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1641
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| 47 |
https://theseconddisc.com/2023/07/22/the-weekend-stream-july-22-2023/
|
en
|
The Weekend Stream: July 22, 2023
|
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[
""
] | null |
[
"Mike Duquette",
"Harry N Cohen says",
"Mark Cook says",
"Michael Edwards says",
"zally says",
"www.facebook.com"
] |
2023-07-22T00:00:00
|
Welcome to The Weekend Stream, a relaxing review of notable digital-only catalogue titles. There may be no CD or vinyl, but there's plenty of great new/old music to float you into the weekend. Today brings remixes from ABC, Madonna and Cypress Hill, plus rarities from Stan Getz and Julie Andrews!…
|
en
|
https://theseconddisc.com/wp-content/themes/seconddisc/images/favicon.ico
|
The Second Disc
|
https://theseconddisc.com/2023/07/22/the-weekend-stream-july-22-2023/
|
Welcome to The Weekend Stream, a relaxing review of notable digital-only catalogue titles. There may be no CD or vinyl, but there's plenty of great new/old music to float you into the weekend. Today brings remixes from ABC, Madonna and Cypress Hill, plus rarities from Stan Getz and Julie Andrews!
ABC, The Look of Love (Single) (Mercury/UMC) (iTunes / Amazon)
Another single from the upcoming reissue of The Lexicon of Love; like last week's, it focuses on "The Look of Love" - arguably the signature hit from ABC's debut - as heard in Steven Wilson's new vocal and instrumental remixes and a live version that'll be included in the vinyl box.
Madonna, Hollywood (Remixes) (Warner/Rhino) (iTunes / Amazon)
Released last week, this digital EP contains remixes of the second single from Madonna's controversial American Life (2003). "Hollywood," infamous for being the first Madonna single in two decades to miss the Billboard Hot 100 entirely, nonetheless topped the magazine's dance chart and reached No. 2 in England thanks to remixes here from Paul Oakenfold, Jacques LuCont and others.
Cypress Hill, Black Sunday (Deluxe) (Ruffhouse/Columbia/Legacy) (iTunes / Amazon)
Reissued for both its 30th anniversary and the ongoing 50th anniversary celebrations of hip-hop as a genre, this new edition of Cypress Hill's sophomore album features five bonus tracks, including new remixes of "Insane in the Brain" and "Hits from the Bong" by Statik Selektah and the group's own DJ Muggs, respectively, plus three rare vintage tracks including a Spanish version of "Insane" called "Loco en el Coco." The West Coast Latin flavor (and blissed-out weed vibes) of this seminal rap album are as strong as they were in '93.
Tavares, Love Uprising (Expanded Edition) (Capitol/UMe) (iTunes (TBD) / Amazon)
Tavares' first album of the '80s found the family soul group adjusting to a post-disco sound, to varying results. One bonus track is included here - the original single edit of the title track.
Pulp, Disco 2000 EP (Island/UMO) (iTunes / Amazon)
Speaking of disco, this dance-y Britpop banger (a U.K. Top 10 in 1995) is the latest of Pulp's original CD singles and EPs to make a digital debut. This beloved tune is backed with original B-sides and three vintage mixes of the track.
Julie Andrews, Sings (RCA) (iTunes / Amazon)
Astoundingly, for all the warmth and beauty of her voice on stage (My Fair Lady, Cinderella, Camelot) and screen (the dual triumphs of Mary Poppins and The Sound of Music), there are less proper albums by British actress and icon Julie Andrews than you'd think. Sings, recorded with Irwin Kostal's orchestra and issued in 1958 - years before he'd offer scoring and orchestration on her two best-loved film roles - is one of them, featuring crystalline takes on songs from legends like Rodgers & Hammerstein ("It Might As Well Be Spring"), George & Ira Gershwin ("He Loves and She Loves"), Cole Porter ("So in Love") and Irving Berlin ("Cheek to Cheek").
The Stan Getz Quintet, Interpretations by The Stan Getz Quintet (Verve) (iTunes / Amazon)
A sprightly set anchored by the legendary tenor sax leader, Interpretations is notable among jazz trivia lovers as the first long-player on Norgran Records, the second label created by legendary genre impresario Norman Granz. (For those keeping score at home, the first was Clef, and others like Verve would follow in years to come.)
Bill Anderson, My Life/But You Know I Love You / Bill & Jan (or Jan & Bill) (with Jan Howard) / Bill / Every Time I Turn the Radio On / Peanuts and Diamonds and Other Jewels / Scorpio / Billy Boy & Mary Lou (with Mary Lou Turner) (MCA Nashville)
My Life: iTunes / Amazon
Bill & Jan: iTunes / Amazon
Bill: iTunes / Amazon
Every Time: iTunes / Amazon
Peanuts: iTunes / Amazon
Scorpio: iTunes / Amazon
Billy Boy & Mary Lou: iTunes / Amazon
Seven out-of-print albums from country whisperer Bill Anderson, cut for MCA in the late '60s and '70s and featuring duet albums with Jan Howard and Mary Lou Turner, are back in digital print today. Includes 11 country Top 10s between them, including chart-toppers "My Life (Throw It Away If I Want To)" and "World of Make Believe."
Davids Daughters, Chemistry (ZTT) (iTunes / Amazon)
Sisters Claire and Lisa Brickleback only issued one single for ZTT, the Trevor Horn-produced "Dreaming of Loving You" in 1999. An exceptionally rare promo sampler included it and two other tracks as teasers for a potential album; today that album is finally released: a slice-of-its-time sugary soul outing that'll stir feelings in pop fans of a certain vintage.
|
||||
1641
|
dbpedia
|
3
| 44 |
https://community.roonlabs.com/t/genres-styles-not-showing/191505
|
en
|
Genres / Styles - not showing
|
[
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[] |
[] |
[
""
] | null |
[
"system (system) Closed"
] |
2022-03-05T17:06:00+00:00
|
Hi all,
Could not find any topic around this issue so was wondering if someone could help me.
Not ALL “Styles” or “Genres” are appearing in the GENRES section in the menubar in Roon.
For instance, “Brit Pop” is showin…
|
en
|
Roon Labs Community
|
https://community.roonlabs.com/t/genres-styles-not-showing/191505
|
Hi all,
Could not find any topic around this issue so was wondering if someone could help me.
Not ALL “Styles” or “Genres” are appearing in the GENRES section in the menubar in Roon.
For instance, “Brit Pop” is showing but when I change this to “Britpop” in the file tag it disappears altogether (Brit Pop disappears too).
Thanks all.
Hi @Henkemannen,
The left column of your screenshot shows the genres in your file tags, the right column shows what those are mapped to. If you want your Brit pop files to map to the official Roon Genre heading Britpop use the edit icon (pencil - far right) and change the associated genre to Britpop with the Roon logo. That should get you sorted! Thanks.
|
|||||
1641
|
dbpedia
|
2
| 2 |
https://www.unfortifiedcastle.com/post/senior-year-soundtrack-disco-2000
|
en
|
"Disco 2000" speaks beyond its titular year
|
[
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] |
[] |
[] |
[
""
] | null |
[
"Benjamin Kassel"
] |
2022-04-02T07:00:00+00:00
|
Pulp’s song — framed around a future that’s become the past — makes me grapple with my understanding of time unlike any other.
|
en
|
Unfortified Castle
|
https://www.unfortifiedcastle.com/post/senior-year-soundtrack-disco-2000
|
Pulp’s song — framed around a future that’s become the past — makes me grapple with my understanding of time unlike any other.
Like all media, the perception of pieces of music tends to shift over time. Pieces that were once controversial may now be seen in retrospect as trailblazing; the pop with which we fell in love in our formative years may now seem all too saccharine or out of touch; social anthems only become more poignant as the issues they confront increasingly manifest.
Today’s selection has seen a perceptual shift for none of the above reasons — instead, it’s the temporality baked into the song that makes it all the more curious to investigate.
Back when Pulp released "Disco 2000" as part of their album Different Class, that millennium year was still more than four trips around the sun away. It was late 1995, and frontman Jarvis Cocker and company looked toward the year as a time by which they could get things right; going by the song’s narrative, 2000 was when Cocker and his childhood friend could meet up again, now fully grown and living their own lives. However, I approach the song having been born in 2000 and thus always thinking of that year in the past tense. When I hear "Let’s all meet up in the year 2000," I think of it as a return to blissful innocence, rather than a look ahead to a clearer future.
As different as these two perspectives on the song are, though, a common thread can be found: a desire to get away, to free oneself from the shackles of one’s current place and time. Whether past or present, 2000 is at the very least somewhere different, and that in itself makes the tune appeal to a wide audience.
Musically, "Disco 2000" owes a lot to the genre in its name. Nick Banks’ four-on-the-floor beat and hi-hat use calls right back to the inception of disco with the Trammps and other trailblazers, while the high synth is just string-like enough to further pay tribute to that era. Then there’s the undeniable similarity of the main verse riff to that of "Gloria," made popular by Laura Branigan in 1982. Having said that, there’s no mistaking Pulp’s track for a 70s or 80s romp — the treatment of the drums and the mix of Russell Senior and Mark Webber’s guitars all suggest the burgeoning Britpop scene of the 90s, of which the band, among all its tumult, were key figures. Personally, I’ve always felt like the instrumental bordered on sounding a little cheesy, but maybe that’s just an effect of me having not lived through the 90s and embraced that sound in its heyday.
As much as those aspects of the track interest me, though, it’ll stand out to me more because of Jarvis Cocker’s lyrics. The childhood crush-themed narrative, parlaying early innocence with the later resignation of life taking its course, stands out to me for its realism. There’s something approachable about lyrics of the "very small" house "with wood chip on the wall," and the pining for an old love — even one-sided — when you’re "living down here on [your] own." It probably helps that Cocker is drawing from personal experiences; "Deborah" is based on his early friend Deborah Bone (1963–2014), for whom he sang "Disco 2000" at her 50th birthday party (a little awkward, maybe, given the lyrics? All in good fun regardless).
As I listen to Pulp’s song once more while I wrap up this post, I think I get why "Disco 2000" has so consistently transcended its temporal bounds. The dance-friendly rhythms combined with the nostalgic narrative those beats soften all in all make me feel like the track inhabits a moment of reflection a drink or two in at your local club. You want to get up and move, but your thoughts are plagued by memories of that person you always thought got away. When you do make your way to the floor, you do so either to combat those memories, or to get lost in them (I’d say more the latter here). That’s a sensation not bounded by any year.
|
|||||
1641
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dbpedia
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0
| 11 |
https://audioxide.com/reviews/pulp-different-class
|
en
|
Review: Different Class
|
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[] |
[
""
] | null |
[
"André Dack",
"Frederick O'Brien",
"Andrew Bridge"
] |
2018-06-14T00:00:00
|
Pulp nail the pop/rock formula to near perfection. The themes aren’t necessarily cheerful, yet the album sounds like a celebration from beginning to end.
|
en
|
/favicon.ico
|
Audioxide
|
https://audioxide.com/reviews/pulp-different-class
|
One of the most distinctive aspects of Britpop, both in its music and its culture, was the curious combination of superficial amusement with quivering angst and apprehension. No album epitomises this trademark characteristic more than Different Class. On this, their fifth album, Pulp had expanded on past formulas and mastered their theatrical brand of satirical pop. They had released good records prior, particularly His ‘N Hers, but this was where everything fell into place.
The hooks are irresistibly catchy, the music is adventurous, and Jarvis Cocker’s vocals are astonishingly good, though not exactly in the traditional sense. To merely brand him a singer would be a disservice: he’s as much a narrator, delving into the stories of different characters, of which most revolve around social class and sex. These songs seem light-hearted on the surface, but make no mistake: this is a sleazy record. Cocker’s words are sultry and provocative, his delivery sensuous and alluring. Nobody does it better.
It’s not just about ol’ Jarv, of course. It’s a great testament to the songwriting that Different Class still sounds so ridiculously good in 2018. Most of the records released by Pulp’s peers haven’t aged so well. There’s a whole bunch of reasons why, but it’s ultimately because the songwriting, production, and sequencing is just not as good as this. “Common People” and “Disco 2000” are immense pop tunes, the former standing as the quintessential Britpop anthem, but I’m quite confident that almost every song here could have been a hit single. Pulp nail the pop/rock formula to near perfection, and the result is so utterly listenable, albeit in a very British manner. The themes of Different Class aren’t necessarily cheerful — in fact they’re mostly very cynical — yet the album sounds like a celebration from beginning to end.
Well, almost the end. My sole criticism is that the record loses momentum towards the conclusion. It deserves a closer on the level of “Champagne Supernova”, and I don’t think “Bar Italia” is close to getting there. Thankfully, this doesn’t prevent Different Class from fulfilling its full potential. Morning Glory has mammoth hits, but the album isn’t as consistently fantastic as this, and as good as Parklife is, there’s a certain novelty about it. Ultimately, this was Britpop’s finest hour. Unless you count The Bends, of course.
Different Class has a gift for sounding like Britpop while also making most Britpop sound rubbish in comparison. The soaring choruses, the la la las, the acute class consciousness — all the hallmarks are there, and they’re all the better for being delivered by Jarvis Cocker. His offbeat lyricism sits so well throughout that it’s easy to forget how impressive it is that it works at all. Jangling pop-rock probably isn’t the natural bedfellow of spoken-word musings on knickers and trust fund babies, but you wouldn’t know it listening to Different Class.
Pulp pushed the limits of just how dry pop could be. At the best of times it’s hard to tell if you’re in on the joke or being strung along for the ride. It’s wicked fun, but I wonder if that’s also why I can’t get into the album beyond a certain point. This is some of the best — possibly the best — music Britpop has to offer, but that’s still like being the most dignified person at a dog show. Even in pushing beyond the boundaries of its genre, Different Class betrays its own limitations. Anthems like “Common People” and “Disco Whatever” are iconic; the album as a whole is entertaining. By the time it’s over I’m just about burnt out by the spectacle put on. It gets into such a rollicking flow that it’s a smidge deflating when it fails to come to a head.
That said, there’s no denying this is essential pop listening, a testament to the unbridled power of weird with a good mix. It’s a wry, saucy lynchpin of ‘90s culture. While Modern Life is Rubbish was British in a way that made me want to apologise to non-Brits and the North, Different Class owes no apologies to anyone. Pulp got their right to be different and used it. Cocker runs the show, the band run riot, and I’ve run out of things to say. It’s true high common art.
"Different Class is the Britpop album that sits above the rest for me. Quintessentially British without shoving it down your neck, it delivers a collection of long-lasting, catchy instrumentals which complement distinctive, brilliant vocals. Where many of its contemporaries suffered issues with muddy production or stagnated in the four-piece rock-band set up, Different Class brings a menagerie of instrumentation, and a clean, crisp sound to boot.
Even “Common People”, a track that by all rights should be tired and overplayed by now, still sounds excellent. Between the mundane narrative in the lyrics, and the electronically flavoured instrumental that soars towards each chorus, I’ve never found myself bored, regardless of how many times I’ve heard it. Jarvis Cocker’s vocals always manage to steal centre stage, even for my ears which really struggle to focus on the vocalist and prefer to deviate to an instrumental at any chance. Here, however, Jarvis’ combination of whispering, hollering, and snarling keeps me listening intently, and his lyrics are some of the most accessible given their characterful and narrative style.
That’s not to say the instrumentals hide away in the background though, and there are some fantastic moments in the tracklist. While the likes of “Disco 2000” and aforementioned “Common People” are the go-tos for memorable, stonking instrumentals, “F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E” smoulders away for a majority of its play time before exploding into a string-filled chorus and “I Spy” makes for a dramatic, theatrical, almost Bond-esque six-minute excursion. It’s an album I return to again and again for my dose of the Britpop era, and my recent listens have really reignited a love for it."
|
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https://www.ranker.com/list/britpop-bands-and-musicians/music-lover
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en
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The Best Britpop Bands
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https://imgix.ranker.com/list_img_v2/1249/101249/original/britpop-bands-and-musicians-u1
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[
"Coley Reed"
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2013-10-17T00:00:00
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Over 3K music fans have voted on the 50+ Best Britpop Bands. Current Top 3: Oasis, Blur, Pulp
|
en
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/img/icons/touch-icon-iphone.png
|
Ranker
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https://www.ranker.com/list/britpop-bands-and-musicians/music-lover
|
At the beginning of the 1990s, Britpop started to dominate the airwaves not only in the UK, but globally as well. At the time though, the British music scene was in flux. Electronic music and indie rock were becoming popular. But, Brit pop, which took elements of guitar rock and pop music to create a new genre of rock. Britpop became a British movement where many working class bands and was a reaction of what was going on in the UK and against grunge music. Britpop brought British alternative rock into the mainstream, and brought several British pop bands into the mainstream.
So, who are considered the best Britpop bands? No Britpop bands list would be complete without Oasis and Blur at or near the top of this poll. Both of these bands are considered the top Britpop bands. Other popular Britpop bands, like Suede, Pulp and James are on here. All Britpop bands should be on this list. Even today, years after the movement ended, Britpop artists continue to put out stellar music, either as a solo artist or with their original band. No matter how you see it, Britpop was a dominant force that put British rock music back on the scene.
That said, it's hard to determine what is the best Britpop band. It's not an easy question to answer, but it's up to you to determine who is considered the greatest Britpop band. This list answers the questions "who are the best Britpop bands of all time?" and "who is the greatest Britpop musician ever?"If you know enough about the genre, please vote based on the quality of the band's music instead of just voting for the most popular britpop bands that you might've heard of. This Britpop bands list will determine which Britpop musician should be considered the best of all time.{#nodes}
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https://www.musicthisday.com/lists/ranked-songs/50-greatest-britpop-songs-ranked
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Music Lists common
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https://www.musicthisday.com/favicon.ico
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https://www.musicthisday.com/favicon.ico
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This day in music - people, albums, songs, and lots of music lists.
