电子商务都有哪些职位:谁有朋克和R&B的英文简介?

What was Punk?

People will give you so much bullshit about punk being a working class thing, a copy of American punk, fashion, etc etc yawn !! For me punk at its best, was a spontaneous, infectious outburst of aggression and alienation set to music and cool clothes that swept aside politics, feelings, commercialism, gender and political correctness. To a messed up young kid like me it was a key to a new world. In this world anything was possible and that's why punk threw up such a wide variety of music.
At its peak it subsumed all these differing elements being truly revolutionary before they began to gnaw at punk and pulled it apart. Don't get me wrong, I'm not trying to say this was a perfect state of grace. There was also a lot of shit and bandwagon jumping going on. As time went on punk became hijacked by various elements. First was commercialism: Every major record label had its own punk bands. Shocking became the norm as papers like the Daily Mail ran features like 'How to turn Yourself into A Punk!!' and began to be incorporated into mainstream culture along with fashion and ideas. Bands had to do more to shock.
Punk went from an attitude to a way of life. Anarchy and chaos became an actual political philosophy along with the classless society, communes and vegetarianism propounded by groups like Crass and Conflict. For them life was a constant political struggle against the repression of women, animals, religion, politics and anything else you could put to music. Other groups wanted to prove themselves harder and faster like GBH and Discharge as punk teetered on the verge of heavy metal. Other groups wanted to get notoriety like The Anti Nowhere League.
From the moment punk had entered mainstream consciousness bands and fans turned in on themselves and argued among each other as to who was more punk - fashion to anti fashion. Each successive wave of punk wanted to be seen to be more 'punk' than the previous one. Up rose the banner 'punks not dead' and 'Oi' arrived; a punk/skinhead hybrid music that seems to have been a deliberate invention of music writers like Gary Bushell who wanted to hijack punk as a great working class movement. As opposed to Crass these contained groups who were right wing like Skrewdriver or Combat 84 or 'Oi' bands who were more concerned with violence. I'm not saying all bands were like this but there was an uneasy nationalistic bent to a lot of the music and image.

Rhythm and Blues was and still is a term used for a number of post-war American popular music forms. The term is credited to Jerry Wexler when he was editing the charts in Billboard magazine (1947). The term was used in the chart listings from 1949 onwards and the charts in question encompassed a number of contemporary forms that emerged around that time.

R&B clearly has its origins in the secular folk music of the American black musician - the Blues. For me, the Blues is essentially about emotional expression and is predominantly a vocal medium - although there are many examples of blues instrumentals to refute this assertion, it is the singer who expresses the feelings of the blues; and there are a number of vocal techniques which are used to create the desired effects. There are of course a range of blues intrumentations which accompany the central vocal performance (the bending of guitar strings, the classic bottleneck of so many of the great blues guitarists, the harmonica imitating the idioms of the human voice etc. etc.) and which clearly help to create the unique blues performance.

Although much has been written on the blues, the origins of the music are not particularly well documented. It is clearly influenced by the work songs of the deep South, ragtime, church music, minstrel shows and folk, even some forms of white popular music. The earliest and most frequently cited references to the form are to be found in the early 1900s and one of the early musical reference points is the W.C. Handy composition 'Memphis Blues'.
Rural blues developed mainly in the three key regions of Georgia, Texas and Mississippi. Excellent examples of the Georgia style include Blind Willie McTell and Blind Boy Fuller, highly melodic and less intense than the Mississippi stylists such as Charley Patton, Robert Johnson and Johnny Shines.

Interestingly however, perhaps the first real blues recordings were made in the 1920s by the women of the blues, artists such as Ma Rainey, Ida Cox and the wonderful Bessie Smith. At this stage the performances were still largely based on their stage backgrounds, backed by the leading jazz players of the day.

Muddy Waters
One of the critical external factors which moved the blues form forward was the economic migration from the American South to the cities of the North by millions of black southern workers. The blues went with them, adapting to a more sophisticated urban environment. The themes of blues songs understandably became more urban, the solo bluesman was joined by a number of other musicians and the blues combo was born. The piano, harmonica, bass and drums and, most importantly of all, the electric guitar became the cornerstone of a sound of increasing rhythmic intensity.

Some of the major urban conurbations included Atlanta, Memphis and St. Louis but there are critical milestones to be found in any number of places. John Lee Hooker found a home in Detroit, the great T-Bone Walker established a following on the West Coast and Chicago exerted an influence of real significance - Sonny Boy Williamson, Muddy Waters, Little Walter, Howlin' Wolf, Elmore James and Otis Spann were all based there.

The Blues has influenced just about everything musically which subsequently developed. Not least of which was the emergence of what came to be known as Rhythm and Blues