![]() Inside it was more grubby dive bar than glitzy music venue. Others soon followed, quickly cementing its reputation as the home of a new rock scene – one that, unbeknown to the small circle of friends frequenting the place, would soon change the future of alternative music. And so 50 years ago, in the spring of 1974, Television began playing there regularly. The owner, Hilly Kristal, a burly bearded man who had been promoting music since the 1960s, had only one stipulation for any bands that wanted to play his new venue: original music only – no covers. Soon after it opened, in December 1973, members of the proto-punk art-rock outfit Television came across the venue and made enquiries about playing there. There was nobody on the street except for the dispossessed, so it seemed like a perfect place for something to happen. ![]() "Even though CBGB was in the heartland of Manhattan, it seemed like another universe," says Kaye. Located in the Bowery neighbourhood in Lower Manhattan, New York, the area was more synonymous with the homeless community and crime than it was a thriving mecca for groundbreaking music and a burgeoning counterculture movement. There were no places for a band to go and make a stand." But a new one was about to provide them with just that: CBGB. "With Patti we were mostly playing folk clubs or strange venues, like in a restaurant. "There were no rock venues at the time," Lenny Kaye, the long-time guitarist for Patti Smith tells BBC Culture. The Mercer Arts Center was a vital breeding ground for bands such as the New York Dolls to flourish but in 1973 it collapsed, leaving even fewer options for a new generation of bands. – The literary scandal that rocked US high society While Max's Kansas City was a go-to hangout spot for the bourgeoning glam rock scene – with the likes of David Bowie, Marc Bolan, Andy Warhol and Lou Reed all frequent attendees – they booked established acts with record deals, leaving aspiring young musicians with restricted avenues. Gig venues for alternative music were sparse rather than plentiful. Now that we’ve got that straightened out, it’s time to move on to the time signature.Now renowned as one of the most vibrant cultural epicentres on the planet, in the early 1970s New York was a very different city. It’s saying this is the true ending and the music will be brought to some kind of closure or finality. Using this term for this specific type of double bar line seems a little clearer to me. In order to keep them straight, I like to call the last example a final double bar line. If it is the end of the entire piece, then the second line will be a little thicker like this:Įven though both examples above are called double bar lines, they serve 2 completely different purposes. ![]() End of SectionĪ double bar line telling us it is the end of a section or movement will have 2 thin lines like this: End of Song I think this is because it more accurately describes what you are looking at making it easier to remember. NOTE: The correct terminology for this in music theory is simply “double bar.” However, the rest of the world calls them “double bar lines.” Just as bar lines divide the music staff into smaller sections, double bar lines organize the music into larger sections. Double bar lines are found at the end of a section of music or at the very end of a song.
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