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/favicon.ico
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1641
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http://www.acrylicafternoons.com/disco.html
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ACRYLIC AFTERNOONS
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Disco 2000
The Video
This is a great article about the production of the video with Pedro Romhanyi, it's joint creator...
Pedro Romhanyi's fifth straight video with Pulp manages to dovetail perfectly with Pulp 'product' - both the single and the critically acclaimed album. It's a marketing man's dream, but not surprising to learn that the tie-in of promo and product, the crossover of design and references to Pulp's place in pop culture, was the idea of the band and director, and is delivered with their now-trademark style and sense of irony. It is all quintessential Pulp, and Romhanyi suggests, a final hurrah before Jarvis Cocker and band assume a lower profile for a while. The story is ultimate Cocker territory - the anticipation before a night out, the Saturday night disco, where boy and girl 'get off' with one another. It's a photo love story come to life, and so involving that if it is your first exposure to the song, you will probably be unaware that the lyrics are a quite different tale of unrequited teen love. "Initially we were going to do something much closer to the song's lyrics. We were also experimenting with a new technical idea, and then the artwork for the single appeared."
Following the theme of the album sleeve, photographer Donald Milne shot a photo love story, that spans over the two-CD single release package. It was such a well executed idea they adapted it for the clip. "So, in the video we duplicate the photo shoot, changing the order in a couple of cases, and of course add a lot of new stuff - the track is over five minutes long." Romhanyi says, "Donald Milne's work for the album and single is like an artificial version of the real world, where all its mundane features have been removed. So this is what we had to recreate - the Pulp world - without Pulp being in it." The band are in the video as life-size-cut-outs and Jarvis appears occasionally on a TV set. "The idea for the cutouts came from an old copy of Nova owned by [bassist] Steve Mackey," says Romhanyi, and of course the typography used on the sleeve artwork, and the video's subtitles, is the same as the Sixties magazines. It points to the input and influence of the band - particularly Cocker and Mackey, both film school grads - on their visual representation. "Jarvis and Steve like things quite crafted and with a sense of structure. A lot of work and a lot of talk that goes on before a frame is shot."
Romhanyi has a reputation for being able to relate to musicians and their music, hence his long relationship with prickly Paul Weller. In Pulp's case, Romhanyi says, "They will set up a brief and I'll come up with ideas. Often they say no, and different videos have different levels of input from them, but they are never passive." Good though it is, Disco 2000 is largely an addendum to the defining video of Britpop in '95, Common People. "That is perhaps the most complete video I've done so far, although at the time, after coming out of 70 hours of post production, it didn't feel like it," says Romhanyi. Common People was one of those rare occasions when a video creates a cultural stir. And after thirteen years in the wilderness, it turned Jarvis Cocker into an overnight sensation. It also actually addressed the content of the song, which Romhanyi considers a good policy in promo-making. For Romhanyi it has been a very fruitful collaboration. "Although I'm quite a commercial promo maker, it's possible to be experimental with Pulp, such as using the 1:1 ratio in Disco 2000," he says. "You can do something leftfield and commercial simultaneously.
|
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https://new.brg-radio.com/news/top-ten-britpop/
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Top 10 Britpop songs
|
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[
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2022-10-25T15:13:25+00:00
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Top Ten Brit Pop songs 🎸🥁😍. Bridge Radio. Fresh sounds, exclusive mixes, releases, uncensored lyrics, news and more. Straight to you from the world's hottest artists & rising stars. Let Bridge Radio upgrade your music experience now.
|
en
|
Bridge Radio
|
https://new.brg-radio.com/news/top-ten-britpop/
|
The Top Ten Britpop songs. In March 1997, Vanity Fair published a special edition titled Cool Britannia. It had Liam Gallagher and Patsy Kensit on the cover and read ‘London Swings! Again!’ It was a piece about how the UK scene had taken off in many aspects of culture. Inside it were articles on other contributors to ‘Cool Britania‘ that included Alexander McQueen, Damien Hirst, Graham Coxon, and the editorial staff of Loaded, considered at the time to be the ultimate ‘Lads’ magazine. At the time, the media used Cool Britannia to describe a specific period in the 90s UK. Art, fashion, film ( think Train Spotting) and especially Britpop. It’s probably fair to say that no other form of entertainment or the Arts was as closely linked as Britpop; however, it was far more of a cultural moment rather than a musical genre; it did, without question, produce some truly great music which is where we come in.
The influence of ’60s bands
It would almost impossible to combine any Top Ten list from the ’90s without mentioning Noel Galagher, guitarist for one of the biggest bands at the time, Oasis has openly expressed his admiration for the Beatles sound – particularly guitar-based bands, played strong in the music’s Indie /Brit Pop scene. From psychedelic Pink Floyd prevalent in early music from Blur, glam and punk rock from the ’70s associated with Pulp’s music right through to the 80s indie scene, in particular, the guitar of Johnny Marr of The Smiths and the “Madchester‘ vibe. Britpop blended many subgenres, but most importantly, it was about being British in the 90s.
Until Another must-have for any Top Ten of Brit Pop Songs, Suede, who widely credited influences such as The Velvet Underground and David Bowie, came to the attention of the Music press, the term was unknown. ‘Blur’ was struggling for attention, having released their debut and follow-up Modern Life Is Rubbish. Pulp was still only known to the few after releasing albums for more than ten years; the mighty Oasis had just signed to Creation and had not yet released Supersonic. The Britpop era was in its infancy, but that wouldn’t last long. Like many new cultural movements, “Cool Britania’ seemed to arrive suddenly, and Britpop was brought to Global attention.
Getting rid of Hippies
An essential ingredient was the Britishness of the bands, which meant different things to different groups and their fans. For some, it was their regional accents. For others, it was fashion and local designers. They all appeared to have things in common that could be said to be critical. Lyrics about everyday issues and dislike for the current trend in music -grunge.
Damon Albarn of Blur said in a 1993 interview, “If punk was about getting rid of hippies, then I’m getting rid of grunge!”. Britpop represented a rebellion against the United States – the home of grunge and music norms of the time – or so it seemed. The reality was that they were both a working-class response to what was happening in the world at the time. In retrospect, the two had far more in common than was apparent, but there was no question that Britpop was the livelier and more fun-focused of the two. Grunge appeared to focus on what was wrong in the world and how everything seemed to be angry, self-pity staring at the death of everything. Britpop was far more lively and seemingly enthusiastic. Noel Galagher summed it up well when he said of Oasis’s smash hit ‘Live Forever’ was a reaction to the self-pitying depressive nature of some (mainly US grunge) music of the same era, “dying? fuck that I’m gonna live forever.”
A sense of something new
The Brits brought a sense of something new, accents and a new vocabulary. Added to this was a new fashion and sense of ‘laddish’ rebellion, summed up in an attitude that everyone can get rich and famous – so let’s do it.
It cannot be understated how different it was for British bands not to hide their regional accents or dress styles when eyeing the US market. Until then, British groups who made it in America didn’t write lyrics expressing what was happening in their lives in the UK and would make an effort to soften their accent(s). To make it easier to appeal to the massive US market, they went for commonality in their approach to lyrics and style and didn’t bring their version of British Culture to the fore. Brit Pop changed that. It was fantastic to be British, and it was OK not to hide how you pronounced different words. The bands revelled in it.
This is not to say it was all “British culture or nothing else.” It was much more, although their look and feel were unmistakenly from the UK, and their experience of living life and growing up in Britain.
Having fun and making music
The music was up-tempo and guitar-led, with the formula of one /two guitars, bass, and drums. Recognising that the classic band structure was a big part of the movement is essential. These were bands -mates who got together and wrote songs – this was never just about the lead singer and their ‘musical support’ in the background. This was about groups of people having fun and making music.
Although arguably the most successful bands were Oasis, Blur, Suede and Pulp, and they appear in virtually any Top Ten Britpop, there were others. The Charlatan’s – The Only One I Know, The Stone Roses – Love Spreads, Garbage’s – I Think I’m Paranoid, and Republica’s – Drop Dead Gorgeous, to name but a few, and they helped fuel the idea that Britania was well and truly COOL. Even, arguably still one of the most famous Girl Groups, The Spice Girls though they can’t be said to be under the genre of Brit Pop, in the strictest sense – were the most recognisable face of cool Britania. The photograph went everywhere when Spice Girl Geri Halliwell wore that Union Jack dress at the Brit Awards in 1997. Suddenly, the Brit Awards seemed to have finally arrived rather than appearing to be a poor relation to the much bigger American award shows. And with it came the mighty combined marketing power of the record labels, willingly supported by the media.
The greatest rivalry since the Beatles and the Rolling Stones
Expertly marketed as the greatest rivalry since the Beatles and the Rolling Stones, spurred on by mutual insults between the two groups, Oasis and Blur were set for a showdown to see who could sell the most records – when it was announced both were set to release their new singles in August on the same day, The idea of a musical battle was a brilliant marketing strategy to get new customers – think album sales, concert promotions and Sponsorship of up-coming tours – and equally importantly sales of magazines and pa papers bringing you the daily news on what your favourite band was doing to win the battle. It was a huge commercial success and dramatically upped Britain’s single/album sales, delivering undeniable global success. Britpop was having its moment in the sun.
Ultimately, Blur’s “Country House” sold 274,000 copies, and “Roll with It” by Oasis sold 216,000, the songs charting at number one and two, respectively. Blur performed on the most significant music show in the UK, watched by millions each week, the BBC’s Top of the Pops. With a nod of respect and mutual admiration, bassist Alex James wore an ‘Oasis t-shirt. Ultimately, Oasis grew more successful than Blur at home and abroad, but that was all to come. For the time being, though, Blur was crowned the winner.
Brits taking over
For the next year and a half, Britpop reigned supreme. British bands were topping the charts; the ongoing feud between Oasis and Blur was kept alive and well by a delighted media happy with the antics delivered by both bands and the accompanying insults for each other that went with them. Album sales kept climbing. The Verve released their classic and massively successful to this day, ‘Bittersweet Symphony and. Others like Edwyn Collins, Black Grape, Black Box Recorder, Manic Street Preachers, and Radiohead, regardless of whether they were strictly speaking Brit Pop or not, enjoyed the wave of success that lifted the British Music scene en masse. Although, as we said earlier, Cool Britannia and Britpop can now be seen more as a cultural moment – it certainly inspired a whole new generation of artists both in America and the UK for years to come.
You can hear all of these tracks and thousands more on Bridge Radio now
DC
|
|||||
1641
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| 91 |
https://chordify.net/pages/britpop/
|
en
|
Learn how to play Oasis and other Britpop legends with our new channel - Blog
|
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[
"Teo Lazarov",
"www.facebook.com"
] |
2020-01-17T11:00:09+00:00
|
Britpop emerged out of the desire of a new generation youngsters yearning for a British sound reflecting their vision of the world and of life.
|
en
|
Blog | Chordify | Tune Into Chords
|
https://chordify.net/pages/britpop/
|
Even though Britpop could be seen as one of the most effective government strategies to market an entire country, as a matter of fact, this is entirely not the case with the genre. Despite the fact that prime minister Tony Blair used the new wave of bands for his election campaign, Britpop emerged in the 1990s, with its own sound reflecting a new vision of the world and on life.
So what is Britpop and how can you jam to its typical sound? These are the questions we’re going to answer in this blog post. Expect a bit of history, some theory and a few songs to jam along to, picked from our brand new Britpop Channel.
Grunge
The end of the 80s in the UK was characterised as dull and boring for youngsters. With the rise of party drugs like weed, cocaine and xtc, the party scene slowly started to grow. The Stone Roses were one of the most promising bands of that time, but because of legal problems with their label, the band kind of disappeared right after dropping their self titled debut record “The Stone Roses” in 1989.
The music scene was left with a void that needed to be filled. Since there was no one in the British scene who could do that, the audience turned her head to the other side of the Atlantic, and Nirvana stole their hearts. The Grunge sound conquered the UK overnight.
Authenticity
The pop culture from the U.S.A. has always had a great deal of influence on the United Kingdom. No wonder British bands in the 70s and 80s have tried to mimic the American accent and the way of composing songs. In the beginning of the 90s, this all changed when artists like Massive Attack, Pulp, Oasis, Suede, Elastica and Blur entered the scene.
Suddenly, song lyrics told the story of the dull life British kids face every day. A life on gray streets in industrial towns, and the stiff upper lip way of life of a true Brit. All that jazz, backed up by a raw, punky sound, drenched in Beatles like harmonies and melodies, and sung in a local accent, became what we now refer to as Britpop.
Lad culture
“Working class culture was often sneered at as being crude”, Pulp frontman Jarvis Cocker explains in the documentary “Live Forever, The Rise And Fall Of Britpop”. “Instantly people got on to the fact that maybe it was a bit more alive than the supposedly high brow culture.”
Times were changing and the typical upper class associated with Great Britain were no longer considered cool. On the contrary, it became hip to be a labour voting, working class lad. The mainstream embraced this new cultural identity, which was embodied by stars as Jarvis Cocker and the Gallagher brothers.
Birth of Britpop
According to some, the birth of Britpop can be dated back to the release of two songs in the spring of 1992; “The Drowners” by Suede and “Popscene” by Blur. Both bands were the answer to the Seattle Grunge sound. They embraced all that’s British; the accent, a bit of the sound from the past and last, but not least, the Union Jack.
It has to be said that most of the groups associated with the term Britpop hate the name of the genre, but marketing will be marketing and art will be art. Britpop was growing and sold big time in the 90s, so nobody got hung up on the name.
The typical Britpop sounds
Where does the typical Britpop sound come from? We kind of already gave that away earlier. Of course some of it is borrowed from bands like the Beatles and the Rolling Stones, but also from groups like Joy Division, the Sex Pistols and New Order. It’s a mix of all those melodies, rawness, melancholia and… a solid injection of new blood and ambition.
Even though the genre was pretty popular in the mid 1990s its commercial succes slowly became its own pitfall. According to music historians the period in which Britpop was part of the mainstream can be dated between 1993 and 1997. After that it slowly dissolves into British pop music. The genre paves the way for an accessible sound on which various bands like Arctic Monkeys and Orange Skyline, as well as pop icons like Robby Williams, continue to build.
Some Britpop classics
So the 90s mainstream pop culture definitely was partially dominated by Britpop. Some would argue that one of the most popular songs from that era is “Wonderwall” by Oasis. Others will say its “Common People” by Pulp. Does it really matter in the end?
If you want to jam to some great Britpop tracks you’ll have to get the hang of the genre. How? By playing along with our Britpop Channel of course. So let’s take a closer look at some Britpop classics that define the genre.
Suede – The Drowners
Starting of with “The Drowners” by Suede released in 1992 and marking the start of a new genre. To avoid hard chords just tune your guitar half step down to Eb and transpose the song to E using the transpose tool in Chordify. Ready? The chord progression looks much better doesn’t it?
If you transposed the key to E, you’ll notice that this track consists of a lot of basic chords like the D chord, the C chord, the A chord, the E chord and the Em chord. There are only two exceptions, which could be seen as challenging: the C#m chord and the F#m chord. If you need some help with those, just check out our barre chord tutorial.
Blur – Popscene
In contrast to the melancholic song by Suede, “Popscene” by Blur is much more uptempo, clearly reflecting the punk genes of the band. This track may sound easier than “The Drowners” but the fast chord progression and the double amount of barre chords will make it a bit more of a challenge.
Again we see the typical Britpop ingredient at the core of these songs: the basic chords underneath the British vocal line. They just give the track a nice and clear sound. If you want to learn to play this track, here’s a tip: take it step by step. Loop the verse using the looping tool and play it until you have mastered it. After that, proceed to the chorus and do the same.
Oasis – Wonderwall
After the two grandfathers of Britpop, it’s time for the commercial stars. We already discussed the song “Wonderwall” by Oasis in a popular sense. But let’s take a look at how the song is actually structured musically. Compared to the previous two tracks, this one is a bit more complicated. At first sight that is. Written in the key of F#m makes the chord progression of this track looks slightly more challenging.
But nothing is what it seems, because look what happens when you place your capo on the second fret. When you do so, the intervals between the chords remain the same. The only thing that changes is the way you have to position your fingers. As you can see, the chord progression has transformed to a perfectly basic one. Simple, nice and tidy consisting out of an Em chord, G chord, D chord and some power chords.
Pulp – Common People
“Common People” by Pulp sold over 1.3 million copies in 1995. That’s a lot of records, mind you. But that is not the only reason people argue this is the best track Britpop gave birth to. Another – more legit argument if you ask us – is that the lyrics embody the whole essence of the genre. The British working class – who struggle with everyday financial problems like having enough money to pay the rent and put food on the table – versus the upper class of wealthy Brits who are clueless to how the majority of the population spend their days.
Music wise, the lyrics are backed by a pretty straight forward chord progression, consisting out of the C chord, the F chord and the G chord. Even the triads are spreading the message of the common people. There’s no need to act sophisticated, keep it simple, keep it tidy, keep it British. Enjoy and happy jamming!
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https://library.citytech.cuny.edu/rockbib/items/browse%3Ftags%3DPopular%2Bmusic%2B--%2BSocial%2Baspects%2B--%2BGreat%2BBritain%26output%3Domeka-xml
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Rock Monographs Bibliography
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Scholarly books on rock, punk, pop, metal, and more
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https://soundcloud.com/modifi-britpop-band/disco-2000-pulp-cover
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Disco 2000 (Pulp Cover) by Modifi (Britpop Band)
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Stream Disco 2000 (Pulp Cover) by Modifi (Britpop Band) on desktop and mobile. Play over 320 million tracks for free on SoundCloud.
