" scene includes The Kitchen, Roulette, and Knitting Factory. The Latin and world music scene features venues such as S.O.B.'s and the Wetlands Preserve, which closed in 2001.[1]

text: Festivals, holidays and parades[edit]

text: New York City has a long history of using music in various festivals and parades, though the vibrant local music scene has meant that festivals are less of a draw than in other cities, since residents are near major sources of live music all the time. The diverse groups of immigrants living in New York have each brought with them their own holiday traditions. As a result, major festivals of music in New York include the Chinese New Year celebrations, Pulaski Day Parade, and the St. Patrick's Day Parade run by the Ancient Order of Hibernians. New York is home to the largest St. Patrick's Day parade in the world, a tradition that has continued since 1762 due to the large Irish population in New York. Irish folk music and folk-rock are the major styles at the two-day Guinness Fleadh festival. The College Music Journal Network's annual Music Marathon has been held since 1980, providing a major showcase for new music. Central Park SummerStage, a series of free concerts presented by City Parks Foundation and hosting performers of many kinds, is also a major part of New York's summer music scene, which also includes the July Intel New York Music Festival. There are numerous New York jazz festivals, including the Texaco New York Jazz Festival, Panasonic Village Jazz Festival, the JVC Jazz Festival, and the free Charlie Parker Jazz Festival.[1] The City Parks Foundation also presents a series of thirty free concerts in ten parks across all five boroughs of the city each summer. Roz Nixon founded Great Women in Jazz in 2001. It is a month-long festival in October in New York City.[9]

text: Additionally, New York hosts the yearly ElectricZoo festival, second only to Miami's Winter Music Conference as a mecca for house and electronic music fans in the United States. It also holds the annual Dance Parade which brings together all types of dance-oriented music from across the world (both traditional and contemporary) in a combined parade down Fifth Avenue. The NYC Musical Saw Festival has been a summer staple since 2001, bringing musical saw players from around the world to perform diverse types of music on this unique instrument. The festival, organized by Natalia Paruz, holds the Guinness World Records for the largest musical saw ensemble. Roz Nixon

text: Music history[edit]

text: The first music performed in the area that is now New York City was that of the Lenape Native Americans who lived there. However, little is known of these peoples' musical lives. The earliest documented music comes after the foundation of the city (then called New Amsterdam) by Dutch explorers, who controlled the area until the British conquest in 1664. The music of New York City's colonial era was primarily British in character, gradually evolving as the United States became independent and developed a distinct culture; the influence of African-American music became very important as the city's African American population increased throughout the 18th and 19th centuries.

text: By the 1830s, New York City was gradually becoming the most important cultural center in the United States, and was a home for many varieties of folk, popular and classical music. Late in the 19th century, many influential conservatories and venues were founded, including the world-famous Metropolitan Opera House and Carnegie Hall. New York's status as a center for musical development continued into the 20th century, leading to the foundation of many companies associated with the American music industry in the city. These companies included sheet music publishers, based around an area called Tin Pan Alley, and later record labels and other organizations and institutions. The rise of the Broadway theatres began in the early part of the century; the songs from Broadways musicals became some of the earliest American popular music, and eventually came to be treated as pop standards.

text: Early history[edit]

text: As the Dutch colony of New Amsterdam, New York City was populated by Dutch settlers who left little musical trace behind, excepting some songs such as "Dutch Prayer of Thanksgiving," "Rosa," and "The Little Dustman." Under English rule, sea shanties, open-air singing gardens, sometimes with fireworks, ballads and other Anglo-Irish traditions, became widespread. New York's colonial ballads were often topical, concerning the events of the day and the local gossip. Beginning in 1732, ballads were placed together with a story tying them together, forming a performance genre called the ballad opera, the best-known of which is The Beggar's Opera, first performed in 1752. That same period also saw the first concerts held in New York City, and the arrival of William Tuckey, who helped establish church music in the city.[10]

text: New York's rise as the intellectual and artistic center of the United States occurred in the 1830s. This period, which coincided with an upsurge in American nationalism, saw major growth in choral music, with musical societies being formed in most major cities, like New York; these choral societies remained a fixture of American music throughout the 19th century. Military bands were also common throughout the country, as was singing family troupes such as the Hutchinson Family. Later still, minstrel shows, comic and musical acts performed by whites in blackface, spread across the country. In New York, Italian operas were very popular throughout much of the century.[7]

text: Near the end of the 19th century, modern conservatories opened in many cities, and New York became the home of the Metropolitan Opera House in 1882 and Carnegie Hall in 1891, the latter's opening being marked by an appearance by the famed Russian composer Pyotr Ilyich Tchaikovsky. In 1892, Antonín Dvořák became Director of the National Conservatory of Music. Dvořák, a Bohemian composer, was fascinated with Native and African American folk music, and he was enthusiastic about encouraging a nationalist American field of music that utilized those fields. Dvořák only stayed on for three years before returning to Bohemia, though he influenced later composers such as his pupil, the African American composer Harry Thacker Burleigh.[7]

text: George Bristow was an important composer of the latter 19th century. He was a violinist with the New York Philharmonic, later conducting an orchestra called the Harmonic Society. He attempted to popularize an indigenous American sound in his music, using nationalist elements such as a Native American melody in his Symphony No. 4. Theodore Thomas also worked at the New York Philharmonic before forming the New York Symphony Orchestra. He hired many of the best performers of the day in an attempt to lure in audiences, and he promoted a more casual atmosphere to encourage attendance and enthusiasm.[11]

text: Classical and art music history[edit]

text: New York's position as a center for European classical music can be traced back to the early 19th century. The New York Philharmonic, formed in 1842, did much to help establish the city's reputation. In that same era was organized the short-lived rival to the Philharmonic, the American Academy of Music, founded by Charles Jerome Hopkins (born 1836 in Burlington, Vermont), William Fry, George Bristow, and Charles Steele in 1856. Two of the first major New York composers were William Fry and George Bristow, both of whom were involved in a well-known 1854 controversy over the Philharmonic's programming choices. The controversy consisted of a series of letters published in the Musical World and Times following a poor review of Fry's Santa Claus Symphony. Fry's first letter, responding angrily to the review, claimed that the Philharmonic had played no pieces by American composers, to which Bristow responded that the Philharmonic had played one piece, an overture he had composed. Henry Christian Timm, one of the founders of the Philharmonic, responded by noting a number of recently composed works.[11]

text: Both Fry and Bristow, despite their support for American compositions, were very European in style. Fry's most notable composition was the opera Leonora, which received mixed reviews upon its opening and was criticized for its debt to Vincenzo Bellini's bel canto style. Bristow was also very European in his style, and was a violinist and conductor with the Philharmonic until the 1854 controversy, though he later rejoined. His most important work was the opera Rip Van Winkle, and was very popular at the time; most influentially, Rip Van Winkle used an American folktale rather than European imitations.[11]

text: The New York native Edward MacDowell was a major late 19th-century composer, though he spent most of his productive time in Boston. His first concerto was premiered in New York in 1888, and he returned the following year to premier another concerto. MacDowell eventually began using elements of American folk music in his compositions, especially the Woodland Sketches. The Bohemian composer Antonín Dvořák came to New York in 1892 to head the National Conservatory. A fervent nationalist, Dvořák used the folk music of his native land in his music, and encouraged American composers to do the same. One of the Conservatory's students, the African American Harry Burleigh, introduced him to the songs of the minstrel shows and spirituals, and Dvorak was deeply moved, enough to write a well-known essay in an 1895 issue of Harper's declaring that American composers should use the diverse folk elements of their country in their compositions.[11]

text: In the early 20th century, the New York classical music scene included Charles Griffes, originally from Elmira, New York, who began publishing his most innovative material in 1914. His collaboration with other area performers and composers on The Kairn of Koridwen was an early attempt to use musical themes adopted from non-Western cultures, specifically, Japanese and Javanese music. He was to continue in this vein with the score for Rupert Brooke's "Wai Kiki," the ballet Sho-Jo, or — the Spirit of Wine, A Symbol of Happiness, and his orchestral composition The Pleasure-Dome of Kubla Khan. Besides Griffes, New York composers included Marion Bauer, Leo Ornstein, and Rubin Goldmark,[11] all three of whom were either Jewish immigrants or the children of Jewish immigrants.