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https://a-v2.sndcdn.com/assets/images/sc-icons/favicon-2cadd14bdb.ico
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https://soundcloud.com/modifi-britpop-band/disco-2000-pulp-cover
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https://unclee.wordpress.com/2012/04/24/britpop/
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Uncle E's Musical Nightmares
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2012-04-24T00:00:00
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I got caught up in the whole Britpop ‘movement’ of the mid ‘90’s, I can admit that now. And while said ‘movement’ produced some fine bands and some classic albums, in hindsight it produced far more drek than genius. But what, exactly, was Britpop? The Smiths breaking up in August of 1987 brought about a…
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https://s1.wp.com/i/favicon.ico
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Uncle E's Musical Nightmares
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https://unclee.wordpress.com/2012/04/24/britpop/
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Britpop
I got caught up in the whole Britpop ‘movement’ of the mid ‘90’s, I can admit that now. And while said ‘movement’ produced some fine bands and some classic albums, in hindsight it produced far more drek than genius.
But what, exactly, was Britpop? The Smiths breaking up in August of 1987 brought about a period of drought. English music, great English music, just about dried up, and when grunge happened in 1990 it all but obscured anything good coming from the other side of the pond as far as most of the world was concerned. It ruled, and while I never bought into that scene I can at least recognize it for what it was. Music historians will tell you that Britpop was created by the music magazines (especially Select) to combat the dominance of grunge and to bring back a little national pride to the Isles, and it was, and it did, at least for a little while. The music rags would tout this movement’s superiority over grunge and taunt the American record buying public with headlines such as “Yanks Go Home”. It was ‘The Movement That Celebrated Itself’, and it was HUGE there. But other than Wonderwall, and Song 2, it was virtually ignored here in the States. But let’s get back to that “Yanks Go Home” thing for a minute. If the English were so adamant about keeping this scene local, then why did they always talk about the importance of ‘breaking America’ as often as they did, eh?
The sound and the scene were supposed to have harkened back to the glory days of English popular music, the ‘mid 60’s. The Beatles and The Kinks (oddly, the Stones and The Who were left out of the conversation) were the blueprint. They sung in their native accents about oddly stereotypical English things and characters (Ray Davies) and aped the sonics of the Big B’s. But they also drew from other British bands from the ‘70’s: Liam Gallagher’s voice recalled John Lydon’s and Blur fused elements of The Specials with The Kinks. It worked quite well at the beginning, but started to sound a little tired by their third and 4th albums, respectively.
History recalls that Oasis and Blur were the best things to come out of this era, but history is only partly correct. Oasis only released 1 great album (Definitely Maybe), and one fine, but overrated one in What’s The Story (Morning Glory). Blur on the other hand released one fine (Modern Life Is Rubbish) long player and 3 great to classic albums with Parklife (the classic), The Great Escape and the self titled one that contained the overplayed Song 2. Blur remains the clear winner of that particular battle.
Suede’s debut is the one that is cited as ground zero for Brit-pop, but to me Brett Anderson’s preening and androgynous ways and the bands affinity for the glam side of things stunk to high heaven of calculation. I only came aboard the Suede train when Britpop was on the decline, after that guitarist left. I don’t care what anybody says, Coming Up was a fantastic album.
The real stars of Britpop were Pulp and Supergrass, of course. Pulp had earned their fame through years and years of hard work. They got increasingly better with each successive album, finally peaking on Different Class in 1995. Supergrass came out the gates with a very impressive debut (I Should Coco), and continued to release quality albums up until their demise in 2010. They were by far the most consistently excellent band to come out of Britpop, and England period in the last 20 years. The Charlatans UK were underrated as well and are still going strong even today.
Most of the bands from this era will always remain footnotes, and rightfully so. Menswear, Sleeper, Elastica, Kula Shaker, Travis and many more all released a decent song or 2, but that’s about it. Which is a great segue for my final paragraph on the subject!
Britpop was all about the songs, in my opinion, and there were many, many excellent ones to choose from. In no particular order, here is the cream of the crop:
Common People, by Pulp
Sorted For E’s and Whizz, by Pulp
Parklife, by Blur
Boys & Girls, By Blur
Bittersweet Symphony, by The Verve
Supersonic, by Oasis
Live Forever, by Oasis
Connection, by Elastica
Laid, by James
Caught By The Fuzz, Supergrass
Alright, by Supergrass
Richard III, Supergrass
Disco 2000, by Pulp
Brimful Of Asha, by Cornershop
Tattva, by Kula Shaker
Babies, by Pulp
Neighborhood, by Space
A Design For Life, Manic Street Preachers
Post Script: I do not consider some of my favorite bands of the ‘90’s Britpop, which is why I omitted them from this list even though many released fine albums during this time. Super Furry Animals, Teenage Fan Club, Underworld, Radiohead, Paul Weller, The Boo Radleys, The ORB, Stereolab, and a bunch of others I just cannot remember at this moment.
For all of my readers from the UK: Please chime in. I wasn’t there and am basing this mini-essay on my experiences as an outsider from America, so I could have all this back-asswards.
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http://www.acrylicafternoons.com/disco.html
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ACRYLIC AFTERNOONS
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Disco 2000
The Video
This is a great article about the production of the video with Pedro Romhanyi, it's joint creator...
Pedro Romhanyi's fifth straight video with Pulp manages to dovetail perfectly with Pulp 'product' - both the single and the critically acclaimed album. It's a marketing man's dream, but not surprising to learn that the tie-in of promo and product, the crossover of design and references to Pulp's place in pop culture, was the idea of the band and director, and is delivered with their now-trademark style and sense of irony. It is all quintessential Pulp, and Romhanyi suggests, a final hurrah before Jarvis Cocker and band assume a lower profile for a while. The story is ultimate Cocker territory - the anticipation before a night out, the Saturday night disco, where boy and girl 'get off' with one another. It's a photo love story come to life, and so involving that if it is your first exposure to the song, you will probably be unaware that the lyrics are a quite different tale of unrequited teen love. "Initially we were going to do something much closer to the song's lyrics. We were also experimenting with a new technical idea, and then the artwork for the single appeared."
Following the theme of the album sleeve, photographer Donald Milne shot a photo love story, that spans over the two-CD single release package. It was such a well executed idea they adapted it for the clip. "So, in the video we duplicate the photo shoot, changing the order in a couple of cases, and of course add a lot of new stuff - the track is over five minutes long." Romhanyi says, "Donald Milne's work for the album and single is like an artificial version of the real world, where all its mundane features have been removed. So this is what we had to recreate - the Pulp world - without Pulp being in it." The band are in the video as life-size-cut-outs and Jarvis appears occasionally on a TV set. "The idea for the cutouts came from an old copy of Nova owned by [bassist] Steve Mackey," says Romhanyi, and of course the typography used on the sleeve artwork, and the video's subtitles, is the same as the Sixties magazines. It points to the input and influence of the band - particularly Cocker and Mackey, both film school grads - on their visual representation. "Jarvis and Steve like things quite crafted and with a sense of structure. A lot of work and a lot of talk that goes on before a frame is shot."
Romhanyi has a reputation for being able to relate to musicians and their music, hence his long relationship with prickly Paul Weller. In Pulp's case, Romhanyi says, "They will set up a brief and I'll come up with ideas. Often they say no, and different videos have different levels of input from them, but they are never passive." Good though it is, Disco 2000 is largely an addendum to the defining video of Britpop in '95, Common People. "That is perhaps the most complete video I've done so far, although at the time, after coming out of 70 hours of post production, it didn't feel like it," says Romhanyi. Common People was one of those rare occasions when a video creates a cultural stir. And after thirteen years in the wilderness, it turned Jarvis Cocker into an overnight sensation. It also actually addressed the content of the song, which Romhanyi considers a good policy in promo-making. For Romhanyi it has been a very fruitful collaboration. "Although I'm quite a commercial promo maker, it's possible to be experimental with Pulp, such as using the 1:1 ratio in Disco 2000," he says. "You can do something leftfield and commercial simultaneously.
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https://soundcloud.com/pulp-official/disco-2000-album-version/albums
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Disco 2000 by Pulp
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Discover and play music albums featuring Disco 2000 by Pulp on desktop and mobile.
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SoundCloud
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https://soundcloud.com/pulp-official/disco-2000-album-version/albums
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https://thequietus.com/opinion-and-essays/black-sky-thinking/ac-dc-disco-punk-funk-glam-rock-brit-pop-superstars/
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AC/DC: Disco Punk Funk Glam Rock Brit Pop Superstars
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2009-04-15T04:47:00+00:00
|
It was the withering contempt of the music press that gave rise to the notion that AC/DC did little more than release the same album over again. Interviewed on the eve of their 1984 Monsters of Rock headliner by a sneering Andy Kershaw for the Old Grey Whistle Test, the soon-to-be champion of world music […]
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en
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The Quietus
|
https://thequietus.com/opinion-and-essays/black-sky-thinking/ac-dc-disco-punk-funk-glam-rock-brit-pop-superstars/
|
It was the withering contempt of the music press that gave rise to the notion that AC/DC did little more than release the same album over again. Interviewed on the eve of their 1984 Monsters of Rock headliner by a sneering Andy Kershaw for the Old Grey Whistle Test, the soon-to-be champion of world music and recipient of several restraining orders was moved to ask Angus Young in contemptuous tone how it was that the band managed to differentiate themselves in the world of heavy metal and hard rock.
“A lot of people say we’ve made the same album eleven times,” replied the diminutive guitarist before adding, “and really they’re lying because it’s actually the twelfth time.”
And so the myth began that every AC/DC album sounds the same. Palpable nonsense, says The Quietus. Though the band has enjoyed a critical rehabilitation of sorts, the notion of musical change within the AC/DC camp is anathema to most of the gentlemen of the music press (and where AC/DC are concerned, it most certainly will be gentlemen). But these are cloth eared dolts, the kind of buffoons that would have you believe that AC/DC exist in a bubble that refuses to acknowledge outside influences.
Come join us, gentle reader, as we prove once and for all through a series of carefully monitored and scientifically-controlled, double blind tests with water-tight methodology (listening with the volume at full + air guitar x personal prejudice = opinion) that, despite the erroneous reputation attached to their voluminous output, AC/DC are a band very much of the times in which they live…
THE GLAM ROCK YEARS
ALBUMS: ’74 JAILBREAK, HIGH VOLTAGE, DIRTY DEEDS DONE DIRT CHEAP
THE EVIDENCE: At the heart of the crunching ramalama that is AC/DC lies an unapologetic pop band and as these early recordings show, the influence of glam rock is never far way. Granted, as evidenced by TNT and its snotty chants of "Oi! Oi!", AC/DC owe less to the androgyny and sexual ambivalence of David Bowie and more to the brickie-in-heels/futurist aesthetic of Sweet and Gary Glitter but the glam influences are firmly in place. As are the nods to Bay City Rollers with ‘Can I Sit Next To You Girl’, a track that sails perilously close to ‘Shang-a-Lang’.
Dirty Deeds Done Dirt Cheap follows in a similar vein. Phil Rudd’s beats on the title track are a pure glam stomp; the sound of a thousand stack heels brought down hard on the concrete terraces the world over. See also the breathing effect on the verses that double up as Glam’s secret weapon: handclaps. These albums are so glam that Mickie Most must have wondered where his production points were and for further evidence, check out Malcolm Young’s knee length boots on the back cover of High Voltage.
THE PUNK ROCK YEARS
ALBUMS: LET THERE BE ROCK
THE EVICENCE: Received wisdom has it that punk rock had absolutely no effect on AC/DC. This, of course, is total bollocks; the band’s reaction to the nascent punk scene is most keenly felt on Let There Be Rock. To the untrained ear, AC/DC’s fourth album is a tightened up version of what went on before but this is to miss punk’s influence on AC/DC’s activities.
Having moved to London in 1977, AC/DC were somewhat bemused to find themselves lumped in with punk rock. Finding little in common with the barrage of the Pistols, The Clash et al, the Antipodeans reacted against the prevailing winds by delivering an album of blistering rock’n’roll in its purest sense.
They may have reacted against punk, but also Let There Be Rock benefits from the same liberating force that other punk bands did.
THE DISCO YEARS
ALBUMS: POWERAGE, HIGHWAY TO HELL, BACK IN BLACK, FOR THOSE ABOUT TO ROCK
THE EVICENCE: Most metal scholars will, over the course of several pints, return to make the point in misty-eyed terms that Powerage is AC/DC’s best album and they’re not wrong. Featuring some of Bon Scott’s most poignant lyrics (see the junkie horror of ‘Gone Shootin’”, the street-blues of ‘Rock’n’Roll Damnation’), the album pushes and pulls with a rhythmic intensity that had been missing from their previous releases. Not without good reason is this Keith Richards’ favourite hard rock album. But there’s an extra element at play here that contributes to its deep grooves: disco.
By 1978, disco was impossible to ignore. Once the preserve of blacks, gays and other marginalised groups, the success of Saturday Night Fever ensured that disco went supernova in a very short space of time. The Rolling Stones, never a band to miss a passing bandwagon, soon hitched a ride and hit paydirt with ‘Miss You’.
AC/DC’s flirtation with disco was less obvious though no less keenly felt. Powerage is a triumph of the groove. Cliff Williams’ minimalist and Zen-like bass playing harks back to disco’s forebear Northern Soul (compare the bass lines of ‘Down Payment Blues’ with Mr Bloe’s ‘Grooving With Mr Bloe’) as elsewhere, Phil Rudd’s signature 4/4 beats are more in keeping with the times than keeping time.
But it was the arrival of Robert John “Mutt” Lange that sealed AC/DC’s disco credentials. Lange had already propelled the otherwise unremarkable City Boy into the pop charts with ‘5705’, a track that combined the overblown harmonising of AOR with a chart friendly sheen, as well as aiding The Boomtown Rats in securing pole position with the Springsteen tribute that was ‘Rat Trap’.
The resulting Highway To Hell album is a dance monster of epic proportions. The title track’s disco credentials are sealed thanks to a dynamic that finds Phil Rudd taking centre stage once more as Angus Young weaves in and out of those infectious dance beats. Their appearance on Top Of The Pops to promote ‘Touch To Much’ is one of the most surreal TV appearances ever as their usual headbanging constituency is replaced by teenage girls employing the same moves they’d use to Odyssey’s ‘Native New Yorker’ at the youth club disco.
Despite the death of Bon Scott, 1980s Back In Black became a planet-shagging success. With Lange twiddling the knobs again to songs that were infinitely more streamlined than anything they’d recorded before, AC/DC had reached a state of disco nirvana. ‘You Shook Me All Night’ proved to be such a colossal example of the genre that Celine Dion and Anastacia were moved to the cover the songs in one the most bizarrely misguided duets of all time. Consider also that new vocalist Brian Johnson auditioned for the band by singing Ike & Tina Turner’s ‘Nutbush City Limits’. Coincidence or evidence of a dance element that had always been in their music? We know which way we’re swinging.
THE MULLET YEARS
ALBUMS: FLICK OF THE SWITCH, FLY ON THE WALL, BLOW UP YOUR VIDEO, THE RAZORS EDGE
THE EVICENCE: The 1980s were an unkind time to many a band of a certain vintage and AC/DC were no exception. Bereft of drummer Phil Rudd, the lumpen contribution of his replacement Simon Wright only added to the rubbish that was filling their albums. Meanwhile, the fall-out from Live Aid rehabilitated some of the worst dinosaurs from the previous two decades as the cruise control switch was flicked and the cash poured in.
AC/DC’s concession to 80s was for Angus Young to sport a dodgy-looking mullet that at least ensured a high profile for the band in the American mid-West, a territory unconcerned with matters of taste and what the rest of the world was up to. The rest of the world reciprocated in a similar fashion.
THE BRITPOP YEARS
ALBUM: BALLBREAKER
THE EVIDENCE: Where previous generations of rock & rollers were only too happy to apply iconoclastic methods in a bid to get themselves noticed, the Class of ’94-95 were so reverent and in thrall to past masters such as Ray Davies and The Beatles that it seemed as if the tribute bands were finally taking over. Who needed The Bootleg Beatles when Oasis were so readily available?
Clearly, AC/DC were paying close attention. Rehiring drummer Phil Rudd and placing uber-fan Rick Rubin in the producer’s chair, the band effectively became a tribute to themselves and released their strongest album since 1981’s For Those About To Rock.
THE HERITAGE YEARS
ALBUMS: STIFF UPPER LIP, BLACK ICE
THE EVICENCE: It was no less an authority than The Rolling Stones who discovered that it was perfectly feasible to continue to release album in order to promote a tour, rather than vice-versa. So it was that AC/DC set out on the epic Stiff Upper Lip tour on the back of another pretty weak album. Tellingly, AC/DC played only the title song and ‘Safe In New York City’ before the latter track was quietly dropped in favour of more material from the Bon Scott era. Little wonder that the two bands shared a bill in 2003.
Yet the current Black Ice tour shows all the signs of reversing this trend. Five cuts from the new album are making it into the set list but this is hardly surprising. With their strongest album in over 25 years, AC/DC really have re-discovered their mojo. As rumoured, it may well be their last hurrah, and if it is, they’ve taken significant steps to ensuring that they’re to be remembered for pushing ever-onwards.
In doing so, AC/DC join a log list of artists ranging from Leonard Cohen to Brian Wilson to Bruce Springsteen who have all enjoyed a renaissance of sorts over the last few years. The reasons have varied from artist to artist yet the desire to leave something of worth is the common thread that binds them all together. AC/DC are no different, and in doing so, have proved once again that, far from churning out the same album time and again, outside influences continue to play a discernable impact on their activities.
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https://www.theguardian.com/music/2024/apr/26/mad-fer-it-the-young-musicians-flying-the-flag-for-britpop
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en
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Mad fer it! The young musicians flying the flag for Britpop
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2024-04-26T00:00:00
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Artists from Dua Lipa to Nia Archives are tapping the boisterous energy of mid-90s music – and even embracing the union jack. Can they avoid the genre’s laddish lows?
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en
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the Guardian
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https://www.theguardian.com/music/2024/apr/26/mad-fer-it-the-young-musicians-flying-the-flag-for-britpop
|
For some, Britpop was a high point for British guitar music: that time when Blur, Pulp, Suede and Oasis thrilled the world with wit and brio. Others argue it has aged worse than Loaded magazine: blokey, beery, conservative and still clogging up the charts. Indeed, there’s perhaps something a bit dismal about the fact that James and Shed Seven have both had No 1 albums in 2024.
Nevertheless, a crop of young artists are turning to the energy and iconography of mid-90s Britain for inspiration. The jungle artist Nia Archives, 24, wears a dazzling union jack on her teeth for the cover of her debut album, Silence Is Loud. “No one’s really making Britpop at the moment,” she told the Face in February, “but I have a feeling 2024 is gonna be the year.” Dua Lipa has said she was “looking through the music history of psychedelia, trip-hop and Britpop” while making her new album, Radical Optimism, adding that Britpop “has always felt so confidently optimistic to me, and that honesty and attitude is a feeling I took into my recording sessions” – although you’d be pushed to notice the influence on the new singles she has released so far.
AG Cook, once head of the avant-pop collective PC Music, turns “Britpop” into a hooky slogan on his triple album of the same name – Charli XCX hypnotically chants it on the title track, while the cover is a warped pink and green remix of the union jack. Then there’s the songwriter Rachel Chinouriri, 25, whose cover for the album What a Devastating Turn of Events is very Britpop, with its picture of a council estate festooned with St George’s Cross bunting. Is this just another rotation of the nostalgia cycle, or can these artists help recontextualise what Britpop was – and is?
The BBC 6 Music presenter Stuart Maconie is credited with coining the term in a 1993 feature for Select magazine’s Yanks Go Home! edition. It described a hyperspecific period when a wave of bands arrived with a similar eccentric British sensibility, seeming like an antidote to US grunge.
“I would always distinguish Britpop from what we call Cool Britannia,” he says. “The burgeoning economic climate, Tony Blair – that becomes bullish and slightly swaggery. Then you get the Spice Girls, you get Oasis, you get all the frankly horrible stuff associated with Britpop – the laddishness, the replica football shirts. One is outsider, it’s underground, it’s witty, it’s enigmatic, it’s poetic, it’s sexy in a very un-thrusting way. The latter is football, beer, Three Lions.”
But over time, the distinction between Britpop and Cool Britannia has become lost. “What we think of as Britpop wasn’t what it was like,” says Kieron Gillen, co-creator of the Britpop-influenced comic book series Phonogram. “It was much wider. Especially early on, it was more female, queer, late-1970s. Later, it was more male, straight, 1960s and leaden.” Gillen based Phonogram on “the frustration of ‘I was fucking there!’” – a time when most people’s tastes were much broader than lads with guitars. “I was obsessed with everything that happened in music. Everyone went down to the Good Mixer” – the Britpop scene pub in Camden. “Everyone liked jungle records.”
Though jungle was also an upsurge of new British music, which happened at pretty much the same time as the explosion of guitar bands, it wasn’t part of the Britpop conversation. Nia Archives connects the dots on her debut record, which pairs jungle with songwriting inspired by the Beatles, Blur and Oasis. “Jungle was the punk of dance music – it’s rebellious. It’s also Black British music,” she says. “I liked the loose link from jungle to Britpop. In the 90s, you’d have the Gallagher brothers hanging out with Goldie and Björk.” Noel Gallagher and Goldie also collaborated on a record, Temper Temper, though it isn’t exactly a highlight of either’s catalogue. “That mismatch of people, like David Bowie going to the Blue Note on a Sunday night in Hoxton” – for the influential jungle club night Metalheadz – “I love that culture.” So what does Britpop mean to her? Like Lipa, she says “it’s a feeling of optimism. When listening to Britpop, there’s a feeling of togetherness.”
While displaying the union jack and England flags caused unease among some music fans in the mid-90s (Noel Gallagher brandished the former on his guitar), today the flags are perhaps even more heavily politicised thanks to Brexit and the rise of popular nationalism. “I have a different connection with the union jack as opposed to the St George’s Cross,” Nia Archives says. Growing up in Bradford in the early 2000s she saw it co-opted by the far-right English Defence League. “That to me is where I associate that flag.”
Chinouriri, however, decided to use the St George’s Cross as an act of reclamation. “For Black people and POC, that flag’s not something people are proud of,” she says, adding that some people around her discouraged her from using it on her album cover. But on her single The Hills, Chinouriri sings about rediscovering her British identity after feeling lonely during a period spent in Los Angeles. “No matter the trauma I’ve had from being raised in the UK, being Black British and being the only Black person in my neighbourhood, it’s made me the person who I am,” she says. “There is a culture within being Black British that is distinct and strong, and harbours creativity.” Using the flag is “a celebration – taking back this thing and saying: you can’t get rid of me”.
AG Cook also drew on Britpop during a period of isolation. He spent lockdown in rural Montana with his girlfriend, where he was the only British person in town. Britpop became a way of discussing his personal and national identity. “What justified using ‘Britpop’ on my record is the word being so loaded,” he says. “That’s a lot of fuel to mess with. Pop is already something that people can’t agree on. It reminds me of the confusion of: what is Britain? What is a Brit? The British Isles, United Kingdom, England – people arguing about boundaries and about genre.”
Cook recast the union jack in pink and green to give it “an alternative universe quality”, but he isn’t worried about backlash. “My audience is different to the audience watching the back of the England shirt,” he jokes about the recent controversy around Nike’s revamp of the St George’s Cross on the new England football kit.
Still, he sees value in artists claiming the flag for themselves. “Now we have this spectre of populist nationalist thinking, interesting musicians are using it in another way; maybe it declaws it from just being one interpretation.”
Cook also points to the fracturing of pop culture since the advent of the internet as another reason that Britpop is a reference. “We live in a completely different media to the one 90s Britpop was responding to,” he says. “Even if a lot of those bands weren’t on the same page, they would be on the same front pages. Once you’ve got this broken up mainstream and everyone’s existing in these subcultures, anything you can do to latch on to something more universal” – such as Britpop – “is very useful. It creates an interesting dialogue between artists.”
It’s clear that bands who once defined the monocultural mainstream sit differently in today’s broader culture – just look at the nonplussed reaction of gen Z to Blur’s 2024 Coachella set – and the very notion of Britpop is becoming broader again, too. With their diverse perspectives and hopeful songwriting, this new wave of artists is moving Britpop away from its association with laddism and jingoism, and closer to the original anything-goes feeling.
“History is a long game – you can absolutely redefine an alternative history of Britpop,” says Gillen. “If it’s popular enough, history changes. That’s the magic of pop music.”
Silence Is Loud by Nia Archives is out now on Hijinxx/Island Records. What a Devastating Turn of Events by Rachel Chinouriri is released 3 May on Parlophone/Atlas Artists. Radical Optimism by Dua Lipa is released 3 May on Warner Records. Britpop by AG Cook is released 10 May on New Alias.
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https://en.wikipedia.org/wiki/List_of_Britpop_musicians
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en
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List of Britpop musicians
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https://en.wikipedia.org/static/favicon/wikipedia.ico
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https://en.wikipedia.org/static/favicon/wikipedia.ico
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2003-01-19T01:16:18+00:00
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en
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https://en.wikipedia.org/wiki/List_of_Britpop_musicians
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The following is a list of Britpop musicians. While definitions may vary, artists labelled as Britpop were typically guitar-based bands that emerged from the British music scene, were popular in the 1990s, and focused more on melody than other contemporary genres such as grunge.[1]
This is a dynamic list and may never be able to satisfy particular standards for completeness. You can help by adding missing items with reliable sources.
Artists
[edit]
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1641
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2
| 90 |
https://chordify.net/chords/pulp-songs/disco-2000-chords
|
en
|
Disco 2000 Chords
|
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Chords: F, Bb, Dm, Gm. Chords for Pulp - Disco 2000. Chordify is your #1 platform for chords.
|
en
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https://chordify.net/chords/pulp-songs/disco-2000-chords
| |||||||
1641
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dbpedia
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0
| 82 |
https://www.nme.com/photos/50-greatest-britpop-songs-ever-as-voted-by-you-1434108
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en
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50 Greatest Britpop Songs Ever – As Voted By You
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2013-05-13T12:35:03+00:00
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Last week we voted for our favourites - and now you've had your say
|
en
| https://www.nme.com/wp-c…[email protected]
|
NME
|
https://www.nme.com/photos/50-greatest-britpop-songs-ever-as-voted-by-you-1434108
|
1
50. The Longpigs – ‘She Said’
50. The Longpigs – ‘She Said’
Last week the NME staff spent a week of debate and bitter grudge matches to decide our definitive list of the 50 Greatest Britpop Songs. Now we’ve asked you lot to rearrange our list into your order. And the results are in! Bottom of the list are the poor Longpigs, with their soaring highpoint, ‘She Said’ was Britpop at its most histrionic.
2
49. Bis – ‘Kandy Pop’
49. Bis – ‘Kandy Pop’
Scottish indie trio Bis were never destined to be Britpop’s biggest stars. However their 1996 offering ‘Kandy Pop’ showed the scene’s irreverent and playful side, a wonky mix of relentlessly upbeat guitars and knowingly meaningless lyrics about sweeties. They were also the first unsigned band ever on Top Of The Pops.
3
48. Black Grape – ‘Reverend Black Grape’
48. Black Grape – ‘Reverend Black Grape’
Britpop saw older acts tweaking their sound to ride the new wave of alternative excitement, and one of the most intriguing comebacks was that of Shaun Ryder, whose Happy Mondays had collapsed in a drug fuelled stupor. Black Grape’s formula was much the same; spaceman poetry over funk-inspired grooves. Here, it proved even more batty.
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4
47. Gorky’s Zygotic Mynci – ‘Patio Song’
47. Gorky’s Zygotic Mynci – ‘Patio Song’
Gorky’s singer Euros Childs impossibly cherubic voice and his sister Megan’s tear-tuggingly mournful violin remain two of the most distinctive sounds of the 90s. But also the most undervalued. Never were they combined more sweetly than on this daisy-mowing song, which is about love, not a patio.
5
46. Kenickie – ‘Punka’
46. Kenickie – ‘Punka’
Before her fabulous media career, Lauren Laverne prominence as the front-woman in a spiky four-piece band whose colourful, witty and completely in-yer-face attitude. crossover into mass mainstream appeal never really happened, but they are remembered fondly. The energetic, sarcastic and very funny ‘Punka’ remains their most cherished song
6
45. The Boo Radleys – ‘Lazarus’
45. The Boo Radleys – ‘Lazarus’
It sounded like someone had slowed ‘Popscene’ down to 12rpm, stuck a deep dub bassline on it and turned it up to 111, and it was truly spectacular. ‘Lazarus’ – the peak of The Boo Radleys’ 1993 masterpiece ‘Giant Steps’ gave Britpop permission to swathe itself in pomp and circumstance when it saw fit.
7
44. Menswear – ‘Daydreamer’
44. Menswear – ‘Daydreamer’
‘Daydreamer’ is as essential to Britpop as overpriced cocaine and videos of hairy student types riding beds around beaches. The only song the short-lived band had in their arsenal when they started, it turned out to be the only one they’d need – smarmy, arch, and featuring the kind of riff Graham Coxon would have swapped ‘Song 2’ for.
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8
43. Shed Seven – ‘Getting Better’
43. Shed Seven – ‘Getting Better’
Breaking through almost the same week as Oasis, and with dangerously similar haircuts, Rick Witter’s mob from York never quite shook out from under their shadow, but they also yielded on of the most durable catalogue’s of the era, and gave Britpop song of its poppiest peaks, like this earnest firecracker of a thing.
9
42. Babybird – ‘You’re Gorgeous’
42. Babybird – ‘You’re Gorgeous’
Calling Stephen Jones (aka Baby Bird) a one-hit wonder is a touch unfair, him having enjoyed a hugely long career of largely great albums. But he was never going to better this soaring peak: the seedy lyrical tale of a model’s exploitation cutting (bitter)sweetly against the track’s childlike melodic twinkles.
10
41. The Bluetones – ‘Slight Return’
41. The Bluetones – ‘Slight Return’
Britpop at its catchiest and most melodic. No lairiness or sexual undertones here, just a next level jangly pop tune featuring a video with some women running with prams and Bluetones singer Mark Morriss legging it down the street eating a sandwich. Utterly charming.
11
40. Gene – ‘Olympian’
40. Gene – ‘Olympian’
Gene’s melancholic, Smiths-indebted strains were an anomaly amid the laddish Britpop mainstream. And their first Top 20 single and the title track of their Top 10 debut, set their schtick from the off. Distinctly British, but with a vast, lovelorn heart at their centre, and ‘Olympian’ injected genuine heart into a scene that was at times in danger of self-parody.
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12
39. McAlmont And Butler – ‘Yes’
39. McAlmont And Butler – ‘Yes’
‘Yes’ emerged from two bitter band splits, but that bitterness was channelled into something truly magical. Freed from Brett Anderson’s noir-ish concerns, Butler went the full Spector, while McAlmont delivers an acrobatic, melodramatic vocal the equal of most things that came out of Muscle Shoals. Our list placed it much higher!
13
38. Sleeper – ‘Inbetweener’
38. Sleeper – ‘Inbetweener’
This super-catchy three minutes from the four-piece band who, as far as anyone can remember, only had Louise Wener in them (the guys at the back were known as ‘Sleeperblokes’) told of hapless nobodies caught up in Blur’s nowhere society, characters that are “nothing special, not too smart… not a work of art or anything”. Also, Dale Winton’s in the video.
14
37. Super Furry Animals – ‘Ice Hockey Hair’
37. Super Furry Animals – ‘Ice Hockey Hair’
Britpop’s ultimate destination, the feedback-dunked wig-out of ‘Ice Hockey Hair’ is so head muddling it practically gives you whiplash. Here willful, pill-ful weirdness meets monstrous guitar crunches dead centre, for arguably the Welsh cult legends’ finest hour – and ode to the mullet of all things.
15
36. Super Furry Animals – ‘The Man Don’t Give A Fuck’
36. Super Furry Animals – ‘The Man Don’t Give A Fuck’
The main hook was lifted from a song by ’70s AOR peddlers Steely Dan, and contained a choice expletive that resulted in this track becoming the most profane-strewn top 40 hit in UK chart history. It almost languished as a B-side until label boss Alan McGee realised that despite the certainty of a radio blackout, it would be a hit.
16
35. Catatonia – ‘Road Rage’
35. Catatonia – ‘Road Rage’
These valley boys and girl burned briefly and brightly as pop sensations, in part due to their crisp and irresistible hooks, but also their sharp way with a pop culture reference. Previous hit ‘Mulder And Scully’ riffed on X Files mania, while their crowning pop moment likened dating to the trend at the time of shouting at people outside their cars.
17
34. The Auters – ‘Showgirl’
34. The Auters – ‘Showgirl’
Luke Haines’ band are thought by many to have helped give birth to Britpop – they toured with Suede, were London-based and this debut single, brought an arch, wry Britishness to its story of marrying a stripper that was very rare at the time but would be everywhere a year later, albeit in a more garish, populist manner.
18
33. Edwyn Collins – ‘A Girl Like You’
33. Edwyn Collins – ‘A Girl Like You’
Another guy who can lay claim to having helped pave the way for Britpop, his band Orange Juice’s ramshackle, jangly pop being one of the prime influences. And appropriately he scored his biggest hit during the mid-’90s with this 60s-indebted handclap-heavy stomper with the unforgettable Elvis-inspired video.
19
32. Mansun – ‘Wide Open Space’
32. Mansun – ‘Wide Open Space’
Chester’s Mansun helped spawn a counter-revolution against Britpop’s tired and traddier practitioners: sacking off knees-up bonhomie and Cool Britannia bobbins to exist, like Suede or the Manics, as a glorious anomaly. Here was their unsettling masterclass, a swirling, brooding dust-cloud of loneliness, paranoia and alienation. And jolly good it was too.
20
31. Elastica – ‘Waking Up’
31. Elastica – ‘Waking Up’
Proudly pilfering The Stranglers’ ‘No More Heroes’, today’s meekest indie stars could do with taking note of Justine Frischmann’s “If I can’t be a star I won’t get out of bed” attitude, while that chorus, “waking up and getting up has never been easy” is as timeless as their all-black clothes. Make a cup of tea and put (this) record on.
21
30. The Boo Radleys – ‘Wake Up, Boo!’
30. The Boo Radleys – ‘Wake Up, Boo!’
Full of handclaps, sun-soaked vocal harmonies, upbeat drums and blasts of brass, no song better captures the rosy optimism of the Britpop era than ‘Wake Up, Boo!’. It secured these previously sonic screw-loosers a Top Ten smash. Not a great song to play at full volume when you’re still up at 7am if you want to keep all of your teeth, however.
22
29. Paul Weller – ‘The Changingman’
29. Paul Weller – ‘The Changingman’
Meeker souls than Paul Weller would have just sat out the ’90s getting sozzled on their own self-importance, what with him being considered the Big Bang of Britpop by all and sundry. But The Modfather cranked up the fuzzy snark with ‘The Changinman’ – a taut, strutting beast that nicked an old ELO riff and seemingly sneered at pretenders beneath.
23
28. Ash – ‘Girl From Mars’
28. Ash – ‘Girl From Mars’
By 1995, the Britpop spirit had pervaded so far that even young cidermonsters in Downpatrick, NI wanted to run off and join the Blurcus. Hence the insanely catchy smoking-cigars-with-the-alien rampage of ‘Girl From Mars’, the biggest hit yet from maniacal tearaway rock tykes Ash and as good an argument for inter-planetary romance as any song has produced.