text: The best-known New York composer — indeed, the best-known American classical composer of any kind — was George Gershwin. Gershwin was a songwriter with Tin Pan Alley and the Broadway theaters, and his works were strongly influenced by jazz, or rather the precursors to jazz that were extant during his time. It is not clear that he was a classical musician, though neither is it clear that he worked in jazz, popular music or any other field — he primarily synthesized and utilized elements of many styles, including the music of New York's Yiddish theatre, vaudeville, ragtime, operetta, jazz, Tin Pan Alley and Broadway songs, the music of the Gullah people and the impressionist and post-Romantic music of European composers. Some of his most famous compositions were the Rhapsody in Blue and Concerto in F, both of which utilized jazz idioms. Gershwin's work made American classical music more focused, and attracted an unheard of amount of international attention.[12]

text: Following Gershwin, the first major composer was Aaron Copland from Brooklyn, who used elements of American folk music, though it remained European in technique and form. His works included the Symphony for Organ and Orchestra (which was well received, earning him comparisons to Stravinsky), the jazz-affected Music for the Theatre, the music for the ballet Appalachian Spring and the Piano Variations. Later, he turned to the ballet and then serial music.[11]

text: The early-to-mid 20th century New York classical music scene also produced composers such as Roger Sessions, an academically oriented composer known for operas such as Motezuma. The similarly academic William Schuman became known for such works as the New England Triptych and his Third Symphony. Schuman also became president of the Juilliard School, changing the school by forming the Juilliard String Quartet and merging the Institute of Musical Art with the Juilliard Graduate School, as well as hiring teachers such as William Bergsma, Peter Mennin and Hugo Weisgall, who went on to teach future luminaries such as Steve Reich and Philip Glass.[11]

text: In the middle of the 20th century, the most influential New York composers included the Massachusetts native and conductor and composer Leonard Bernstein, known for his works Prelude, Fugue, and Riffs, Serenade for Solo Violin, Strings, Harp and Percussion, Chichester Psalms, and the musicals On the Town and West Side Story. Another major composer was Elliott Carter, whom John Warthen Struble claimed would likely be remembered as "the most significant of the mid-20th century... composers [because he] reconceived and restructured the fundamental language of Western art music in evolving his powerful personal style... his music has earned immense respect from colleagues of virtually every esthetic stripe, as well as three generations of performing musicians and audiences." Carter's compositions include Eight Etudes and a Fantasy for Wind Quintet and a Sonata for 'cello and piano. In addition to Carter and Bernstein, in the mid-20th century New York produced the film composer Bernard Herrmann, Gunther Schuller, and serialist Leon Kirchner.[11]

text: Many of the later 20th-century composers in various modernist and minimalist styles came from outside of New York City, such as John Cage from Los Angeles, though many studied, performed, or conducted in New York. John Corigliano, however, is a New York native who has worked exclusively in tonal idioms for most of his career. Steve Reich innovated a technique known as phasing, in which two musical activities are begun simultaneously and repeated, gradually drifting out of sync with each other in a natural evolution. Reich was also very interested in non-Western music, incorporating African rhythmic techniques in his compositions Drumming.[11] Rhys Chatham as well as Glenn Branca blended the minimal music with modern rock esthetics and began writing microtonal pieces for large orchestras of guitarists but also wrote other classical pieces with non-amplified instruments. Kyle Gann is a musicologist as well as a composer of post modern pieces.

text: Most recently, New York has become home to a Manhattan-based scene sometimes called New Music. These composers and performers are strongly influenced by the minimalist works of Philip Glass, a Baltimore native based out of New York, Meredith Monk, and others. One of the most famous persons from this scene is John Zorn, often cited as a jazz musician though he works in many fields and idioms. Others include Arto Lindsay, Marc Ribot, John Lurie, Laurie Anderson, and Bill Laswell.[1]

text: Popular music[edit]

text: New York has been the longstanding center of the American music industry, and by extension, a major center for popular music worldwide. Attaining iconic musical status in the early 20th century, New York retained its position despite the rise of other cities such as Detroit, Chicago, Los Angeles, Nashville, and San Francisco. However, by the turn of the 21st century, Los Angeles had surpassed New York as the pop music mecca not only in terms of the sheer number of musicians, bands, songwriters, recording studios, and record labels, but also because of its affordability compared to New York, attracting transplants to emerging creative centers like Echo Park.[13]

text: The African American genre of jazz was closely associated with New York by the middle of the 20th century, when a number of avant-garde performers helped created styles such as hard bop and free jazz. Later still, New York was the major American home for the punk rock and new wave movements, and was the scene for the invention of both hip hop music and Latino salsa music. Musicians from New York have also dominated the Jewish-American klezmer scene, the Greenwich Village old-time music revival, and the straight 1960s pop music exemplified by the Brill Building sound.

text: Tin Pan Alley[edit]

text: Tin Pan Alley was a center for music publishing around the turn of the 20th century. Numerous professional songwriters lived in the area, churning out songs ready for mainstream America during a time that music, like other aspects of American culture, was becoming a national rather than a regional affair.[14] Tin Pan Alley was originally in an area called Union Square, and it had become the major center for music publishing by the mid-1890s.[15] The songwriters of this era wrote formulaic songs, many of them sentimental ballads.[16] Some of the most notable publishers included Willis Woodward, the Witmark house of publishing, Charles K. Harris, and Edward B. Marks and Joseph W. Stern. Stern and Marks began writing together as amateurs in 1894, with "The Little Lost Child"; the song became a hit, selling more than two million copies of its sheet music after its successful promotion as an illustrated song and after it attracted the attention of popular stage performer Della Fox. However, Paul Dresser was, in the words of David Ewen, the "richest contributor of sentimental ballads to Union Square." He was an original composer, less maudlin, less cloyingly sentimental, and less cliché-ridden than his contemporaries.[17]

text: In addition to the popular, mainstream ballads and other clean-cut songs, some Tin Pan Alley publishers focused on rough songs such as "Drill Ye Tarriers" in 1888, believed to have been written by an unskilled laborer turned stage performer named Thomas F. Casey. Coon songs were another important part of Tin Pan Alley, derived from the watered-down songs of the minstrel show with the "verve and electricity" brought by the "assimilation of the ragtime rhythm." The first popular coon song was "New Coon in Town," introduced in 1883, and was followed by a wave of coon shouters such as Ernest Hogan and May Irwin.[18]

text: Musical theatre[edit]

text: The early 20th century also saw the growth of Broadway theatre, a group of theatres specializing in musicals. Broadway became on the preeminent locations for musical theater in the world, and produced a body of songs that led Donald Clarke to call the era (ca. 1914 to 1950), the golden age of songwriting. The need to adapt enjoyable songs to the constraints of a theater and a plot enabled and encouraged a growth in songwriting and the rise of composers such as George Gershwin, Cole Porter, Irving Berlin and Jerome Kern. Most of these songwriters were Jewish, descended from Jews who immigrated from Russia.[14]

text: Professional Yiddish theater in New York began in 1882 with a troupe founded by Boris Thomashefsky. The plays in the late 19th century were realistic, while in the beginning of the 20th century, they became more political and artistic in orientation. Some performers were well-respected enough to move back and forth between the Yiddish theatre and Broadway, including Bertha Kalich and Jacob Adler. Some of the major composers included Abraham Goldfaden, Joseph Rumshinsky and Sholom Secunda,[11] while playwrights included David Pinski, Solomon Libin, Jacob Gordin, and Leon Kobrin.

text: Blues and jazz[edit]

text: The New York blues was a type of blues music, characterized by significant jazz influences and a more modernized, urban feel than the country blues. It arose in New York City in the early part of the 20th century, and quickly spread to other urban areas and, often, more affluent listeners than country blues, which is distinctively rural in nature. Prominent musicians from this field include Lionel Hampton, Ethel Waters, and Joe Turner.

text: In New York City, jazz was fused with stride (an advanced form of ragtime) and became highly evolved, notably in the compositions of James P. Johnson in the 1920s. Fletcher Henderson's jazz orchestra, first appearing in 1923 and including Coleman Hawkins (and later New Orleans musician Louis Armstrong) became wildly popular and helped invent swing music. Though Henderson was among the first major New York jazz musicians, he was not as able to adapt to the rapidly changing style as some of his contemporaries, such as Duke Ellington. When Ellington moved to New York City, he inaugurated a legion of jazz musicians that did the same and moved the center of jazz's development from Chicago to New York.

text: The style that developed from New York's big jazz bands became known as swing music; it was a very danceable and catchy style, played originally by large black orchestras. Later, white bands led by musicians such as Jimmy Dorsey and Benny Goodman began to dominate. These large orchestras produced a number of instrumentalists that had a profound effect on the later evolution of jazz, including Coleman Hawkins' tenor saxophone innovations, electric guitarist Charlie Christian, and improvisational Lester Young. Star vocalists also emerged, mainly women, such as the bluesy Billie Holiday and the scat singer Ella Fitzgerald.[1]

text: New York's jazz scene was the home of bebop, which evolved over many years and reached its full identity in the mid-1940s. Charlie Christian, Dizzy Gillespie, Charlie Parker, and Thelonious Monk were among the major innovators of the style. Bebop "polarized listers, critics and musicians alike" because it differed from swing in many important ways, including a lack of typical riffs and danceable beats, the use of melodic progression and the chords as the basis for all soloing and improvising.