24
27. Suede – ‘Stay Together’
27. Suede – ‘Stay Together’
Brett’s often slightly snooty about ‘Stay Together’, insisting it doesn’t scrub up to Suede’s usual standards. And he’s talking out of his hoop: here, the squalid tug o’war between his seedy, glam falsetto and Bernard Butler’s swirling grandiosity results in sleazy friction, all swirling nuclear-bombast as doomed lovers slip away from grimy urban decay.
25
26. Blur – ‘Chemical World’
26. Blur – ‘Chemical World’
A last-minute addition to ‘Modern Life Is Rubbish’, ‘Chemical World’ epitomised Blur’s knack for a subtle social observation perfectly. Full of tales of working class tedium, but strung together with Graham Coxon’s inimitable guitar-work, it introduced Blur MkII’s British cultural fixation with aplomb.
26
25. Supergrass – ‘Caught By The Fuzz’
25. Supergrass – ‘Caught By The Fuzz’
It might have recounted a young Gaz Coombs getting busted with a spliff, but “caught by the fuzz” could just as easily describe the feeling of being swept away in its distorted guitars and noisy indie pop bluster. It won the band a Top of the Pops appearance famous for a cheeky reference to Hugh Grant, then embroiled in a prostitution scandal.
27
24. Blur – ‘Popscene’
24. Blur – ‘Popscene’
The messy birth. Throwing big, bold brass up against freewheeling Graham riffs and, pummeling rhythms, the world just wasn’t ready for this crazed, in-yer-face new scene, it needed to be artfully seduced out of its James T-shirt by ‘The Drowners’ first. But in retrospect this was the brilliant-white spark of thermonuclear fusion that created the Britpop universe.
28
23. Elastica – ‘Connection’
23. Elastica – ‘Connection’
‘Connection’ was Elastica’s biggest song. At the time, and still today, that crude, blarting, reptile brain-irresistible riff caused heads to instantaneously snap and limbs to jerk in the direction of the nearest danceable surface. ‘Connection’ is one of the most undeniable proofs of how borrowing from your influences (Wire) is, must always be, a good thing.
29
22. Pulp – ‘Mis-Shapes’
22. Pulp – ‘Mis-Shapes’
On which Jarvis Cocker’s rage boiled over into a war on stupid people. “What’s the point of being rich if you can’t think what to do with it? ‘Cause you’re so bleedin’ thick” and “we’ll use the one thing we’ve got more of – that’s our minds” are surely two of the finest put-downs to ever make it into a song
30
21. Pulp – ‘Babies’
21. Pulp – ‘Babies’
While famous kids played out in Camden, Pulp offered a vision far closer to the experiences of the kids going out buying the records and tickets that pair for all those coke habits. ‘Babies’, though takes it to creepy extremes of voyeurism, told the story of the awkward social sexual awakening of nervy teenagers all over suburbia. Still a bit weird to dance to though.
31
20. Suede – ‘The Wild Ones’
20. Suede – ‘The Wild Ones’
There’s a reason why this 1994 clash of acoustic guitar, organ and elegiac vocals remains Suede’s most soulful song nearly 20 years on. Stirring and anthemic, it’s an emotional tour de force, one singer Brett Anderson claims embodies “the message of Suede”.
32
19. Blur – ‘For Tomorrow’
19. Blur – ‘For Tomorrow’
Here was the moment that Blur shook off their baggy, trend-hopping beginnings and reinvented themselves as the quintessential chroniclers of the British condition, as Graham’s choppy, quivering and Kinks’-aping guitar – all quaint, la-la-melodies and slick ’60s swagger – gives Damon platform to don his Town Cryer outfit and serenade the capital
33
18. Pulp – ‘This Is Hardcore’
18. Pulp – ‘This Is Hardcore’
How do you follow an album as era-defining as ‘Different Class’? First, release a single called ‘Help The Aged’, about old people sniffing glue. Then you go deep on your band’s obsession with twisted sex and bust out the dirtiest song of the era. “You are hardcore, you make me hard.” Jarvis Cocker you bonk-addicted lunatic.
34
17. Supergrass – ‘Alright’
17. Supergrass – ‘Alright’
The last in your vote not hewn from the ‘Big Four’, this ode to teenage kicks still stands up today as a celebration of having nothing to do feeling like the most important job in the world. “It isn’t supposed to be a rally cry for our generation,” Gaz Coombes would later sniff of Britpop’s cheeriest moment. So what, we’re having it
35
16. Pulp – ‘Sorted For Es and Whizz’
16. Pulp – ‘Sorted For Es and Whizz’
It’s very hard to evoke the elusive and intangible feelings of a festival into the form. But Pulp managed it, providing a wistful, melancholic epitaph to one of the most romance-drenched eras of the modern age. Its thrill was in its ambivalance: “Is this the way they say the future’s meant to feel? Or just 20,000 people standing in a field?”
36
15. Pulp – ‘Disco 2000’
15. Pulp – ‘Disco 2000’
Quite amazingly, ‘Disco 2000’ was the fourth single to be taken from ‘Different Class’, and manages to actually be the poppermost cut of all. And Pulp’s ultimate floor-filler proved that there was some proper mojo behind Jarvis’ intellectual weight, a suburban mini-epic of teenage crushes, pre-millenial tension and poetic missed opportunities.
37
14. Blur – ‘End Of A Century’
14. Blur – ‘End Of A Century’
Inspired by Damon and Justine’s mellowing relationship, ‘End Of A Century’ was the heart and soul of ‘Parklife’, a state-of-the-millennium address dripping with insight and mundanity. Like so many of the best Britpop songs, it found pride and collective joy in the bleakest of situations.
38
13. Suede – ‘The Drowners’
13. Suede – ‘The Drowners’
‘The Drowners’ was that celestial moment where Britpop cohered behind a sleazy, seductive glam writhe about guns, lines, infatuation and intoxication that made everyone who heard it want to instantly drop everything to pull on a blouse, beat their arse blue with a microphone and run with the dogs under nuclear skies. Britpop’s ‘Starman’.
39
12. Blur – ‘Parklife’
12. Blur – ‘Parklife’
The track that came to epitomise the sound and aesthetic of Britpop might have had far less of a cultural impact without the seminal narration from Him Out Of Quadrophenia. As Graham Coxon explains, “Damon was just going, ‘It don’t feel right doing this’ so I just said why don’t we get someone else to do it like Phil Daniels. So we got him in and it worked.”
40
11. Blur – ‘To The End’
11. Blur – ‘To The End’
The first time Blur showed their softer side on the second single taken from ‘Parklife’, 1994’s ‘To The End’ was a tender telling of a broken-down romance. “Been drinking far too much,” pines Damon Albarn over lush orchestration, before a choral cameo from Stereolab’s Lætitia Sadier. Britpop’s mirrorball slow-dance.
41
10. Blur – ‘The Universal’
10. Blur – ‘The Universal’
As things get serious with your ultimate Britpop top ten, another one of Blur’s elegaic moments. ‘The Great Escape’ was high on its high concepts, and they didn’t get much higher than this string laden vision of a utopian future that maybe had something less than savoury underneath it. No matter that it would end up on a car ad one day, this is pure class.
42
9. Suede – ‘Trash’
9. Suede – ‘Trash’
‘Trash’ marked the glorious junction where Suede’s dandyish, outsider manifesto met its buoyant, commercial peak. A thousand TOTP fans frantically began searching for the nearest black blouse. Oasis and the rapidly-accelerating lad culture may have been at their height, but with ‘Trash’, Suede made being a glam weirdo seem like the most appealing thing in the world.
43
8. Blur – ‘Girls And Boys’
8. Blur – ‘Girls And Boys’
Everyone has their theory of when Britpop began, but a better theory than many will be the moment that Blur’s discotronic ode to summers on the Med crossed over. After this point, they could never again be considered a mere ‘indie’ band, its dancefloor stylings were too irresisitible to the very people who populated the lyrics. Blur’s highest entry on your list.
44
7. Suede – ‘Animal Nitrate’
7. Suede – ‘Animal Nitrate’
For your favourite song by Suede you chose the song that jump-started Britpop’s androgynous wing. Their third single’s hip-thrusting Bowieisms set the bar for everything that was to come and proved they were a real deal – even if half the teen fans had no idea what amyl nitrate is usually used for or what ‘chasing the dragon’ actually meant.
45
6. Pulp – ‘Common People’
6. Pulp – ‘Common People’
When Team NME made our list through arguments and Chinese burns, we came up with this as our absolute favourite. In your vote it still makes a very respectable entry within the top ten, Pulp’s indomitable exercise in class-war-you-can-dance-to standing out as ferocious to this day. Its outing at Glasto 1995 became the single most unifying moment of the decade.
46
5. Oasis – Wonderwall’
5. Oasis – Wonderwall’
It became the crossover Britpop anthem that broke Oasis into the mainstream, got voted the best song of all time by Virgin Radio in 2005 and invented stoolrock. But perhaps ‘Wonderwall’s greatest achievement is that it has entered rock legend, enduring on terraces, in pub lock ins and at wedding discos to this day.
47
4. Oasis – ‘Cigarettes And Alcohol’
4. Oasis – ‘Cigarettes And Alcohol’
More Oasis! Just as much as booze and fags, here’s a song about class; a snarling response to being young and poor under Tory government. Whether they became rock’n’roll stars or whether they just ended up spending their Friday nights down the local, it didn’t matter, the Gallaghers were kicking against things and inviting you to do the same.
48
3. Oasis – ‘Supersonic’
3. Oasis – ‘Supersonic’
And even more Oasis! Their best early songs are all about casually catching once-in-a-lifetime chances and swaggering through them as if you were born for it and barely even care. ‘Supersonic’, the ultimate in white-hot chutzpah, remains Noel’s favourite Oasis single, and you can see why. One anagram of Supersonic is ‘super icons’. Chance? Unlikely.
49
2. Oasis – ‘Don’t Look Back In Anger’
2. Oasis – ‘Don’t Look Back In Anger’
And yes, Oasis once again! There’s a very good reason that Noel Gallagher ends every High Flying Birds gigs with your second favourite Britpop tune. It’s the sound of every hair-tingling high of the 1990s, and the only song in recorded history that begins with John Lennon’s ‘Imagine’ piano chords and arguably goes on to actually improve on them.
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https://superdeluxeedition.com/news/caught-beneath-the-landslide-the-other-side-of-britpop-and-the-90s/
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Caught Beneath The Landslide: The Other Side of Britpop and the ‘90s – SuperDeluxeEdition
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2021-02-26T10:00:30
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https://superdeluxeedition.com/news/caught-beneath-the-landslide-the-other-side-of-britpop-and-the-90s/
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Demon Music will issue a new Britpop-era compilation curated by legendary music photographer Kevin Cummins called Caught Beneath The Landslide: The Other Side of Britpop and the ’90s.
Available as a four-CD set or a 2LP vinyl package, Caught Beneath The Landslide offers classic tracks, lost gems, live and alternate versions, B-sides and single edits from the Britpop era. Acts include Oasis, Blur, Pulp, Suede, Elastica, Radiohead, Lush, Supergrass, Menswear, Gene, The Auteurs, The Charlatans, Echobelly, Ash and Sleeper.
Kevin Cummins was chief photographer at the NME for more than a decade and was witness to – and documented the musical and cultural phenomenon in the first half of the ‘90s, that was variously tagged ‘Britpop’ or ‘Cool Britannia’.
His photo-book While We Were Getting High: Britpop and the ‘90s, was published last year and now Kevin has compiled this companion collection. The four-CD package contains 71 tracks, which the 2LP vinyl set offers 26.
In-depth sleeve notes explore the bands, their influences and features contributions from producer Stephen Street, DJ Steve Lamacq, Johnny Dean (Menswear), Math Priest (Dodgy), Kevin Miles and Matt James (Gene) and Jaime Harding (Marion) and contain original photos from Kevin’s collection
Kevin Cummins says: “It was always my ambition to have a companion album to the book, a chance to enjoy the music of that era, music as timeless as the images. When I was selecting photos for my book, I took to Twitter to ask fans if certain bands could be considered part of the genre. Several musicians joined in to deny they were ever part of Britpop. The Manics were never considered part of the genre, nor Primal Scream, and much as I would have like to include them I chose not to. So it pleases me that we can feature both bands and many more in this collection, with its broader take on Indie music in ‘90s Britain.”
The Amazon-exclusive 4CD set with signed print is now sold out, but Rough Trade in the UK have an exclusive 2LP black vinyl edition also with signed print (it’s also available in the USA). This is also limited to 500, like the CD set. There is also a clear vinyl indies-only exclusive (also available at Rough Trade)
Caught Beneath The Landslide: The Other Side of Britpop and the ‘90s is out on 4 June 2021 (was 30 April).
Caught Beneath The Landslide 4CD set
CD 1
1. Blur – Young And Lovely / 2. Suede – He’s Dead / 3. Huggy Bear – Her Jazz / 4. Cornershop – England’s Dreaming / 5. The Fall – Lost In Music / 6. New Order – Regret (New Order Mix) / 7. James – Sometimes / 8. Elastica – Pussycat / 9. The Auteurs – Lenny Valentino (Original Mix) / 10. Saint Etienne – Pale Movie (Lemonentry Mix) / 11. Inspiral Carpets featuring Mark E. Smith – ‘I Want You’ / 12. Terrorvision – The Model / 13. S*M*A*S*H – Barrabas(Piloted) / 14. Shed Seven – Dolphin / 15. Catatonia – Whale / 16. Echobelly – Today, Tomorrow, Sometime, Never (Live, Wetlands, New York) / 17. Gene – Be My Light, Be My Guide / 18. Manic Street Preachers – The Drowners(Live)
CD2
1. Primal Scream – Jailbird (Dust Brothers Remix) / 2. Paul Weller vs. Portishead – Wild Wood (Sheared Wood Remix) / 3. Radiohead – Planet Telex (Hexidecimal Mix) / 4. The Cardigans – The Boys Are Back In Town / 5. Menswear – I’ll Manage Somehow (Original Single Mix) / 6. Powder – 20th Century Gods / 7. The Lightning Seeds – Lucifer Sam / 8. Pulp – Razzmatazz (Acoustic Version) / 9. Duffy – London Girls / 11. Heavy Stereo ‘Sleep Freak’ / 12. Supergrass – Just Dropped In (To See What Condition My Condition Was In) / 13. Feeder – Rush (Live) / 15. Northern Uproar – Rollercoaster / 16. The Wannadies – Lee Remick / 17. Kula Shaker – Tattva (Lucky 13 Mix)
CD3
1. Marion – Let’s All Go Together (Slide Mix) / 2. Dodgy – Grateful Moon / 3. Ride – Black NiteCrash / 4. Fluffy – Husband / 5. Lush – Ciao! / 6. Electrafixion – Sister Pain (Acoustic) / 7. Out Of My Hair – Safe Boy / 8. Spacehog – In The Meantime / 9. Space – Neighbourhood / 10. Whipping Boy – Fiction (Live – The Furnace In Dublin) / 11. Plastic Fantastic – Complimentary Electron / 12. Longpigs – On And On / 13. Dubstar – Elevator Song / 14. Jocasta – The Land Of Do As You Please / 15. Sleeper – Atomic / 16. Ash – Does Your Mother Know / 17. Ocean Colour Scene – Travellers Tune (Original Version) / 18. The Supernaturals – Smile
CD4
1. Super Furry Animals – Something For The Weekend (Rockfield Version) / 2. Silver Sun – There Will Never Be Another Me / 3. The Boo Radleys – What’s In The Box (See Whatcha Got) / 4. The Bluetones – Marblehead Johnson / 5. The Charlatans – The Two Of Us / 6. Me Me Me- Hanging Around / 7. Shampoo – Cars / 8. Babybird- You’re Gorgeous Too / 9. Salad – I Want You / 10. Bis – Wee Love / 11. Kenickie- In Your Car / 12. Speedy – Boy Wonder / 13. Reef – YerOld (Young Version) / 14. Electronic – All That I Need / 15. 60Ft Dolls – Pretty Horses / 16. These Animal Men – Wichita Lineman / 17. The Aloof – One Night Stand (7” Version) / 18. Oasis – Champagne Supernova (Brendan Lynch Mix)
Caught Beneath The Landslide 2LP vinyl
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[
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See how well critics are rating the Best Music and Albums for 2024
|
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|
Metacritic
|
https://www.metacritic.com/browse/albums/score/metascore/year/filtered
|
16.
My Light, My Destroyer
by Cassandra Jenkins
July 12, 2024
The third full-length release from Brooklyn singer-songwriter Cassandra Jenkins features contributions from such artists as Zoë Brecher, Hand Habits' Meg Duffy, Isaac Eiger, Josh Kaufman, Palehound's El Kempner, producer Andrew Lappin, Stephanie Marziano, Daniel McDowell, and Katie Von Schleicher.
Metascore:
88
User Score:
tbd
17.
Only God Was Above Us
by Vampire Weekend
April 5, 2024
The fifth full-length studio release for the indie rock trio Vampire Weekend was co-produced with Ariel Rechtshaid.
Metascore:
88
User Score:
tbd
18.
What Now
by Brittany Howard
February 9, 2024
The second full-length solo studio release from Alabama Shakes' Brittany Howard was produced with Shawn Everett.
Metascore:
88
User Score:
tbd
19.
Orquídeas
by Kali Uchis
January 12, 2024
The fourth full-length studio release from Kali Uchis features guest appearances by Rauw Alejandro, El Alfa, City Girls' JT, Karol G, and Peso Pluma.
Metascore:
88
User Score:
tbd
20.
The Past Is Still Alive
by Hurray for the Riff Raff
February 23, 2024
The latest full-length release from Alynda Segarra's project Hurray for the Riff Raff features contributions by Anjimile, Brad Cook, Phil Cook, Meg Duffy, S.G. Goodman, Mike Mogis, and Conor Oberst.