text: In the 1950s, jazz began to diversify into a number of new genres, spread out into many cities. The West Coast became a home for cool jazz, though the style's major innovator was New York-based Miles Davis. New York was also a major center for hard bop, and was home to Sonny Rollins and Art Blakey. Late in the 1950s, the Los Angeles-based Ornette Coleman moved to New York, bringing with him the nascent style of free jazz. He was later joined by a number of others, most famously including John Coltrane and his contemporaries, such as Albert Ayler and Sun Ra.[1]

text: The last few decades have seen a further diffusion of jazz from New York and other major long-time capitals, to cities and regions across the United States and the world. Many New York jazz performers during this period played fusions of jazz with rock and other styles; among the earliest of these modern musicians was Carla Bley, cofounder of the Jazz Composers Orchestra Association, an independent distribution company for avant-garde and jazz artists. The city has also been home to the well-known modern performer from New Orleans, Louisiana, Wynton Marsalis and the large M-Base Collective, as well as people such as John Zorn who use jazz as a prominent part of their experimental music in many different styles.[1]

text: The neo-soul/jazz band Youman Wilder featuring Weird Stories is a New York-born-and-bred band with a following in Europe, Canada, and Asia. Wilder was one of late Grammy Award-winning[19] singer Amy Winehouse's favorite vocalists.

text: The sweet multi-part harmonies of Doo-Wop originated on the street corners of Harlem and Brooklyn. Although other cities such as Philadelphia and Chicago would have strong Doo-Wop scenes, the sound was nurtured on the streets of New York by early pioneers of the sound such as The Ravens, The Crows, The Chords, and especially The Drifters, who would enjoy a long and very prolific career. By the 1950s, a plethora of groups would hail from New York, including Frankie Lymon & The Teenagers; The Crests, led by Johnny Maestro & the Brooklyn Bridge, which became synonymous with Brooklyn Doo-Wop; The Rays; The Mystics; and pioneering female groups The Bobbettes and The Chantels, who would influence the Girl group sound of the 1960s.

text: List of notable doo wop groups from New York City[edit]

text:
The Bobbettes
The Bonnie Sisters
The Cadillacs
The Capris
Cathy Jean and the Roommates
The Chantels
The Chimes
The Chords
The Cleftones
The Crests
The Crows
The Danleers
Dion & The Belmonts
Don & Juan
The Drifters (#1 Billboard Hot 100 hit with "Save the Last Dance For Me" in 1960), sang "On Broadway"
The Dubs
The Hearts
The Impalas
The Jive Five
Johnnie & Joe
Little Anthony & The Imperials
Johnny Maestro & the Brooklyn Bridge
The Mystics
The Quin-Tones
Randy & The Rainbows
The Rays
The Tokens (#1 Billboard Hot 100 hit with "The Lion Sleeps Tonight" in 1961)

text: Greenwich Village[edit]

text: Beginning in the 1940s, New York City was the center for a roots revival of American folk music. Many New Yorkers, especially young people, became interested in blues, Appalachian folk music, and other roots styles. In Greenwich Village, many of these people gathered; the area became a hotbed of American folk music as well as leftist political activism.

text: The performers associated with the Greenwich Village scene, many of whom were not originally from New York, had sporadic mainstream success in the 1940s and 1950s; some, such as Pete Seeger and the Almanac Trio, did well, but most were confined to local coffeehouses and other venues. Performers such as Dave Van Ronk and Joan Baez helped expand the scene by appealing to college students. In the early 1960s, Baez was instrumental in introducing the up-and-coming young folk artist Bob Dylan to her audience and he quickly achieved national prominence. By the mid-1960s, folk and rock were merging, with Bob Dylan taking the lead in July 1965, releasing "Like a Rolling Stone," with a revolutionary rock sound for its time, steeped in tawdry New York City imagery, followed by an electric performance in late July at the Newport Folk Festival. Dylan plugged an entire generation into the milieu of the singer-songwriter, often writing from an urban, New York point of view. By the mid-to-late 1960s, bands and singer/songwriters began to proliferate the underground New York art and music scene. The release of The Velvet Underground & Nico in 1967, featuring singer-songrwriter Lou Reed and German collaborator Nico, was described as the "most prophetic rock album ever made" by Rolling Stone in 2003. New York City in the mid-to-late 1960s gave birth to the contemporary singer/songwriter, with the urban landscape as a canvass for lyrics in the confessional style of poets like Anne Sexton and Sylvia Plath. In July 1969, Newsweek magazine's feature story, "The Girls-Letting Go," described the groundbreaking music of Joni Mitchell, Laura Nyro, Lotti Golden, and Melanie as a new breed of female troubadour: "What is common to them are the personalized songs they write, like voyages of self discovery, startling in the impact of their poetry." The work of these early New York-based singer/songwriters, from Laura Nyro's insightful New York Tendaberry, released in 1969, to Lotti Golden's adventurous East Village, Manhattan, diaries on Motor-Cycle, her 1969 debut on Atlantic Records, has served as inspiration to generations of female singer/songwriters in the rock, folk, and jazz traditions. The Guardian in January 2017 paid homage to the female singer/songwriters featured in Newsweek's July 1969 article, in a piece by Laura Barton: "Newsweek published an article under the headline 'The Girls – Letting Go,' charting the burgeoning careers of a group of young musicians it termed 'a new school of talented female troubadours.' They sang about politics, love affairs, the urban landscape, drugs, disappointment, and the life and loneliness of the itinerant performers, subjects that, hitherto, had largely been the preserve of male musicians." New York would see a revived interest in folk and singer/songwriters in the 1980s and 1990s led by artists like Suzanne Vega.

text: List Of notable singer-songwriters and folk artists from New York City[edit]

text:
Joan Baez
Keith Barbour
Harry Chapin #1 Billboard Hot 100 hit with "Cat's in the Cradle" in '74
Alana Davis
Art Garfunkel
Terry Gilkyson
Arlo Guthrie
Lotti Golden
Richie Havens
Sophie B. Hawkins
Janis Ian
Carole King #1 Hot 100 hit with "It's Too Late" in '71
Melanie #1 Hot 100 hit with "Brand New Key" in '71
Ingrid Michaelson
Maria Muldaur
Harry Nilsson #1 Hot 100 hit with "Without You (Badfinger song)" in '72
Laura Nyro
Michael Penn
The Rooftop Singers #1 Hot 100 hit with "Walk Right In" in '63
John Sebastian #1 Hot 100 hit with "Welcome Back" in '76
Carly Simon #1 Hot 100 hit with "You're So Vain" in '73
Suzanne Vega
Peter Yarrow

text: Disco and house[edit]

text: Disco is an up-tempo style of dance music that originated in the early 1970s, with its center in the United States in New York. As discothèques grew more popular later in the decade, they began moving to larger venues as the sound became popularized by artists such as Newark native Gloria Gaynor. Many of these were in New York, including Paradise Garage and Studio 54. As the disco trend faded, dance clubs continued to have a home in New York into the 1980s in trendy clubs such as Danceteria, remembered perhaps best as the club where arguably dance music's biggest superstar, Madonna, began her career.

text: In the early 1980s, house music, a direct descendent of disco, was forged in the underground clubs of Chicago, Detroit, and New York. The common element of most house music is a 4/4 beat generated by a drum machine or other electronic means (such as a sampler), together with a solid (usually also electronically-generated) bassline. Upon this foundation are added electronically generated sounds and samples of music such as jazz, blues, and synthpop.

text: Freestyle also originated in New York during the 1980s. A sound characterized by a mixture of Latin music beats and melodies fused with elements of disco, hip hop, and synthpop, it became popularized by New York natives such as Lisa Lisa & Cult Jam, Brenda K. Starr, and TKA.

text: List of notable disco and dance artists From New York City[edit]

text:
Alisha (singer)
Brass Construction
Breakfast Club (band)
Sharon Brown (singer)
B.T. Express
C+C Music Factory (#1 Hot 100 hit with "Gonna Make You Sweat (Everybody Dance Now)" in 1991)
Irene Cara (#1 Billboard Hot 100 hit with "Flashdance... What a Feeling" in 1983)
Chic (2 #1 Hot 100 hits, including "Le Freak" in 1978)
Corina (singer)
The Cover Girls
Deee-Lite
Kat DeLuna
Carol Douglas
Drop The Lime
Evelyn "Champagne" King
Lady Gaga (has had 3 #1 Billboard Hot 100 hits, including "Born This Way in 2011")
George Lamond
LCD Soundsystem
Lil Suzy
Lisa Lisa & Cult Jam (2 #1 Hot 100 hits, including "Head to Toe" in 1987)
Denise Lopez
Lisette Melendez
Odyssey (band) sang "Native New Yorker" in 1977
Reel 2 Real
Robin S.
Vicki Sue Robinson
Sa-Fire
Seduction (band)
Brenda K. Starr
Sweet Sensation
TKA
2 In A Room

text: Salsa[edit]

text: Salsa is a style of Latin music that incorporates multiple styles and variations. It was developed by mid-1960s groups of New York City-area Cuban and Puerto Rican immigrants to the United States, such as Machito and Tito Puente, with later variants such as 1980s salsa romántica[citation needed] and salsa dura. Salsa, along with other Latin American genres, has become extremely popular in New York City. Latin dancing is also very popular. Salsa, a music predominantly derived from the Cuban son montuno, was imported back to Latin America where it has become popular over the past 40 years. Salsa aficionados the world over know that the origin of the music is uniquely tied to New York City.