Metascore:
87
User Score:
tbd
21.
Filthy Underneath
by Nadine Shah
February 23, 2024
The fifth full-length release from the British singer-songwriter Nadine Shah was produced with Ben Hillier.
Metascore:
87
User Score:
tbd
22.
Blue Lips
by ScHoolboy Q
March 1, 2024
The sixth full-length studio release from rapper Schoolboy Q features guest appearances by Ab-Soul, Az Chike, Childish Major, Freddie Gibbs, Jozzy, Devin Malik, Rico Nasty, and Lance Skiiiwalker.
Metascore:
87
User Score:
tbd
23.
Britpop
by A.G. Cook
May 10, 2024
The third full-length studio release from British electronic producer A.G. Cook features 24 tracks split into three sections: Past, Present and Future.
Metascore:
87
User Score:
tbd
24.
If I don't make it, I love u
by Still House Plants
April 12, 2024
The third full-length release from London-based rock trio Still House Plants was recorded by producers Shaun Crook and Darren Clark.
Metascore:
87
User Score:
tbd
25.
Bright Future
by Adrianne Lenker
March 22, 2024
The latest full-length solo release from The Big Thief's Adrianne Lenker was produced with Philip Weinrobe.
Metascore:
87
User Score:
tbd
26.
Hey Panda
by The High Llamas
March 29, 2024
The first full-length studio release in seven years from the Sean O'Hagan-led band The High Llamas features guest appearances by Bonnie "Prince" Billy, Fryars, and Rae Morris.
Metascore:
87
User Score:
tbd
27.
You Won't Go Before You're Supposed To
by Knocked Loose
May 10, 2024
The latest full-length release from Kentucky metalcore band Knocked Loose features guest appearances by Chris Motionless and Poppy.
Metascore:
87
User Score:
tbd
28.
Proxy Music
by Linda Thompson
June 21, 2024
While spasmodic dysphonia has stopped former Fairport Convention singer Linda Thompson from singing, 11 of her songs are performed by Eliza Carthy, Dori Freeman, John Grant, Ren Havieu, The Proclaimers, The Rails, The Unthanks, her daughter Kami Thompson, her ex-husband Richard Thompson, her son Teddy Thompson, Martha Wainwright, and Rufus Wainwright.
Metascore:
86
User Score:
tbd
29.
Audio Vertigo
by Elbow
March 22, 2024
The 10th full-length studio release from British rock band Elbow was recorded in Gloucestershire and London.
Metascore:
86
User Score:
tbd
30.
Where's My Utopia?
by Yard Act
March 1, 2024
The second full-length release from British rock band Yard Act was produced with Gorillaz drummer Remi Kabaka Jr. and features a guest appearance by Katy J Pearson.
Metascore:
86
User Score:
tbd
31.
Sentir Que No Sabes
by Mabe Fratti
June 28, 2024
The latest full-length solo release from Mexico City-based experimental cellist Mabe Fratti was produced by Héctor Tosta.
Metascore:
86
User Score:
tbd
32.
Postindustrial Hometown Blues
by Big Special
May 10, 2024
The debut full-length release from British punk duo Big Special was written during the COVID-19 lockdowns.
Metascore:
86
User Score:
tbd
33.
No Name
by Jack White
August 2, 2024
Jack White's 14-track album was released on vinyl on July 19 to people who bought items at Third Man Records stores in Detroit, London, and Nashville that day. Some Third Man Records Vault subscribers also received copies in the mail. An official wide release is scheduled for August 2nd.
Metascore:
86
User Score:
tbd
34.
Born In The Wild
by Tems
June 7, 2024
The debut full-length studio release from Nigerian Afrobeats/R&B artist Tems features guest appearances by Asake and J. Cole.
Metascore:
86
User Score:
tbd
35.
The Art of the Lie
by John Grant
June 14, 2024
The latest full-length solo release from singer-songwriter John Grant was produced by Ivor Guest.
Metascore:
85
User Score:
tbd
36.
I'm Totally Fine With It Don't Give a Fuck Anymore
by Arab Strap
May 10, 2024
The eighth full-length release from Scottish indie rock duo Arab Strap was produced by Paul Savage.
Metascore:
85
User Score:
tbd
37.
Bite Down
by Rosali
March 22, 2024
The fourth full-length solo release from singer-songwriter Rosali features Ted Bois, David Nance, James Schroeder, and Kevin Donahue as her backing band.
Metascore:
85
User Score:
tbd
38.
66
by Paul Weller
May 24, 2024
The latest full-length solo release from British singer-songwriter Paul Weller features contributions from such artists as Max Beesley, Steve Brooks, Dr Robert, Noel Gallagher, Bobby Gillespie, Richard Hawley, Hannah Peel, and Suggs.
Metascore:
85
User Score:
tbd
39.
Girl with No Face
by Allie X
February 23, 2024
The third full-length studio release from Canadian avant-pop artist Allie X was self-produced.
Metascore:
85
User Score:
tbd
40.
Poptical Illusion
by John Cale
June 14, 2024
The latest full-length solo release from The Velvet Underground's John Cale was co-produced with Nita Scott in Los Angeles.
Metascore:
85
User Score:
tbd
41.
Redd Kross
by Redd Kross
June 28, 2024
The eighth full-length release from Los Angeles power-pop duo Redd Kross was produced by Josh Klinghoffer (who also played drums on the album).
Metascore:
84
User Score:
tbd
42.
Sadness Sets Me Free
by Gruff Rhys
January 26, 2024
The eighth full-length solo studio release from Super Furry Animals frontman Gruff Rhys was recorded in three days in Paris.
Metascore:
84
User Score:
tbd
43.
Letter to Self
by Sprints
January 5, 2024
The debut full-length release from Dublin post-punk band Sprints was produced by Gilla Band's Daniel Fox.
Metascore:
84
User Score:
tbd
44.
TYLA
by Tyla
March 22, 2024
The debut full-length release from South African artist TYLA features guest appearances by Becky G, Gunna, Kelvin Momo, Travis Scott, Skillibeng, and Tems.
Metascore:
84
User Score:
tbd
45.
Phasor
by Helado Negro
February 9, 2024
The eighth full-length studio release for Roberto Carlos Lange under the name Helado Negro was inspired in part by Salvatore Matirano's SAL MAR machine, Lupe Lopez, Pauline Oliveros, and Asheville, North Carolina.
Metascore:
84
User Score:
tbd
46.
All Life Long
by Kali Malone
February 9, 2024
Created between 2020 and 2023, the latest full-length release from composer Kali Malone features the Macadam Ensemble and Anima Brass.
Metascore:
84
User Score:
tbd
47.
Prelude To Ecstasy
by The Last Dinner Party
February 2, 2024
The debut full-length release from British rock band The Last Dinner Party was produced by James Ford.
Metascore:
84
User Score:
tbd
48.
WORLD WIDE WHACK
by Tierra Whack
March 15, 2024
This is the first full-length release in six years from Philadelphia rapper Tierra Whack since 2018's Whack World.
Metascore:
84
User Score:
tbd
49.
Look to the East, Look to the West
by Camera Obscura
May 3, 2024
This is the first album from Scottish band Camera Obscura since the death of founding member Carey Lander from cancer in 2015.
Metascore:
84
User Score:
tbd
50.
Don't Forget Me
by Maggie Rogers
April 12, 2024
The third full-length major label studio release from singer-songwriter Maggie Rogers was written over five days and was co-produced with Ian Fitchuk.
Metascore:
84
User Score:
tbd
51.
Akoma
by Jlin
March 22, 2024
The latest full-length release from electronic artist Jlin features guest appearances by Björk, Philip Glass, and Kronos Quartet.
Metascore:
84
User Score:
tbd
52.
The Great Bailout
by Moor Mother
March 8, 2024
The latest full-length release from Philadelphia-based artist Moor Mother features guest appearances by Alya Al Sultani, Lonnie Holley, Justmadnice, Kyle Kidd, Sistazz of the Nitty Gritty, and Raia Was.
Metascore:
84
User Score:
tbd
53.
Eternal Sunshine
by Ariana Grande
March 8, 2024
The seventh full-length studio release from pop artist Ariana Grande features contributions from Davidior, Oscar Görres, Nick Lee, Max Martin, Ilya Salmanzadeh, and Shintaro Yasuda.
Metascore:
84
User Score:
tbd
54.
The Collective
by Kim Gordon
March 8, 2024
The second full-length solo release from Sonic Youth's Kim Gordon was produced by Justin Raisen.
Metascore:
84
User Score:
tbd
55.
In This City They Call You Love
by Richard Hawley
May 31, 2024
The 10th full-length solo studio release from British singer-songwriter Richard Hawley is his first since 2019's Further.
Metascore:
84
User Score:
tbd
56.
Ship to Shore
by Richard Thompson
May 31, 2024
The latest full-length solo release from folk rock guitarist Richard Thompson was recorded in Woodstock, NY.
Metascore:
84
User Score:
tbd
57.
To All Trains
by Shellac
May 17, 2024
The sixth full-length studio release from Chicago rock trio Shellac is the final album with Steve Albini, who passed away in May 2024.
Metascore:
84
User Score:
tbd
58.
Up On Gravity Hill
by METZ
April 12, 2024
The fifth full-length studio release from Canadian punk trio METZ features contributions by Owen Pallett and Black Mountain's Amber Webber.
Metascore:
84
User Score:
tbd
59.
Love In Constant Spectacle
by Jane Weaver
April 5, 2024
The latest full-length solo release from British singer-songwriter Jane Weaver was produced by John Parish.
Metascore:
84
User Score:
tbd
60.
Y’Y
by Amaro Freitas
March 1, 2024
The fourth full-length release from Brazilian jazz pianist was inspired by the sounds of the Amazon and features contributions from Hamid Drake, Shabaka Hutchings, Jeff Parker, Aniel Someillan, and Brandee Younger.
Metascore:
84
User Score:
tbd
61.
Playing Favorites
by Sheer Mag
March 1, 2024
The third full-length release from Philadelphia rock band Sheer Mag features a guest appearance by Mdou Moctar.
Metascore:
83
User Score:
tbd
62.
What a Devastating Turn of Events
by Rachel Chinouriri
May 3, 2024
The debut full-length release from British indie pop artist Rachel Chinouriri features contributions by producer Rich Turvey and Kenny Beats.
Metascore:
83
User Score:
tbd
63.
Poetry
by Dehd
May 10, 2024
The latest full-length release from Chicago indie rock band Dehd was written Taos, New Mexico and Washington's Bainbridge Island before completing it in Chicago with co-producer Ziyad Asrar.
Metascore:
83
User Score:
tbd
64.
Wall of Eyes
by The Smile
January 26, 2024
The second full-length release from rock trio The Smile features string arrangements by the London Contemporary Orchestra and was produced and mixed by Sam Petts-Davies.
Metascore:
83
User Score:
tbd
65.
Something in the Room She Moves
by Julia Holter
March 22, 2024
The sixth full-length release for the Los Angeles-based singer-songwriter Julia Holter was influenced in part by the birth of her daughter.
Metascore:
83
User Score:
tbd
66.
Charm
by Clairo
July 12, 2024
The third full-length release from Atlanta-based indie pop singer-songwriter Clairo was produced with Leon Michels.
Metascore:
83
User Score:
tbd
67.
Letter to Yu
by Bolis Pupul
March 8, 2024
The debut full-length solo release from Belgian-born producer Bolis Pupul was produced with Soulwax.
Metascore:
83
User Score:
tbd
68.
Perceive Its Beauty, Acknowledge Its Grace
by Shabaka
April 12, 2024
The debut full-length solo release from British jazz artist Shabaka Hutchings under the name Shabaka features flutes and contributions by such artists as André 3000, Floating Points, Lianne La Havas, Laraaji, Jason Moran, Carlos Niño, Esperanza Spalding, Moses Sumney, and Saul Williams.
Metascore:
83
User Score:
tbd
69.
Humble As The Sun
by Bob Vylan
April 5, 2024
The latest full-length release from London-based punk-grime duo Bob Vylan features a guest appearance by Jerub.
Metascore:
82
User Score:
tbd
70.
JPEG RAW
by Gary Clark, Jr.
March 22, 2024
The fourth full-length studio release from blues rock artist Gary Clark Jr. features guest appearances by George Clinton, Keyon Harrold, Valerie June, Naala, and Stevie Wonder.
Metascore:
82
User Score:
tbd
71.
Underdressed at the Symphony
by Faye Webster
March 1, 2024
The fifth full-length release from Atlanta singer-songwriter Faye Webster was recorded in Texas with contributions from Lil Yachty and Wilco's Nels Cline.
Metascore:
82
User Score:
tbd
72.
Mountainhead
by Everything Everything
March 1, 2024
A society builds a mountain and lives in a hole in the bottom of it is part of the concept behind some of the songs on the seventh full-length release from British art-rock band Everything Everything.
Metascore:
82
User Score:
tbd
73.
Mayday
by Myriam Gendron
May 10, 2024
The third full-length release from Canadian singer-songwriter Myriam Gendron features contributions by Zoh Amba, Marisa Anderson, Cédric Dind-Lavoie, Bill Nace, and Jim White.
Metascore:
82
User Score:
tbd
74.
God Said No
by Omar Apollo
June 28, 2024
The second full-length studio release from Omar Apollo features a guest appearance by Mustafa and contributions by John Mayer and Pedro Pascal.
Metascore:
82
User Score:
tbd
75.
Light Verse
by Iron & Wine
April 26, 2024
The seventh full-length studio release from Sam Beam as Iron & Wine features a guest appearance by Fiona Apple.
Metascore:
82
User Score:
tbd
76.
WeirdOs
by O.
June 21, 2024
The debut full-length release from British duo O. that includes saxophonist Joe Henwood and drummer Tash Keary was recorded live to tape by producer Dan Carey.
Metascore:
82
User Score:
tbd
77.
Fearless Movement
by Kamasi Washington
May 3, 2024
The fifth full-length studio release from jazz saxophonist Kamasi Washington features guest appearances by Andre 3000, Ras Austin, Taj Austin, George Clinton, Brandon Coleman, D Smoke, DJ Battlecat, Terrace Martin, Patrice Quinn, and Thundercat.
Metascore:
82
User Score:
tbd
78.
Dark Times
by Vince Staples
May 24, 2024
This is the latest full-length studio release from California rapper Vince Staples.
Metascore:
82
User Score:
tbd
79.
This Ain't the Way You Go Out
by Lucy Rose
April 19, 2024
The latest full-length release from British singer-songwriter Lucy Rose was produced by Kwes.
Metascore:
82
User Score:
tbd
84.
Lovegaze
by Nailah Hunter
January 12, 2024
The debut full-length release from Los Angeles-based harpist Nailah Hunter was recorded with producer Cicely Goulder.
Metascore:
81
User Score:
tbd
85.
Love Changes Everything
by Dirty Three
June 28, 2024
This is the first full-length studio release from Australian instrumental trio Dirty Three in over a decade.
Metascore:
81
User Score:
tbd
86.
Rooting for Love
by Laetitia Sadier
February 23, 2024
This is the first full-length solo release from Stereolab singer Lætitia Sadier since 2017's Find Me Finding You, which was released under the name Laetitia Sadier Source Ensemble.
Metascore:
81
User Score:
tbd
87.
Blood, Hair, and Eyeballs
by Alkaline Trio
January 26, 2024
The 10th full-length studio release from Chicago punk trio Alkaline Trio is its final with drummer Derek Grant, who left the band to focus on music production, visual art and his mental health.
Metascore:
81
User Score:
tbd
88.
Cloudward
by Mary Halvorson
January 19, 2024
The latest full-length release from Brooklyn jazz guitarist Mary Halvorson and her band features Laurie Anderson on one track.
Metascore:
81
User Score:
tbd
89.
Nonetheless
by Pet Shop Boys
April 26, 2024
The 15th full-length studio release from British synth-pop duo Pet Shop Boys was produced by James Ford.
Metascore:
81
User Score:
tbd
90.
Vertigo
by Wand
July 26, 2024
The latest full-length release from Los Angeles-based psychedelic rock band Wand was self-recorded, mixed and produced.
Metascore:
81
User Score:
tbd
91.
Big Swimmer
by King Hannah
May 31, 2024
The second full-length release from British indie rock duo King Hannah features a gust appearance by Sharon Van Etten and was produced by Ali Chant.
Metascore:
81
User Score:
tbd
92.
Hovvdy
by Hovvdy
April 26, 2024
The fifth full-length from Austin duo Hovvdy was co-produced with Andrew Sarlo and Bennett Littlejohn.
Metascore:
81
User Score:
tbd
93.
Dark Matter
by Pearl Jam
April 19, 2024
The 12th full-length studio release from Seattle rock band Pearl Jam was produced by Andrew Watt.
Metascore:
81
User Score:
tbd
94.
Under the Sun
by Maya Shenfeld
February 23, 2024
The second full-length release from Berlin-based experimental electronic composer Maya Shenfeld includes the Youth Choir Ritterchor and field recordings made in Portugal.
Metascore:
81
User Score:
tbd
95.
Blue Raspberry
by Katy Kirby
January 26, 2024
The second full-length release from Nashville-based singer-songwriter Katy Kirby was Alberto Sewald and Logan Chung.
Metascore:
81
User Score:
tbd
96.
Revelator
by Phosphorescent
April 5, 2024
The first full-length studio release since 2018's C'est La Vie from Nashville-based singer-songwriter Matthew Houck as Phosphorescent was recorded over six months.
Metascore:
81
User Score:
tbd
97.
Weird Faith
by Madi Diaz
February 9, 2024
The latest full-length release from the Nashville-based singer-songwriter Madi Diaz features a guest appearance by Kacey Musgraves.
Metascore:
81
User Score:
tbd
98.
FU##IN' UP
by Neil Young & Crazy Horse
April 26, 2024
Neil Young and Crazy Horse recorded nine tracks from 1990's Ragged Glory with song lyrics replacing the original titles in 2023.