text: The same phenomenon has recently occurred with yet another type of Latin rhythm, bachata. Bachata is dominated by Dominicans, especially Dominicans from New York's Washington Heights neighborhood. From The Bronx came bachata's most popular band Aventura, whose lead singer Romeo Santos embarked on a successful solo career in 2011.

text: Hip Hop[edit]

text: New York City gave rise to the creation of hip hop music and electro in the late 1970s and early 1980s. "Rapper's Delight" is widely regarded as the first hip hop record to gain widespread popularity in the mainstream. The genre got its start at neighborhood block parties when DJs such as Kool Herc began isolating percussion breaks in funk and R&B songs, eventually rapping while the audience danced. From the late 1970s to about 1984, New York was the only city with a major hip hop scene, and the demand for records created competing independent record labels, including Profile Records, Prism Records, and Tommy Boy Records, pumping out 12" records at a furuious pace due to the popularity of the new genre, the incredible creativity of the early hip hop producers and artists, as well as the profitability of the new market. Labels were able to issue quality recordings due to the affordability of new technology, primarily the Roland TR-808 drum machine. The first wave of hip hop records (old school hip hop), pomolgated by producers, artists, and writers including Arthur Baker, John Robie, Lotti Golden, Afrika Bambaataa, Grand Master Flash, Melle Mel, The Fat Boys, and Spoonie Gee, were electronic, some with rap vocals and some without. The year 1982 was prolific, with seminal recordings like "The Message," "Planet Rock," and "Nunk" exploring social issues, also known as conscious rap, and fusing electro with hip hop introducing a sci-fi, Afrofuturist perspective. By 1984, hip hop began to change; new sparse beats and rock samples gave the genre a harder edge, with groups like Run DMC and the Beastie Boys and producers Russel Simmons and Rick Rubin at the forefront of a new iteration of the genre. Hip hop's early years saw an ongoing rivalry between the boroughs of New York City, with each seeking credit for its rightful contributions to the culture. The original "beef" pitted The Bronx, led by Boogie Down Productions, against Marley Marl's Queens-based Juice Crew.

text: By the early 1990s, however, West Coast rap from Los Angeles was gaining national fame. In 1992, Dr. Dre's The Chronic became a national hit and made the West Coast the most popular center of hip hop. However, in 1993, with the release of Black Moon's Enta Da Stage and later on Wu-Tang Clan's 36 Chambers in the same year, East Coast hip hop made a major comeback. The release of Nas's Illmatic and The Notorious B.I.G.'s Ready to Die in 1994 made New York City the most popular center of hip hop once again in a timeframe of just two years. The West Coast never again enjoyed such levels of success as they did in 1992 and 1993. However, the East Coast delivered one classic album after another for the rest of the decade. Most prominent of the releases include Mobb Deep's The Infamous and Hell On Earth, Jay-Z's Reasonable Doubt, and DMX's It's Dark and Hell Is Hot. Ma$e's Harlem World cemented him as the most popular MC in New York in the late 1990s. However, he left the industry to pursue other callings. The East Coast still remains a prominent center of hip hop in the current scene, but their mainstream appeal has been somewhat taken over by the rappers from the Southern states of the U.S.

text: Each borough or area of New York City has its fair share of associated hip hop acts, both commercially successful and underground. KRS-One, Fat Joe, Big Pun, and Slick Rick all grew up in The Bronx, although the latter is an implant from London, England. Wu-Tang Clan put Staten Island on the hip hop map, renaming the borough "Shaolin." LL Cool J, Run–D.M.C., Salt-N-Pepa, Eric B. & Rakim, Black Sheep, A Tribe Called Quest, Akinyele, Ja Rule, 21 Quest,[20] Pharoahe Monch, and 50 Cent are all from Queens. Additionally, the Queensbridge Projects in Queens have been an epicenter of hip hop, producing the Juice Crew (Marley Marl, MC Shan, Roxanne Shante), Mobb Deep, Capone-N-Noreaga, and Nas. In order of appearance, Brooklyn has produced Whodini, Newcleus, Audio Two, Full Force, MC Lyte, Gang Starr, Jeru the Damaja, Masta Ace, Boot Camp Clik, AZ, Busta Rhymes, Foxy Brown, Talib Kweli, Afu-Ra, M.O.P., Shyne, and Siah and Yeshua DapoED. The Bedford-Stuyvesant neighborhood has been a hotbed successful hip hop artists, including Junior M.A.F.I.A. (consisting of The Notorious B.I.G., Lil' Kim, Lil' Cease, Mase, and others), Big Daddy Kane, Jay-Z, Killah Priest, Mos Def, and Joey Bada$$. Lastly, the island of Manhattan, particularly Harlem, is home to artists such as Kurtis Blow, Doug E. Fresh (an implant form Barbados), Biz Markie, 2 Black 2 Strong MMG, Big L, Immortal Technique, Vast Aire, Azealia Banks, Cam'ron, Mase, Black Rob, MIMS, Street P, Dipset, Eyston, Warp 9, and A$AP Rocky.

text: Rock[edit]

text: Since the beginning of the genre, New York City has been a vital force in the shaping of rock 'n' roll. DJ Alan Freed, perhaps the most influential force in popularizing rock 'n' roll, broadcast his highly influential show from WINS, which became one of the earliest exclusively rock 'n' roll stations. Early rock 'n' roll sounds such as Doo-Wop and Girl group were nurtured in New York.

text: List of notable mainstream rock artists from New York City[edit]

text:
Billy Joel
Blood, Sweat & Tears
Blues Magoos
Cat Mother & The All Night Newsboys
Dog's Eye View
Walter Egan
Lotti Golden
Every Mother's Son
Gary Lewis & The Playboys
Kiss
Cyndi Lauper (2 #1 Hot 100 hits, like "Time After Time" in 1984)
The Lovin' Spoonful (#1 Billboard Hot 100 hit with "Summer in the City" in 1966)
The Mamas & the Papas
Orleans (band)
Patty Smyth
Ramones
Lou Reed
Sonic Youth
Spider (American band)
Spin Doctors
Starz (band)
Stories (band)
The Strokes
Vanilla Fudge
The Velvet Underground
White Lion
Winger
Peter Wolf
Yeah Yeah Yeahs
Interpol (band)
Talking Heads

text: Proto punk, new wave and no wave[edit]

text: New York City had the earliest documented punk rock scene in the United States. Drawing on local influences such as The Velvet Underground, Richard Hell, and the New York Dolls, punk music developed at clubs such as CBGB and Max's Kansas City. Patti Smith, Talking Heads, Blondie, Suicide, Television, The Fleshtones, and other artsy new wave artists were popular in the mid-to-late 1970s, as bands like the Ramones were establishing an American punk rock sound. CBGB and Max's Kansas City opened their doors and became influential venues. No Wave was a short-lived movement in New York and raised James Chance, DNA, Rhys Chatham, Glenn Branca, Lydia Lunch, Rat At Rat R, Swans, Bush Tetras, Live Skull, Band of Susans, Ut, and later Sonic Youth. More recent New York City punk bands include Bayside and I Am The Avalanche.

text: Hardcore punk and ska[edit]

text: In the early 1980s, hardcore punk was developing primarily in Southern California and Washington, D.C. The New York hardcore scene was founded by 1981, and bands such as Reagan Youth and Kraut led the initial charge. By 1985, the New York hardcore scene had become inhabited by straight edgers and skinheads, including bands such as Agnostic Front, Cro-Mags, Heart Attack, Youth of Today, The Plasmatics, Warzone, and Murphy's Law. With the collapse of the CBGB hardcore matinees due to constant violence, a more activist DIY scene began to develop around ABC No Rio and the squats of the Lower East Side. New York has been at the center of the United States third wave ska scene. The founders of third wave ska, which drew on British Two-Tone ska, were New York bands such as the Toasters and Urban Blight. In the early 1980s, Toasters singer/guitarist and songwriter Robert 'Bucket' Hingley established Moon Ska Records; the label operated until the late 1990s, giving many ska bands from New York and elsewhere international exposure. Some of the other ska bands to come from the New York scene were Skinnerbox, The Slackers, and Mephiskapheles. Other major hardcore punk bands from New York are Sick of It All, H2O, and Madball. There are also ska-jazz bands, such as the New York Ska Jazz Ensemble.