Metascore:
81
User Score:
tbd
99.
This Is How Tomorrow Moves
by Beabadoobee
August 9, 2024
The third full-length release from London-based singer-songwriter Beabadoobee was produced by Rick Rubin.
Metascore:
81
User Score:
tbd
|
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https://misslucy.music.blog/2021/05/27/btec-music-styles-blog/
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BTEC Music Styles Blog
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2021-05-27T00:00:00
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Exploring different musical genres. Brit Pop: Brit Pop is known as the response to the American grunge scene with bands such as Nirvana. Brit pop bands were usually from London and Manchester, they contained the usual line up of guitar, bass, drums and vocal. The lyrical content is focused on British culture and 'lad culture'.…
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https://s1.wp.com/i/favicon.ico
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Music Blog
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https://misslucy.music.blog/2021/05/27/btec-music-styles-blog/
|
Exploring different musical genres.
Brit Pop:
Brit Pop is known as the response to the American grunge scene with bands such as Nirvana. Brit pop bands were usually from London and Manchester, they contained the usual line up of guitar, bass, drums and vocal. The lyrical content is focused on British culture and ‘lad culture’.
The background of britpop:
During the time Brit Pop was big there was a conflict between the two biggest Brit Pop bands, Oasis and Blur. This Conflict bought Brit Pop to the front of the press in 1995. in the same year on the 14th August Oasis released the single ‘roll with it’ and Blur released ‘country house’, this was seen as ‘the battle of Brit Pop’. Blur won the battle between these two songs reaching number one in the charts and selling 274,000 copies while Oasis sold 216,000 copies. However, in the long term Oasis became more commercially successful with tracks such as ‘Wonderwall’. I think ‘Oasis’ were more successful, as I have heard their songs more, and before researching Britpop I hadn’t really ever heard of ‘Blur’. In 1997 a new prime minister moved into 10 Downing Street, Tony Blair, who represented labour. With Blair as Prime Minster Blur were invited to a party with parliament as he was very invested in the Brit Pop scene. Many fashion trends from the Brit pop era are coming back into style in 2020/20201, things like bucket hats, polo shirts and big round glasses are being seen more often.
defining characteristics-
~ lyrics about ‘lad culture’
~ repeated chords and bass line
~ typical structure (verse, chorus, verse chorus, bridge, outro)
~ softly distorted guitars
~ talking through the words rather than singing
music analysis:
‘Parklife’ by Blur was known as the Brit Pop anthem. it is in the key E major and has a tempo of 139 BPM which gives it a happy upbeat feeling. It consists of the normal guitar, bass and drums however, the verse of the track is spoken and talks about typical British things, in the chorus it is sung more but still isn’t sung as you would typically hear a song, the pitch is quite low as it is sung by a male and the duration of the words are longer than the spoken chrous’. the structure of ‘parklike’ is like most other songs it starts with a 12 bar intro before going into the first verse, then then chorus, a four bar interlude section, verse two, chorus, into a bridge, third verse and finally a double chorus. The verses have a polyphonic texture making the piece feel chaotic, when it is very simple to play with just two chords needed on guitar (E and A).
‘don’t look back in anger’ by Oasis was written by John Osborne. it is written in C major meaning there is no sharps or flats, it has a tempo of 162 BPM so is faster then ‘Blurs’ Parklike. There is an piano intro which to me sounds like John Lennon’s ‘imagine’ (https://www.youtube.com/watch?v=YkgkThdzX-8). don’t look back in anger is structured in as what is seen as a ‘normal’ structure for pop/britpop, it has an introduction, two verses and chorus’ . however it has a coda, which when written the musician goes to the coda symbol and plays until the end. the bass in verse one is repetitive creating a sense of movement in the verse. the duration of the words are long and legato which opposes short stabs on the guitar at 0:36. the vocal range is pretty low and isnt very diverse and stays consistant throughout. the dynamic of the piece is the same throughout until the end when it begins to slow down and get quieter.
pioneers:
There were four pioneering bands in britpop. These being ‘Blur’, ‘Suede’, ‘Pulp’ and ‘Oasis’. ‘Blur’ were formed in 1988 and consisted of Damon Albarn (singer), Graham Coxon (guitarist), Alex James (bassist) and Dave Rowntree (drummer). Albarn and Coxon met James when they were studying at Goldsmiths College in 1988. Damon Albarn was in a group called circus and in October of that year Rowntree joined. After the previous guitarist left circus Coxon was asked to join, December of that year two members of circus were fires and James joined as the bassist, this began the group ‘Seymour’. The first performance of ‘Seymour’ was in the summer of 1989. later in the year Andy Ross; a representative from Food Records attended a performance and liked the band. However, Ross and Food Records didn’t like the name ‘Seymour’, Food Records came up with a list of new names and the band was named ‘Blur’ and signed in 1990. ‘Oasis’ were formed in 1991 and developed from the group ‘the rain’. The originally band consisted of four members: Liam Gallagher, Paul McGuigan, and Tony McCarroll.
recording of britpop:
https://boaacademy-my.sharepoint.com/:v:/g/personal/lucy_lane_boa-academy_co_uk/ERtDJZ6jRVNPgzOnau24d2oBKSAHbhDkMBmkOpu43dAlVg?e=8KH0sH
evaluation- overall this recording of britpop was not my best. i found it very hard to capture the style and characteristics of the britpop genre. the phrasing and pronunciation was hard to capture and i could have done with more time to perfect it.
BRITPOP COMPOSITION:
https://boaacademy-my.sharepoint.com/:u:/g/personal/lucy_lane_boa-academy_co_uk/EVuhy9Wj5MdCkL6J56UkgsMBpg0NIXVrjuYcv4aBFR9vtw?e=JfIOS2
potential lyrics: the pubs ain’t even serving, all I’m doin’ is working, I just wanna scream at the top of my lungs, mom said it’d be over, but I’m just gettin’ older, guess no school for a couple a months.
evaluation- i had to use production techniques like volume control, effects such as putting distortion on the guitars. this allowed me to create the defining characteristics of britpop. however, i did run out of time to add an actual vocal line onto the track, if i did i would have added reverb to make it sound more commercial.
2010’s pop:
the 2010s saw the involvement of rap in mainstream music, with songs such as starships ( Nikki minaj) and Baby (Justin Bieber). it also involved more synths and electronic drums and choppy vocals, witch are some key elements of EDM.
background of 2010’s pop:
2010’s pop was the step from from the 00s where acts like Eminem, the killers and the white stripes dominated the charts. during the 2010s pop started to have a more interesting bass line and more synths used. the lyrical content was mostly to do with love and relationships. in 2011 spotify was released in the US, this was the start of music download, in 2019 spotify got into podcasting, this meant it was no longer an app just for music but for podcasts too. 2010 also saw the forming of the band One Direction who would go on to rule pop in the 10s.
defining characteristics-
~ sawtooth synths
~ overly produced
~ catchy melody, repetitive lyrics
~ defined structure (verse, chorus etc)
~ regular time signature 4/4 kick
MUSIC ANALYSIS:
Payphone by Maroon 5 is written in B major and has a tempo of 110 BPM. the main instruments used in payphone are : funk guitar, bass, synths and vocals. payphone is structured with three verses and the third being a rap by Wiz Khalifa. the melody notes have a long duration and are legato. the dynamics of the piece never really change it is all at a consistent volume. because in the chorus there is a homophonic texture the song feels full and like its moving rather than dragging and feeling slow. the pitch of the song is all pretty much the same until you get to the chorus where it gets higher.
PIONEERS:
Adam Levine/ Maroon 5 were one of the pioneering bands of the 2010s, they performed tracks like ‘moves like jagger’, ‘payphone’ and ‘maps’. Maroon 5 have been running since 2001 and consists of Adam Levine (vocalist), Jesse Carmichael (rhythm guitarist, keyboardist), James Valentine (lead guitarist) Matt Flynn (Drums) PJ Morton (keyboardist) and Sam Farrar (multi-instrumentalist). another boy band who dominated the 2010s pop chart was One Direction, 1D consisted of 5 members: Harry Styles, Zayn Malik, Niall Horan, Liam Payne and Louis Tomlinson. 1D released songs like what makes you beautiful, night changes and story of my life. Zayn left in 2015, this is when the band released songs like perfect and infinity. they are all pioneers as they made the genre what it is by adding their own elements.
COVER OF STARSHIPS:
https://boaacademy-my.sharepoint.com/:u:/g/personal/david_leighton_boa-academy_co_uk/Ed1fuWuvxGpOhnMlNwbEqpgBlo1yUWUFvDeS-YjmSSZBMQ?e=8mqzFi
evaluation- this cover was okay for me to do it was in my vocal range and over all was pretty easy to put together and achieve a decent outcome. however the mixing was a bit out and i couldn’t really be heard behind josh. one difficulty was harmonising with the other singer as we have very different singing styles.
composition of 2010s pop:
https://boaacademy-my.sharepoint.com/:u:/g/personal/lucy_lane_boa-academy_co_uk/EVuhy9Wj5MdCkL6J56UkgsMBpg0NIXVrjuYcv4aBFR9vtw?e=FBabhd
evaluation- for this composition i had to adjust the volume of my tracks so that everything could be heard. i had to add effects onto my tracks to make them sound more like synths to capture the sound of 2010s pop. i had to use my playing skills to do the chords as i was playing both hands at the same time which is a technique. i used a synth rather than actual piano. i think this composition fits in with the genre as i have tried to include all of the defining characteristics of 2010s pop.
COUNTRY:
modern country music keeps elements from traditional country while advancing with whats popular. It originated with blues and folk music.
THE BACKGROUND OF COUNTRY:
country music uses string instruments, the verses are normally narrative and chorus’ are repeated. in the 2010s (era of modern country) many things happened one of them being Occupy wall street, this was a protest for income equality and the influence of money in politics, this may have affected country music as the lyrical content is about political beliefs and where they are from/ how proud they are to be classed as country. another thing that impacted country music was Covid-19, one of the pioneers (Luke Combs) wrote a song called six feet apart which is a bout the restrictions faced.
defining characteristics-
~ guitar solos
~ lyrics about life and alcohol
~ acoustic guitar
~ vocal delivery is very similar (because of where in america its from)
~ very repetitive
MUSIC ANALYSIS:
the song the way I talk by Morgan Wallen is written in the key of E major and has a tempo of 138 BPM. the structure of the song is an intro, verse, chorus, verse, chorus, bridge, chorus and then an out chorus. the length of the notes are long and legato there aren’t really ant staccato notes making the song feel smooth and put together rather than it feeling rushed. the instrumentation is that of a typical country song guitar, bass, drums and vocals. the dynamics of the piece is consistent throughout, other than the end where it fades out to finish the song. the pitch of the vocals is towards the lower end of the scale as Wallen has a lower tone, this stays pretty much the same other than in the chorus which go slightly higher.
PIONEERS:
The pioneers of modern country are Morgan Wallen, Luke Combs and Thomas Rhett. Morgan Wallen was born in Tennessee and is 27 years old. He competed on the sixth season of the voice as a part of Usher’s team but later moved to Adam Levine’s team. He has released three albums in total: “stand alone-EP” (2015), “If I know me” (2018) and “dangerous: the double album” (2021). Luke Combs was born in North Carolina and is 31 years old. From a young age Luke has been performing with one of his most noticeable performances being at Carnegie hall. He has released four albums: “this one’s for you-EP” (2016), ” “This one’s for you” (2017), “the prequel-EP” (2019) and “What you see is what you get” (2019). Thomas Rhett was born in Georgia and is 31 years old. He has released five albums: “Thomas Rhett-EP” (2012) “it goes like this” (2013), “tangled up” (2015), “life changes” (2017) and “centre point road” (2019). these three men are all pioneers as they take elements from old country and mix them with whats popular in the charts so their songs become popular but still stat true to the genre of country.
RECORDING OF A COUNTRY SONG:
https://boaacademy-my.sharepoint.com/:v:/g/personal/lucy_lane_boa-academy_co_uk/EYAcwO3th25Fp3YOA6YXJZ8BhHLAe_9LsNKTdNL1ivXp2w?e=qlHkIo
evaluation- i found this one fun to perform as it was different, however it may have been slightly out of my range as some sections sounded like they could do with more refinement. before this i had never really done vibrato with my voice. this was a new technique which took some time for me to get to a decent standard.
COMPOSITION OF COUNTRY:
https://boaacademy-my.sharepoint.com/:u:/g/personal/lucy_lane_boa-academy_co_uk/EU7x1ov4izBLvXS1FVZgUdgBqkndMhWiiTXZlg8x1x3g6w?e=zp8lJZ
evaluation- I used instruments which allowed me to get the feeling of a country song even though there is no lyrics. I believe that you can tell its country just from the track.
EDM:
EDM is short for Electronic dance music. EDM is mainly made for the night clubs, raves and festivals.
the background of EDM:
EDM came from disco and was very popular from 1970s to now. it uses midi instruments and also many percussive instruments. EDM is all about partying and the club culture. it stemmed from disco and became very popular from the 1970s. the first EDM song was Oscillations by Silver Apples and was released in 1968.
defining characteristics-
~ no live instruments, all produced
~ synth sounds
~ heavily produced vocals
~ ‘drop’
~ typical time signature 4/4 kick
MUSIC ANALYSIS:
summer by Calvin Harris is in the key G major and has a tempo of 128 BPM. the instrumentation is Piano,Vocal,Guitar and synths (these give it the EDM feel). the structure is chorus, instrumental, chorus, instrumental, chorus, instrumental. the track is very repetitive making the melody memorable. the length of the notes are staccato which gives it that up-beat and dance feel to the track. they dynamics of the piece are the same all the way through and don’t change. there also many drops throughout the song which is a characteristic of EDM music.
PIONEERS:
The pioneer of EDM is, Calvin Harris he is the highest paid EDM artist too. he has released five studio albums and runs his own recording studio which he founded in 2010. his debut single i created disco was released in 2007 and shaped his career. in 2014 he became he was the first artist to to place three tracks simultaneously on the top 10 of Billboard’s dance/electronic songs chart.
RECORDING OF EDM:
https://boaacademy-my.sharepoint.com/:v:/g/personal/lucy_lane_boa-academy_co_uk/EYtAyIjeFI1IuaMNfal0phoBU6oCrHSNLKCaSYi7sRY-7Q?e=e8G6ZC
evaluation- i played piano for this cover, when learning it i learnt both hands separately rather than together which makes it feel a bit disjointed and not flow as well as it could. i could have worked for a little longer on getting it more legato rather than just putting them together straight away.
COMPOSITION OF EDM:
evaluation- I used production techniques like adding drum beats every half beats and risers which are all elements of EDM, this gave me a good base for a track to be built on.
https://boaacademy-my.sharepoint.com/:u:/g/personal/lucy_lane_boa-academy_co_uk/EakVVNZipjVNoEyVqX1UpWoBHsnknagssvkdMSO6raKg1A?e=UTFAHh
POP PUNK:
Pop punk takes elements from rock and also other genres and mixes them all into pop punk.
THE BACKGROUND OF POP PUNK:
pop punk officially started around 1974 and came from the punk rock sound with the Ramones. pop punk takes elements of rock, punk and pop music to create the hybrid. the lyrical content of pop punk is usually about teens rebelling or just about rebelling its self. usually the look of pop punk artists is like rock and garage.
defining characteristics-
~ distorted guitar
~ guitar solos
~ ‘raw’ sounding vocals
~ there is usually a breakdown in the song
~ interesting drum beats (can include a drum solo)
MUSIC ANALYSIS:
Bloody valentine by machine gun jelly is written in the key of D and has a tempo of 160 BPM. the structure of the piece is intro, verse, chorus, verse, chorus, instrumental, bridge. The notes are legato and not staccato however he drum beats are short and fast. The dynamics of the song change when it gets to the bridge where there is a diminuendo. The panning of the song can mostly be heard in the drum fills where it is panned from left to right. The textures for the track is neither tick or thin there are bass, guitar, drums and vocals which is the typical instrumentation of a pop punk song.
PIONEERS:
The pioneers of pop punk are Green Day, Blink-182 and Alkaline Trio. Green Day were formed in 1o987 and lead my Billie Joe Armstrong. the band consists of Billie Joe Armstrong, Mike Drint and Tré Cool. they have 20+ albums. Blink-182’s members have changed around a lot since they were formed in 1992, but since 2015 the line-up of the band has consisted of bassist and vocalist Mark Hoppus, drummer Travis Barker, and guitarist and vocalist Matt Skiba. Since 2001, Alkaline Trio has consisted of Matt Skiba, Dan Andriano and Derek Grant. Founded in late 1996 by Skiba, bassist Rob Doran, and drummer Glenn Porter
Recording of POP PUNK:
https://boaacademy-my.sharepoint.com/:v:/g/personal/lucy_lane_boa-academy_co_uk/EXryRLG0Ka5FpsvSvfLnx3gBzMnuyaQiTfarTCGAzq0_5g?e=G3eMJ2
evaluation- i played bass in this track, i used a pick and did mainly root notes and down strokes. the rhythm was mainly crotchets to keep the song driving. i found this quite easy as its what i’m used to and what i enjoy playing.
composition of POP PUNK:
evaluation- I used production techniques like adding distortion to my guitar tracks to make it suit the genre of pop punk.
https://boaacademy-my.sharepoint.com/:u:/g/personal/lucy_lane_boa-academy_co_uk/EdIg0WDCp4tBlyaZxqefMV8B09qUrK-DNBNpscFNd_2KsQ?e=FZ5abS
GRIME:
Grime is the UK’s main form of rap music, and is seen as ‘music from the streets’.
the background of grime:
Grime started in the early 2000s in East London. it is usually associated with UK pirate radio stations such as Rinse FM and Major FM. these radio stations were used for grime artists to promote themselves and build a fanbase for themselves and for grime. Grime usually has very grungy bass lines which makes it different to rap. he culture of grime is usually associated with gangs and violence which also stems over to their concert reputation. grime came from two genres that were big already grunge and rap and is considered a hybrid with the vocal style of rap but the bass lines of grunge. the lyrical content is usually about where they live or what they’ve been through or even their friends and family.