text: Heavy metal[edit]

text: New York City has also contributed to the heavy metal genre. During the 1980s and 1990s, it was a major center of the East Coast thrash metal scene, which produced the bands Anthrax and Nuclear Assault. Funk metal groups such as Living Colour and 24-7 Spyz, and alternative metal groups such as Prong and Helmet, also emerged from the growing New York metal scene. Three other major metal bands from New York are Type O Negative, Emmure, and Life of Agony, all from Brooklyn.

text: In the 1990s and later, New York City and its environs developed a small but influential death metal scene. Suffocation, one of the best-known bands to emerge from the scene, earned a good deal of notoriety for their brutal, complex, and uncompromising style. Another long-lived New York death metal group is Immolation, whose innovative use of dissonance helped to establish them as underground favorites. Other bands associated with New York death metal are Mortician and Incantation, the latter being originally from Pennsylvania.


document_title: Train Kept A-Rollin'

question_text: who played guitar on aerosmith train kept a-rollin

text: Train Kept A-Rollin'

text: Original song[edit]

text: Tiny Bradshaw and his band first recorded "The Train Kept A-Rollin'" in 1951.  They performed the song as a mid-tempo jump blues,[1] which uses a boogie-woogie bass line and a shuffle rhythm.[3]  The introductory section features scat singing by Bradshaw answered by a chorus.[3] The verses are delivered in a lively vocal style, followed by  an instrumental break with a raucous, honking-style tenor saxophone solo by Red Prysock and backed by drummer Philip Paul's a heavy backbeat.[3]  Bradshaw's lyrics use early jazz hipster references:

text:
I caught the train I met a real dame, she was a hipster and a gone dame
She was pretty from New York City, and she trucked on down the ol' fair lane
With a heave and a ho, and I just couldn't let her go ...
The train kept a rollin' all night long, and I still wouldn't let her go

text: The lyrics are based on "Cow-Cow Boogie", a 1942 song about a singing cowboy.[4]  Bradshaw rewrote lines, such as "a ditty he learned in the city" and "get along, get hip little doggies, and he trucked 'em on down the old fairway", to meet his new scenario.[4]  Although the King Records single lists "Bradshaw-Mann" as the songwriters, reissues and subsequent recordings of "The Train Kept A-Rollin'" credit Tiny Bradshaw, Lois Mann (a pseudonym of King Records' owner Syd Nathan), and Howard Kay.  BMI, the performing rights organization, lists the songwriters/composers as "Myron C. Bradshaw, Sydney Nathan, and Howard Kay".[5] According to music historian Larry Birnbaum, "Mann's name was plainly added to allow Syd Nathan to siphon off a share of the publishing royalties, as label owners routinely did in those days; as for Kay, his identity remains a mystery".[3][a]

text: The recording session took place on October 6, 1951, in Cincinnati, Ohio.  Besides Brashaw, Prysock, and Paul, the other participants were: Leslie Ayers and Lester Bass on trumpets; Andrew Penn on trombone; Ted "Snooky" Holbert on alto and baritone sax; Rufus Gore on tenor saxes; Jimmy Robinson on piano; and Clarence Mack on bass.[6]  King Records issued the song on both ten-inch 78 rpm and seven-inch 45 rpm records in late 1951.  Billboard magazine reviewed the release and commented using jump parlance: "The singer comes thru [sic] with a great vocal on a rockin' novelty, with some solid chorus and ork [orchestra a.k.a. swing band] backing.  Tune builds all the way.  Platter could catch a lot of change."[7]  However, it did not appear on the charts of the nation's most popular R&B songs, such as those compiled by Billboard.  Although Bradshaw had five other records that reached the R&B top ten,[8] "The Train Kept A-Rollin'" remains his best-known recording and continues to be popular with Shag dancers (a type of swing dance) on the U.S. Eastern Seaboard.[1]

text: Johnny Burnette rendition[edit]

text:
"The Train Kept A-Rollin'"
Single by Johnny Burnette and the Rock and Roll TrioB-side
"Honey Hush"Released
September 1956 (1956-09)Format
10-inch 78 rpm & 7-inch 45 rpm recordsRecorded
July 2, 1956Studio
Owen Bradley, Nashville, TennesseeGenre
Rockabilly[9]Length
2:17Label
Coral (no. 61719)Songwriter(s)
Tiny Bradshaw, Lois Mann, Howie Kay

tag: table

text: In 1956, Johnny Burnette and the Rock and Roll Trio reworked Bradshaw's song using a rockabilly/early rock and roll arrangement.  The Trio's version features guitar lines in what many historians consider to be the first recorded example of intentionally distorted guitar in rock music,[10] although blues guitarists, such as Willie Johnson[11][12] and Pat Hare,[13][14] had recorded with the same effect years earlier.

text: The Trio's guitarist, Paul Burlison, explained that he noticed the sound after accidentally dropping his amplifier, which dislodged a power tube and later, "whenever I wanted to get that sound, I'd just reach back and loosen that tube".[9]   He utilized this effect with the song's main instrumental feature, a three-note minor key guitar line repeated throughout.[15]  Burlison recounted how he came up with the signature guitar riff:

text: [I was] in the dressing room with the loose tube. Johnny [Burnett] was playing an E chord and I was playing in a G position but I'd take my fingers off and play in octaves [using the thumb and middle or index finger]. He wasn't singing 'The Train Kept A-Rollin'', it was another song, and I got to doing doom diddle doom daddle doom daddle ... [Later] I told Owen Bradley about it at the Barn, where we cut the stuff, and he said, 'let me hear it'.  So I started doing it and he said, 'Well, let's do it'.[16]

text: The day after recording "The Train Kept A-Rollin', the trio recorded a version of Big Joe Turner's "Honey Hush", which features a more extensive use of the riff.[15] Coral Records released both songs on a single in September 1956.[17]

text: Later, authors Vince Gordon and Peter DijkemaIt argue that the guitar sound on "The Train Kept A-Rollin'" could be created with distortion commonly achievable with a highly-overdriven early 1950s guitar amplifier.[10][b] They point out that in the recording, the higher treble strings sound relatively clean, with the low E string having the most distortion; with a tube malfunction, all strings would be distorted more or less to an equal degree.[10]  The authors add that this difference in sound could be achieved with the pole piece for the low E string raised higher than the rest, thereby allowing it to overload the amplifier more than the treble strings.[10] They also argue that Nashville session guitarist Grady Martin provided the guitar parts for the Trio's recording; they base this on stylistic and technical qualities, since, at the time, Martin was a more accomplished player than Burlison, and these qualities are apparent in his work on other recordings.[10]

text: The Yardbirds versions[edit]

text:
"The Train Kept A-Rollin'"
1965 German single picture sleeveSong by the Yardbirdsfrom the album Having a Rave UpReleased
November 15, 1965 (1965-11-15)Recorded
Memphis, Tennessee, and New York City, September 1965Genre
Rock,[19] blues rock,[19] psychedelic rock[20]Length
3:28Label
EpicSongwriter(s)
Tiny Bradshaw, Howard Kay, Lois MannProducer(s)
Giorgio Gomelsky

text: English rock group the Yardbirds recorded "The Train Kept A-Rollin'" during their first American tour in 1965.  It is based on Johnny Burnette's adaptation, but Beck biographer Annette Carson comments their "propulsive, power-driven version, however, deviated radically from the original ... [their] recording plucked the old Rock & Roll Trio number from obscurity and turned it into a classic among classics".[21]  The Yardbirds' lead guitarist Jeff Beck, who is a fan of early rockabilly, said that he introduced the song to the group: "They just heard me play the riff, and they loved it and made up their version of it".[15] Giorgio Gomelsky, the group' first producer, states that Sonny Boy Williamson II's use of blues harp to imitate train sounds during his 1963 UK tour with the Yardbirds also inspired the band's adaptation of the song.[22][c]

text: The song opens with Beck using volume swells on an overdriven guitar to simulate a train whistle and the band launches into the song with rhythm guitarist Chris Dreja, bassist Paul Samwell-Smith, and Beck following the riff from the Rock and Roll Trio's song.[23] Two combined takes of Keith Relf's vocal, with some differences in the lyrics, come in after twelve bars.[23]  Following the vocal section, the rhythm changes to a shuffle and a 12-bar harmonica and guitar bridge sets the stage for Beck's first solo.  After returning to the original rhythm for another double-tracked vocal section, a brief "rave up"-style section precedes Beck's second solo.[19]  A rave up is used to describe a middle instrumental section of a song, when the beat shifts into double-time and the instrumental improvisation gradually builds to a climax. It was part of the Yardbirds' signature sound[d] and "represent[s] some of the earliest psychedelic blues-rock, antedating Jimi Hendrix and Cream", according to Birnbaum.[19]  Beck's second guitar solo, which extends for two 12-bar sections, features an early use of a fuzz-tone distortion effects pedal.[20]  Birnbaum describes his work as "incendiary"[19] and "riveting, relatively complex solos".[15] The Yardbirds' rendition became the new standard that subsequent musicians would follow.[24]

text: The song was recorded by Sam Phillips at his Phillips Recording studio in Memphis, Tennessee, on September 12, 1965, with further recording by Roy Halee at Columbia Recording Studio in New York City on September 21 and 22, 1965.[e]  "The Train Kept A-Rollin'" was included on studio side of the Yardbirds' second American album Having a Rave Up, which was issued on November 15, 1965. The song, along with another American studio recording, "I'm a Man", was not released in the UK until the mid-1970s, well after the group had disbanded.  The song was a staple of the band's concerts and they recorded several live versions with Beck, which appear on albums such as BBC Sessions (1991) and Glimpses 1963–1968 (2011).

text: In June 1966, bassist Samwell-Smith left the Yardbirds to become a record producer.  His initial replacement, well-known studio guitarist Jimmy Page, soon switched to guitar with second guitarist Dreja taking over on bass. With both Beck and Page on board, the Yardbirds had one of the first dual lead guitar teams in popular rock.  Movie director Michelangelo Antonioni saw the group's September 23, 1966, performance at the Royal Albert Hall in London and, being impressed with their version of the song, requested that they perform "Train Kept A-Rollin'" for his upcoming film, Blowup.[26]  Less than two weeks later, the group entered the Sound Techniques studios in London, where they recorded on October 3–5, 1966.[27]  Unable to secure the movie performance rights from the song's publisher, singer Keith Relf wrote new lyrics, renamed it "Stroll On", and included credits to the five band members.[28]  The Yardbirds also introduced an updated arrangement to go with the new lyrics.  Led Zeppelin biographer Keith Shadwick describes the new version as "brutal, menacing, and teetering on all-out violence",[26] which foreshadows heavy-metal.[29]  It opens with a new drum part by Jim McCarty and harmonized guitar feedback, before Beck's train whistle simulation.[26]  Unlike their earlier song, Relf's vocal is not double tracked nor does he play harmonica and the rhythm remains on the riff throughout the song.  The guitar work, with both Beck and Page contributing lead-guitar parts,[f] has been called "revolutionary", from the opening "wall of feedback", the use of "jarringly dissonant chords", and the "twining guitar duet" by Birnbaum.[29][g]  During October 12–14, the Yardbirds were filmed lip syncing the song for Blowup.  Their scene was staged on a set at Elstree Studios designed to resemble the Ricky-Tick, a popular London club and, at Antonioni's direction, Beck smashes his guitar, in the manner of the Who's Pete Townshend.[h]  The song as performed in the film is edited (doubled) to increase its length for the story line.[19]  "Stroll On" was later included on the Blow-Up soundtrack album (1967) and appears on the Yardbirds compilation albums Train Kept A-Rollin'/The Yardbirds Story (1993) and Ultimate! (2001).

text: After Jeff Beck's departure in late 1966, the Yardbirds continued to regularly perform "The Train Kept A-Rollin'".  The original lyrics were used, but the "Stroll On" arrangement was followed with  Jimmy Page playing all the guitar parts.[31]  Live performances with Page were later released on Live Yardbirds: Featuring Jimmy Page (1971), Last Rave-Up in L.A. (1979), Glimpses 1963–1968 (2011), and Yardbirds '68 (2017).[i]

text: Led Zeppelin performances[edit]

text: Shortly after Keith Relf and Jim McCarty left the Yardbirds in mid-1968, Jimmy Page searched for new musicians for a successor band.  When the future members of Led Zeppelin rehearsed together for the first time in 1968, the first song they played was "Train Kept A-Rollin'".[33]  In When Giants Walked the Earth, biographer Mick Wall quotes Page:

text: [W]e did 'Train' ... It was there immediately.  It was so powerful that I don't remember what we played after that.  For me it was just like, 'Crikey!' I mean, I'd had moments of elation with groups before, but nothing as intense as that.  It was like a thunderbolt, a lightning flash – boosh!  Everyone sort of went 'Wow'.[34]

text: The song was included in their early performances as "the New Yardbirds" and was featured as their opening number in Led Zeppelin's 1968 and 1969 tours, and was included on several bootleg albums.[35]  In an interview, early MTV video host J.J. Jackson, who pointed out that he does not characterize Led Zeppelin's music as heavy metal, described a bootleg recording from their first American tour, "if this were the only recording somebody ever heard of them, it doesn't get much more 'heavy metal' sounding than this, does it?"[36]  They later revived it for their final tour "Over Europe" in 1980. Though a studio version was never recorded by Led Zeppelin, as a solo artist Page recorded, during his Outrider sessions in 1988, a version similar to the Led Zeppelin 1980 version.

text: Aerosmith version[edit]

text:
"Train Kept A-Rollin'"
Columbia single edit labelSong by Aerosmithfrom the album Get Your WingsReleased
March 1, 1974 (1974-03-01) (album)
October 24, 1974 (single)
Recorded
December 17, 1973 — January 14, 1974Studio
Record Plant, New York CityGenre
Hard rock[37]Length
5:33 (album)
3:15 (single edit)
Label
ColumbiaSongwriter(s)
Tiny Bradshaw, Lois Mann, Howard KayProducer(s)
Jack Douglas

text: In 1974, Aerosmith brought "Train Kept A-Rollin'" into the hard-rock mainstream.[37] Steven Tyler, Joe Perry, and Tom Hamilton had performed the song prior to joining Aerosmith.  Perry recalled, "'Train Kept A-Rollin'' was the only song we had in common when we first got together.  Steven's band had played 'Train' and Tom and I played it in our band ... It's a blues song, if you follow its roots all the way back ... I always thought if I could just play one song, it would be that one because of what it does to me".[37]  Perry's band began performing the song regularly after he had been moved by the performance of "Stroll On" in Blowup; Tyler recalled his band opened for the Yardbirds in 1966:

text: I had seen the Yardbirds play somewhere the previous summer with both Jeff Beck and Jimmy Page in the band ... In Westport [at their supporting gig on October 22, 1966] we found out that Jeff had left the band and Jimmy was playing lead guitar by himself.  I watched him from the edge of the stage and all I can say is that he knocked my tits off.  They did 'Train Kept A-Rollin'' and it was just so heavy.  They were just an un-fuckin'-believable band.[38]

text: The song was an early feature of Aerosmith's concerts and a frequent show closer, including for their first gig in 1970.[31]  They wanted to record a live version of the song, but producer Jack Douglas persuaded them to record a studio version, which actually consisted of two different versions of the song.  The first part was slower, "more groove-oriented", while the second was a spirited rocker.[39]  To give the second part more of a live sound, Douglas overdubbed crowd noise from The Concert for Bangladesh, the 1971 benefit organized by George Harrison.  Steve Hunter and Dick Wagner, who worked with Lou Reed and Alice Cooper, were brought in to record the guitar parts.  According to Hunter, "We [Wagner and I] wanted to keep the solos equal so we'd sit down ... and go through the material so it was totally even ... We didn't want it to look like there was a rhythm guitar player and a lead guitar player, because that's what we both did".[40]  Hunter later elaborated:

text: Aerosmith was in Studio C of The Record Plant and I was doing work with Bob Ezrin in Studio A. I had a long wait between dubs and was waiting in the lobby. Jack Douglas popped his head out of Studio C and asked 'Hey, do you feel like playing?' I said sure, so I grabbed my guitar and went in ... I had two run thru’s [sic], then Jack said 'great that's it!' That turned out to be the opening solos on 'Train Kept A Rollin'".[41]

text: In 1974, "Train Kept A-Rollin'" was included on Aerosmith's second album Get Your Wings.  A 3:15 edited version of the song without the added audience noises was released as a single, but it did not appear on the record charts.  The song continues to be a highlight of the group's shows and the album version has become a staple of album-oriented rock and classic rock radio.  It has become so identified with Aerosmith, that when Jeff Beck (whose 1965 and 1966 recordings with the Yardbirds inspired Tyler and Perry) occasionally performs it, he often hears comments like "Hey, I like your angle on the Aerosmith tune".[42]

text: The song is featured on three Aerosmith live compilations: Live! Bootleg (1978), Classics Live (1986), and Rockin' the Joint (2005).[43]  On the Rockin' the Joint version, Perry and Brad Whitford can be heard doing a little bit of "The Star Spangled Banner" towards the end.  Additionally, the band is known to play two different versions of the song, the regular version of the song, as well as a slowed-down version often called "Slow Train" in the setlists.  On at least two occasions, Tyler and Perry have performed the song with other artists; in 1992 with Guns N' Roses[44] and in 1995 with Page and Plant. In 2002, the whole band performed the song live with the Japanese hard rock duo B'z. It also appears in the music video game Rock Band, and the master track appears in Guitar Hero: Aerosmith as the final encore in the game. In 2012, Aerosmith performed the song with Johnny Depp, which is included as an extra track on the Music from Another Dimension! DVD.

text: Recognition and legacy[edit]

text: The Johnny Burnette Rock and Roll Trio rendition of "Train Kept A-Rollin'" is included in the Rock and Roll Hall of Fame's exhibit of the "500 Songs that Shaped Rock and Roll".[45] Birnbaum notes the song's lasting appeal and discusses renditions by Jeff Beck, Dread Zeppelin, Tav Falco's Panther Burns, Foghat, Guana Batz, Haymarket Square, Colin James and the Little Big Band, Riot, Métal Urbain, Hanoi Rocks, Motörhead, Nazz, Shakin' Stevens and the Sunsets, Skid Row, Screaming Lord Sutch, Sugarloaf, The Tragically Hip, Twisted Sister, and the Up.[46]  He sums up the various influences and versions:

text: As it evolved from ragtime through jazz, boogie-woogie, big-band swing, small combo rhythm-and-blues, rockabilly, blues-rock, acid rock, heavy metal, punk, thrash, psychobilly, and points beyond, 'Train Kept A-Rollin'' became increasingly wild and dissonant, as if each performer were trying to surpass the intensity of the previous one.  Through all the transformations, the essence of Bradshaw's original survives — a semblance of the melody, a smattering of the lyrics, and the immortal refrain 'The train kept a rollin' all night long', a cogent sexual metaphor for power and endurance.[47]

text: Notes[edit]

text: Footnotes

text:
Jump up ^ BMI lists Howard Kay as a cowriter with Nathan/Mann and Henry Glover on four other songs.

Jump up ^ Similar "damaged amplifier" claims have been made, including by blues/R&B guitarist Willie Kizart, whose distorted guitar sound for the 1951 Jackie Brenston/Ike Turner hit "Rocket 88" also has been cited as an early example of deliberate distortion.[18]

Jump up ^ An earlier 1965 version by Screaming Lord Sutch and the Savages "has little in common with the Yardbirds' version", which lacks the Rock and Trio's signature guitar riff.[15]

Jump up ^ The middle sections of the Yardbirds' hits "For Your Love", "I'm a Man", and "Shapes of Things" also feature brief "rave ups".

Jump up ^ Unlike other accounts, Gomelsky stated that the song was recorded entirely at CBS in New York.[25]

Jump up ^ Relf stated that Dreja was the second guitarist on "Stroll On", although Dreja has not confirmed this.  The Yardbirds were filmed earlier performing the song when Page was still on bass and Dreja on rhythm guitar.[30]

Jump up ^ Birnbaum also writes "the twin guitar part owes a lot to Chuck Berry",[19] although his early 1960s recordings with Matt Murphy use the conventional rhythm/lead guitar distinction rather than dual leads.

Jump up ^ Antonioni reportedly originally wanted the Who to perform their auto-destructive act for Blowup, but was unable to contact them.[19]

Jump up ^ In 1968, the Scotty McKay Quintet recorded a hard rock version based on "Stroll On".  McKay claims that Jimmy Page overdubbed the guitar solo for the recording, while regular Quintet guitarist Bobby Rambo and Blair Smith with the Exotics have also taken credit for the solo.[32]

tag: ol

text: Citations

text:
^ Jump up to: a b c Grendysa 1992, p. 4.

Jump up ^ Jeansonne, Luhrssen & Sokolovic 2011, p. 53.

^ Jump up to: a b c d Birnbaum 2012, p. 34.

^ Jump up to: a b Birnbaum 2012, p. 35.

Jump up ^
"Train Kept A Rollin (Legal title) – BMI Work #1539601". BMI. Retrieved April 3, 2014.

Jump up ^ Grendysa 1992, p. 8.

Jump up ^
"Rhythm & Blues Record Reviews". Billboard. Nielsen Business Media. 64 (8): 80. February 23, 1952. ISSN 0006-2510.

Jump up ^ Whitburn 1988, p. 52.

^ Jump up to: a b Forte 1991, pp. 2–3.

^ Jump up to: a b c d e Gordon & Dijkema 2011, p. 99.

Jump up ^ Palmer 1981, p. 235.

Jump up ^ Morris 1991, p. 6.

Jump up ^ Palmer 1981, pp. 237–238.

Jump up ^ Escott 1990, p. 2.

^ Jump up to: a b c d e Birnbaum 2012, p. 32.

Jump up ^ Gordon & Dijkema 2011, p. 97.

Jump up ^ Forte 1991, p. 9.

Jump up ^ Palmer 1981, p. 222.

^ Jump up to: a b c d e f g h Birnbaum 2012, p. 30.

^ Jump up to: a b
Koda, Cub. "The Yardbirds: The Train Kept A-Rollin' – Song review". AllMusic. Retrieved April 3, 2014.

Jump up ^ Carson 2001, p. 44.

Jump up ^ Birnbaum 2012, p. 31.

^ Jump up to: a b Russo 1998, p. 29.

Jump up ^ Birnbaum 2012, p. 33.

Jump up ^ Gomelsky & Cohen 2002, p. 36.

^ Jump up to: a b c Shadwick 2005, p. 12.

Jump up ^ Clayson 2002, p. 182.

Jump up ^ Koda & Russo 2001, p. 46.

^ Jump up to: a b Birnbaum 2012, p. 29.

Jump up ^ Birnbaum 2012, p. 386, fn 1.

^ Jump up to: a b Davis 2003, pp. 108–109.

Jump up ^ Birnbaum 2012, p. 51.

Jump up ^ Shadwick 2005, p. 31.

Jump up ^ Wall 2010, p. 46.

Jump up ^ Lewis & Pallett 2005, pp. 21–80 (various entries for September 7, 1968 to August 31, 1969).

Jump up ^ Reddon 2012, eBook.

^ Jump up to: a b c Birnbaum 2012, p. 52.

Jump up ^ Davis 2003, p. 48.

Jump up ^
Prato, Greg. "Aerosmith: The Train Kept A Rollin' – Song Review". AllMusic. Retrieved April 3, 2014.

Jump up ^ Birnbaum 2012, p. 53.

Jump up ^
"Who Really Played the Guitar Solos on Aerosmith's "Train Kept A Rollin"?". Detroit Rock n Roll Magazine. February 16, 2015. Retrieved March 25, 2015.

Jump up ^ Menn 1992, p. 27.

Jump up ^
"Aerosmith: Train Kept a Rollin' – Appears On". AllMusic. Retrieved April 3, 2014.

Jump up ^ Birnbaum 2012, p. 54.

Jump up ^
"500 Songs That Shaped Rock and Roll". Rock and Roll Hall of Fame. 1995. Archived from the original on 2007-05-02. Retrieved April 3, 2014.

Jump up ^ Birnbaum 2012, pp. 51–56.

Jump up ^ Birnbaum 2012, p. 56.

text: References

text:
Birnbaum, Larry (2012). Before Elvis: The Prehistory of Rock 'n' Roll. Lanham, Massachusetts: Scarecrow Press. ISBN 978-0-8108-8629-2.
Carson, Annette (2001). Jeff Beck: Crazy Fingers. San Francisco: Backbeat Books. ISBN 0-87930-632-7.
Clayson, Alan (2002). The Yardbirds. San Francisco: Backbeat Books. ISBN 0-87930-724-2.
Davis, Stephen (2003). Walk This Way: The Autobiography of Aerosmith. New York City: It Books. ISBN 978-0-06-051580-5.
Escott, Colin (1990). Junior Parker, James Cotton, Pat Hare: Mystery Train (CD notes). Junior Parker, James Cotton, Pat Hare. Cambridge, Massachusetts: Rounder Records. CD SS 38.
Forte, Dan (1991). Guitar Player Presents Legends of the Guitar – Rock: The '50s, Vol. 2 (CD notes). Various artists. Santa Monica, California: Rhino Records. R2 70561.
Gomelsky, Giorgio; Cohen, Phil (2002). The Yardbirds Story (Box set booklet). The Yardbirds. Charly Records. SNAD 905 CD.
Gordon, Vince; Dijkema, Peter (2011). Rockabilly: The Twang Heard 'Round the World: The Illustrated History. Voyageur Press. ISBN 978-0-7603-4062-2.
Grendysa, Peter (1992). Blues Masters, Volume 5: Jump Blues Classics (CD booklet). Various artists. Santa Monica, California: Rhino Records. R2 71125.
Jeansonne, Glen; Luhrssen, David; Sokolovic, Dan (2011). Elvis Presley, Reluctant Rebel: His Life and Our Times. Santa Barbara, California: ABC-CLIO. ISBN 978-0313359040.
Koda, Cub; Russo, Gregg (2001). Ultimate! (CD booklet). The Yardbirds. Rhino Records. R2 79825.
Lewis, Dan; Pallett, Simon (2005). Led Zeppelin: The Concert File. London: Omnibus Press. ISBN 1-84449-659-7.
Menn, Don (1992). Secrets from the Masters: Conversations with Forty Great Guitar Players from the pages of Guitar Player magazine. San Francisco: Miller Freeman. ISBN 978-0585358505.
Morris, Chris (1991). Howlin' Wolf: The Chess Box (Box set booklet). Howlin' Wolf. Universal City, California: MCA Records/Chess Records. CHD39332.
Palmer, Robert (1981). Deep Blues. New York City: Penguin Books. ISBN 0-14-006223-8.
Reddon, Frank (2012). J.J. Jackson Remembers Led Zeppelin: The Music and The Guys Who Made It. Enzepplopedia Publishing.
Russo, Greg (1998). Yardbirds: The Ultimate Rave-Up. Floral Park, New York: Crossfire Publications. ISBN 0-9648157-3-7.
Shadwick, Keith (2005). Led Zeppelin: The Story of a Band and Their Music 1968–1980 (1st ed.). San Francisco: Backbeat Books. ISBN 0-87930-871-0.
Wall, Mick (2010). When Giants Walked the Earth: A Biography of Led Zeppelin. New York City: St. Martin's Griffin. ISBN 978-0-312-59039-0.
Whitburn, Joel (1988). Top R&B Singles 1942–1988. Menomonee  Falls, Wisconsin: Record Research. ISBN 0-89820-068-7.

text:
showvteThe Yardbirds
Original members (1963–68): Keith Relf
Paul Samwell-Smith
Chris Dreja
Jim McCarty
Top Topham
Eric Clapton
Jeff Beck
Jimmy Page
Later members (since 1992): John Idan
Gypie Mayo
Alan Glen
Jerry Donahue
Ben King
Johnny A.
Kenny Aaronson
Myke Scavone
Albums
For Your Love
Having a Rave Up
Roger the Engineer
Little Games
Birdland
Live albums
Five Live Yardbirds
Sonny Boy Williamson and the Yardbirds
Live Yardbirds! Featuring Jimmy Page
BBC Sessions
Reunion Jam
Live! Blueswailing July '64
Live at B.B. King Blues Club
Making Tracks
Compilations
The Yardbirds Greatest Hits
Shapes of Things
Cumular Limit
Ultimate!
Yardbirds '68
Bootlegs
Golden Eggs
More Golden Eggs
Singles
"I Wish You Would"
"Good Morning Little Schoolgirl"
"For Your Love"
"Heart Full of Soul"
"Evil Hearted You"
"I'm a Man"
"Shapes of Things"
"You're a Better Man Than I
"Boom Boom"
"Over Under Sideways Down"
"Happenings Ten Years Time Ago"
"Ten Little Indians"
Other songs
"Let It Rock"
"Who Do You Love"
"You Can't Judge a Book by Looking at the Cover"
"Too Much Monkey Business"
"Smokestack Lightning"
"Five Long Years"
"The Sky Is Crying"
"My Girl Sloopy"
"The Train Kept A-Rollin'"
"Spoonful"
"The Stumble"
"Dust My Blues"
"White Summer"
"Stealing Stealing"
"Most Likely You Go Your Way (And I'll Go Mine)"
"Dazed and Confused"
"Knowing That I'm Losing You"
"I'm Waiting for the Man"
Related
Discography
Members
Giorgio Gomelsky
Simon Napier-Bell
Mickie Most
Peter Grant
Cream
Jeff Beck Group
Led Zeppelin
Renaissance
Box of Frogs

text:
showvteAerosmith
Tom Hamilton
Joey Kramer
Joe Perry
Steven Tyler
Brad Whitford
Ray Tabano
Jimmy Crespo
Rick Dufay
Studio albums
Aerosmith
Get Your Wings
Toys in the Attic
Rocks
Draw the Line
Night in the Ruts
Rock in a Hard Place
Done with Mirrors
Permanent Vacation
Pump
Get a Grip
Nine Lives
Just Push Play
Honkin' on Bobo
Music from Another Dimension!
Live albums
Live! Bootleg
Classics Live I and II
A Little South of Sanity
Rockin' the Joint
Extended plays
Vacation Club
Made in America
Singles
"Mama Kin"
"Dream On"
"Same Old Song and Dance"
"Train Kept A-Rollin'"
"S.O.S. (Too Bad)"
"Sweet Emotion"
"Toys in the Attic"
"Walk This Way"
"You See Me Crying"
"Last Child"
"Home Tonight"
"Back in the Saddle"
"Draw the Line"
"Kings and Queens"
"Get It Up"
"Come Together"
"Chip Away the Stone"
"Remember (Walking in the Sand)"
"Lightning Strikes"
"Bitch's Brew"
"Let the Music Do the Talking"
"Shela"
"My Fist Your Face"
"Darkness"
"Dude (Looks Like a Lady)"
"Hangman Jury" (promo)
"Angel"
"Rag Doll"
"Love in an Elevator"
"F.I.N.E.*" (promo)
"Janie's Got a Gun"
"What It Takes"
"The Other Side"
"Monkey on My Back"
"Love Me Two Times"
"Helter Skelter"
"Livin' on the Edge"
"Eat the Rich"
"Fever" (promo)
"Cryin'"
"Amazing"
"Shut Up and Dance" (UK)
"Deuces Are Wild" (promo)
"Crazy"
"Blind Man"
"Walk on Water"
"Nine Lives"
"Falling in Love (Is Hard on the Knees)"
"Hole in My Soul"
"Pink"
"Taste of India"
"I Don't Want to Miss a Thing"
"What Kind of Love Are You On"
"Angel's Eye"
"Jaded"
"Fly Away from Here"
"Sunshine"
"Just Push Play"
"Girls of Summer"
"Baby, Please Don't Go"
"Devil's Got a New Disguise"
"Legendary Child"
"Lover Alot"
"What Could Have Been Love"
"Can't Stop Lovin' You"
Compilations
Greatest Hits
Gems
Pandora's Box
Big Ones
Pandora's Toys
Box of Fire
Young Lust: The Aerosmith Anthology
Classic Aerosmith: The Universal Masters Collection
O, Yeah! Ultimate Aerosmith Hits
Devil's Got a New Disguise: The Very Best of Aerosmith
Tough Love: Best of the Ballads
Videos and DVDs
Aerosmith Video Scrapbook
Permanent Vacation 3x5
Live Texxas Jam '78
Things That Go Pump in the Night
The Making of Pump
Big Ones You Can Look At
You Gotta Move
Rock for the Rising Sun
Concert tours
Rocks Tour
Live Bootleg! Tour
Back in the Saddle Tour
Done with Mirrors Tour
Permanent Vacation Tour
Pump Tour
Get a Grip Tour
Nine Lives Tour
Roar of the Dragon Tour
Just Push Play Tour
Girls of Summer Tour
Rocksimus Maximus Tour
Honkin' on Bobo Tour
Rockin' the Joint Tour
Route of All Evil Tour
Aerosmith World Tour 2007
Aerosmith/ZZ Top Tour
Cocked, Locked, Ready to Rock Tour
Back On the Road Tour
Global Warming Tour
Let Rock Rule Tour
Blue Army Tour
Rock 'N' Roll Rumble Tour
Aero-Vederci Baby! Tour
Related articles
Album discography
Singles discography
Videography
Songs
Band members
Concert tours
Awards
Toxic Twins
The Strangeurs/Chain Reaction
Whitford/St. Holmes
The Joe Perry Project
Walk This Way: The Autobiography of Aerosmith
Wherehouse
Aero Force One
Blue Army
Rock 'n' Roller Coaster Starring Aerosmith
Quest for Fame
Revolution X
Guitar Hero: Aerosmith
songs
Toxic Twin Towers Ball

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text:
showvteGet Your WingsSongsSide one
Same Old Song and Dance
Lord of the Thighs
Spaced
Woman of the World
Side two
S.O.S. (Too Bad)
Train Kept A-Rollin'
Seasons of Wither
Pandora's Box
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Aerosmith
Aerosmith albums discography

text: 1951 songsBlues songsSongs about trainsSongs written by Syd Nathan1952 singles1956 singlesRockabilly songsJohnny Burnette songsThe Yardbirds songs1974 singlesAerosmith songsColumbia Records singlesSong recordings produced by Jack Douglas (record producer)King Records (United States) singlesCoral Records singlesEpic Records singles

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