PIONEERS:
The pioneers of grime are Stormzy and Wiley. Wiley is named as “the godfather of grime”, he is considered to be the first official grime artist and arguably the biggest. In the early 2000s, he independently released a series of highly influential eskibeat instrumentals on white label vinyl, such as the first in the series “eskimo” and is known as a grime MC both for his solo work and for material released with his crew roll deep.
defining characteristics-
~ pre recorded/ produced instrumentation
~ fast tempo
~ catchy melody
~ lyrics about home place and home life
~ repetitive
MUSIC ANALYSIS:
the song shutdown has a tempo of 140BPM, there isn’t a thick texture mostly the song is grungy bass and vocals. there isn’t really any structure to the song however the main melody is catchy. it is written in the key of G minor. the dynamic of the piece are all the same and the pitch stays the same throughout too.
RECORDING OF GRIME:
https://boaacademy-my.sharepoint.com/:v:/g/personal/lucy_lane_boa-academy_co_uk/EbBhz4kbOYpFtIK18742WdkB6tAdq2JjrvLfOvysm3OBzA?e=73CiV4
evaluation- I found it difficult to capture the elements of grime as I played it on piano and it didn’t have proper effects to make it sound fully like stormzys track.
COMPOSITION OF GRIME:
evaluation- I used instruments that suited the genre, I made sure to make the tempo suitable for a grime track. I adjusted the eq to make it sound more commercial.
https://boaacademy-my.sharepoint.com/:u:/g/personal/lucy_lane_boa-academy_co_uk/EZRgMYOkGzpPhKYQkQfNjA4By1xYzNMvum0Qx91YyiWeKQ?e=gkUso2
film music:
Film music is used in film to add feeling or excitement to the films.
the background of film music:
Film music was introduced in 1933 by Max Steiner and was used for the film ‘King Kong’. it started in the silent film era where pianists or small ensembles would improvise a soundtrack to the film to give the audience something else to go along with the film. nowadays you wouldn’t watch a film without some kind of music to give impact or help create an effect.
defining characteristics-
~ orchestral
~ usually built up in tempo as the track progresses
~ varying volume throughout
~ homophonic texture
~ instrumental (no lyrics)
MUSIC ANALYSIS:
the piece ice dance from Edward Scissorhands is written in the key of E and has a tempo of 87 BPM. there isn’t really a structure. the notes are long and slow with a legato feel. there is a homophonic texture with the woodwind and the strings, which makes it feel full. the dynamic change around the time stamp of 01:30 where it goes quiet to give a contrasting impact when it crescendos back. the texture of the piece is thick with a full ensemble and choir performing it, this is common within film music to have.
PIONEERS OF FILM MUSIC:
there were two main pioneers of film music in my opinion one was Max Steiner and the other was John Williams. Steiner first used music in film in 1933 for ‘King Kong. he used leitmotif (when a specific instrument or theme is used for a certain character) in his work. he was known as ‘the father of film music’. he was born on the 10th May 1888 in Austria. williams is a pianist and trombonist over the span of seven decades he composed soundtracks for movies such as jaws, star wars a new hope and schindler’s list.
RECORDING OF FILM MUSIC:
https://boaacademy-my.sharepoint.com/:v:/g/personal/lucy_lane_boa-academy_co_uk/EZp3isc-JRtDjCllioCGlJcBiF0Ce8uXQ2TppHIy_2D1Xg?e=cc1v91
evaluation- I had to play both parts left and right hands together, when this was recorded I had only just started playing piano so its very rough.
composition of Film Music:
evaluation- I used my production skills like automation, this allowed me to capture the characteristics of film music. I used instruments that suited the genre.
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Britpop in the 90's
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2019-10-30T17:50:57+00:00
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How Britpop emerged as a staple of music from the UK
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2016-11-22T16:05:15+00:00
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Posts about Britpop written by paulonfilm
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paulonpop
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https://paulonpop.wordpress.com/tag/britpop/
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After a recent viewing of the latest Oasis rockumentary Supersonic I was reminded of just how brilliant the 1990s were. Born in 1987, I spent the next decade aging from 3 to 12. So essentially my entire childhood. Really rather integral years in early musical development.
Watching the documentary reminded me of how colourful and optimistic the decade was, particularly in music. It was a good time to be British. We were pretty cool in the 90s. New politics, a new music scene and a new culture were taking over. Even in cinema Britain was proving to be a force to be reckoned with . Danny Boyle’s Shallow Grave and Trainspotting gave the British cinema industry a fresh new look. Guy Ritche’s Lock Stock and Two Smoking Barrels proved the UK could stand toe to toe with Hollywood. Hugh Grant and Richard Curtis were busy revamping the romantic comedy genre. The Full Monty was a hugely successful international smash, and on top of all that Pierce Brosnan stepped into the role of 007 and rebooted the withering James Bond franchise so spectacularly that GoldenEye became the 4th highest grossing film of 1995.
What I remember mostly about music in the 1990s is that album releases, concerts, the top 40 chart rundown, TV appearances etc were all events. “Events” in the sense that, nowadays you can listen to anything you want whenever you want through your phone. Whereas, pre-internet, everything was met with a lot more grandeur. I remember watching shows such as Top of the Pops, TFI Friday and CD:UK with the entire family, sat around 1 TV. Due to the limited amount of TV channels (compared with today) a big event on telly really was a BIG event.
It was the same with music, there were no leaked albums or singles, no illegal downloading, no streaming, no viral marketing. When an anticipated album or single dropped it was an event. Everything was physical as well. You had to actually take yourself down to the shops and buy a hard copy of a cassette, LP or CD. Nothing was as disposable as it is now.
Another big thing for me in the 1990’s as well was purchasing the Now! compilation albums. They were essentially a collection of the biggest chart singles from the last few months gathered together on a 2 disc (or cassette) set. What I loved about them was the diversity. Unfortunately the UK music ‘charts’ seem to have spiraled into disarray. With the Guinness book of hit singles calling it a day in 2006, unable to keep up with the changing trends in chart referencing, and downloads becoming the preferred medium of distribution, the entire chart now, in my opinion, is open to debate. With the amount of internet outlets one can obtain a song from in this day and age I think it is near impossible to give an accurate account of sales and or downloads.
The diversity in the 1990’s Now! albums was truly wonderful though, and I don’t think you see too much of it these days. Now with specific digital radio stations, TV channels and charts dedicated to each individual genre you don’t seem to get the same eclectic mix of popular music as I remember there being. As well as the Britpop (that was predominately indie-rock), there was a huge boy band and girl band scene of the time, with acts such as Take That, Boyzone, 5ive, East 17, Westlife, The Spice Girls, All Saints, B*Witched etc. There was a big Euro-pop wave that hit UK charts with massive singles from the likes of Aqua, Eiffel 65 and Ace of Base and with a big Ibiza club scene emerging dance anthems and trance music was frequently charting well in Britain. On top of all this you had your rap, R&B, rock, pop-punk, grunge and even Nu-Metal crossing over into the mainstream, and because of music shows such as Top of the Pops all of these acts stood side by side and performed on the same bill. It was great.
For this blog post I have decided to focus solely on the Britpop genre. Firstly the term “Britpop” is ambiguous, and I’ve taken it to mean, indie-rock / pop produced by British artists that was part of a big musical scene in 1990s. Naturally I’ve not been able to cover every act that turned up on Top of the Pops with a guitar and a funny haircut, but here’s 20 of the best:
Blur
One of the seminal pioneers of the Britpop movement were the London based alt-rockers Blur. Constantly reinventing themselves throughout the 90s and beyond, the band experimented in a number of musical genres including indie, hip-hop, electronica and gospel, and always seemed to be ahead of the game bringing something new and fresh to audiences. With 4 UK number 1 albums and 11 top 10 singles in the 1990s alone. Blur were definitely one of the most popular UK acts of the decade.
The Lightning Seeds
With a knack for infectious melodies, the Liverpool based quartet will always be remembered for their mega-hit Three Lions. Together with comedians David Baddiel and Frank Skinner, the Lightning Seeds’ single was the soundtrack to England’s 1996 European football tournament and their 1998 World Cup. Reaching number 1 on both occasions, the song generally resurfaces every couple of years for drunken yobbos to yell in pubs during international footballing competitions. Aside from their novelty soccer record, they produced a string of really catchy singles, including this fantastic cover of The Turtles, 1960’s pop tune You Showed Me.
Ocean Colour Scene
Ocean Colour Scene are definitely one of my favourite acts of the 1990s. The bluesy rockers from Birmingham released one of the major albums of the decade in the form of 1996’s Moseley Shoals. The opening track and lead single from the album, The Riverboat Song was propelled into infamy as it was used every week on Chris Evans’ T.F.I Friday. The show ran for 4 years between 96 and 2000 and pretty much encapsulated the 1990s. I had the privilege of hanging out with the band a few years ago, backstage at a gig in Crewe and presented Simon Fowler with a copy of their single The Circle. After looking it over he had no recollection of even recording the B-side, a cover the The Beatles’ Day Tripper.
Cornershop
This unique musical outfit from Leicester scored a smash hit in 1998 in the form of Brimful of Asha. A relatively obscure single released a year earlier, the song barely charted. However with a re-release of the track remixed by Norman Cook (Fatboy Slim), who was also at the height of his fame, the song went straight in at number 1 in the UK, as well as charting in 11 other countries, and becoming a hit in Europe, the US and Australia. Taking their name from the stereotype that British-Asians “often own corner shops” the band fused indie-rock with electronica and traditional Indian music.
Catatonia
Fronted by Cerys Matthews, the Welsh rockers peaked in fame towards the end of the 1990s, scoring 3 top 10 singles and 2 number 1 albums in 1998/99. Cerys also had a number of side projects in the pipeline around the same time, including a duet with Space on their single The Ballad of Tom Jones and then a duet with (the actual) Tom Jones himself on his Reload album. The album essentially rebooted his career and Cerys lent her vocals to the Christmas classic Baby it’s Cold Outside.
Kula Shaker
With infusions of psychedelia Kula Shaker were one of the “grooviest” British bands of the 90s. Their first record K released in 1996 became the fastest selling debut album in the UK at the time and contained elements of psychedelic rock, raga rock and indie. One of the first singles I ever owned was their 1997 cover of Deep Purple’s Hush which I still think, dare I say it, trumps the original.
Pulp
Together with Suede, Oasis and Blur, Pulp would definitely stand out as one of the “big 4” of Britpop. It’s hard to define the band’s style with traces of glam rock, art-rock, post-punk and indie all jockeying for position. Along with Jarvis Cocker’s obscure melodies and lyrics reading like the work of a working class poet, Pulp are almost indefinable in style. Originating from Sheffield, the band were hugely successful and influential in the 1990s. With huge Britpop anthems such as Common People and Disco 2000 the band stood out as something completely different within the genre.
Supergrass
They were young, they ran green, kept their teeth nice and clean. They saw their friends, saw the sites and felt alright. It is rather bizarre that the Oxfordshire trio had around a dozen hit singles in the 90s but in retrospect are generally only remembered for 1. The infamous Alright peaked at number 2 in the UK charts in 1995 and has since become one of the “go-to” Britpop anthems.
The La’s
Speaking of bands that are only remembered for 1 tune…. The La’s were on the scene, a few years before Britpop took off. Releasing only 1 studio album in 1990 and scoring an international hit with There She Goes in the same year, the group disbanded shortly after. A couple year later, guitarist John Power formed a new band that successfully integrated themselves into the Britpop movement.
Cast
And that band was….. Cast. With 3 top 10 albums and 11 successful singles released throughout the 1990s, the Merseyside quartet had a knack for infectious melodies and 60s inspired lyrics and instrumentation. Their debut album All Change went platinum, becoming the highest selling debut album in the history of the Polydor label. Walkaway is generally considered to be the band’s standout tune, however I remember owning this particular single on cassette circa 1997 and playing it consistently.
Suede
One of the biggest and organically exported British bands of the 1990s were the alt-rockers Suede. At the forefront of the 90’s British invasion, Suede were already dominating the scene by early 1993, with a number 1 album and hit singles on both sides of the pond. Animal Nitrate and Metal Mickey charted strongly in 6 countries, the latter scoring Suede a top 10 single in the USA. Standing out from the crowd as being a bit rockier and a bit more glam, Suede definitely perfected their own sound, which successfully resonated with audiences around the world.
Travis
Jumping on to the tail end of Britpop, the Glaswegian soft-rockers definitely used the 1990s as a launch pad to hit their peak. Their first album Good Feeling didn’t really do too much business in the UK despite spawning 5 top 40 singles. It wasn’t until 1999’s The Man Who that the band really took off. With huge hits such as Turn, Driftwood and Why Does It Always Rain on Me? the band would be at the top of their game for the next few years, producing a very impressive back cataloge of catchy pop records.
Shed Seven
Never quite reaching the heights of their counterparts, Shed Seven were always slightly underneath the mainstream radar. Granted they were a lot less accessible for a pop audience. With more complex and melodic guitar arrangements and a slightly darker tone lyrically, they were never going to get a crowd going like Noel Gallagher could with Don’t Look Back in Anger. I am fond of the band though, and similarly to Cast’s Flying, Shed Seven’s Chasing Rainbows was one of my first singles. In retrospect, I’ve no idea how I obtained it.
Stereophonics
I remember the ‘Phoics being tremendously colourful in the 1990s. Colourful videos, colourful personalities, coulourful tunes and colourful albums. Since their debut album in 1996, the band, I think have done a great job of maintaining a certain quality. Take for example, their first 5 albums in particular, there really isn’t a weak link. Similarly with their singles, from 1996’s Local Boy in the Photograph to 2005’s Dakota there isn’t a great deal of filler.It isn’t surprising that they’re one of the Britpop acts that are still going strong today.
Manic Street Preachers
Another motley crew of Welsh rockers that captured the hearts of 1990’s Britain. By 2002 the group had already racked up enough chart success to release a 20 track Best Of compilation. Scoring their first top 10 hit in 1992, the Manics continued strongly for the rest of the decade, even bagging a number 1 in 1998 with If You Tolerate This Your Children Will Be Next. For me though, they will always be the band that sung the theme tune to one of favourite childhood TV shows, the Renford Rejects:
The Verve
Wigan’s biggest musical export since George Formby. Urban Hymns was one of the biggest albums of the 1990s and also contained 1 of the biggest singles of the 1990s, Bittersweet Symphony. I’ll challenge anyone to come up with a more iconic music video of the decade, as almost 20 years later, it’s still being parodied. Masterminded by front man, vocalist and lead songwriter Richard Ashcroft, after the groups disbandment in the late 90’s he went on to have a very lucrative solo career and is still releasing albums to date.
Elastica
Formed by ex-Suede band members Justine Frischman and Justin Welsh, the band debuted with a number 1 LP in 1995. With only 1 album release in the 1990s, the band’s career was short-lived, but integral to the history of Britpop. The band had a very brief reformation in 2000 with a couple of the original members being replaced, and released their second and final album. With mixed reviews and an unremarkable chart peak, Elastica will always be remembered for their momentary, but brilliant stint in the mid 90s.
Radiohead
Getting inadvertently caught up in the Britpop scene, were the experimental / alternative rock band Radiohead. Their debut single Creep in 1992 is now legendary as an indie-rock anthem, and their 1990’s albums The Bends and OK Computer are some of the most critically acclaimed and commercially successful records of the era. Constantly evolving, the band reshaped their sound for every project, and it’s hardly surprising that they’re still continuing to release hugely acclaimed albums and filling stadiums around the world.
Placebo
Another band caught up in the mid 90’s madness were the alt-rock trio Placebo. Their eponymous debut album in 1996, proved to be groundbreaking on the alternative scene, giving a voice to outsider culture and accidentally spilling over into the mainstream. With lyrics about sex, drugs, gender confusion, bisexuality and suicide, combined with Brian Molko’s quirky vocals and some experimental guitar work, the band are 1 of the most unique outfits of the decade.
Oasis
The brothers Gallagher. The poster boys of the Britpop movement, and without doubt the biggest band on the scene. Unashamedly borrowing, plagiarising and thieving riffs and lyrics from T-Rex, Gary Glitter, Primal Scream, Stevie Wonder and The Beatles to name but a few, the band molded all their influences in to one colourful melding pot of optimism, rebelliousness and unbelievably catchy melodies. With Liam as the face of the band and Noel as the brains, Oasis became gargantuan in the UK and it’s hard to imagine another group (in this day and age) managing to reach the heights of their success.
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https://www.stereogum.com/1678193/the-sound-of-someone-losing-the-plot-britpops-big-comedown-and-what-came-next/columns/theme-week/20-years-of-britpop/
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The Sound Of Someone Losing The Plot: Britpop’s Big Comedown And What Came Next
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2014-04-25T15:37:51-04:00
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Oasis and Blur may mark the official beginning of Britpop with the twin classics of Definitely Maybe and Parklife, respectively, but some people — particularly, seemingly, in music-writer circles — claim Pulp’s Different Class as the genre’s pinnacle. It’s the smartest of the bunch, as intricate and sprawling as Parklife, and armed with just a […]
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https://www.stereogum.com/1678193/the-sound-of-someone-losing-the-plot-britpops-big-comedown-and-what-came-next/columns/theme-week/20-years-of-britpop/
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Oasis and Blur may mark the official beginning of Britpop with the twin classics of Definitely Maybe and Parklife, respectively, but some people — particularly, seemingly, in music-writer circles — claim Pulp’s Different Class as the genre’s pinnacle. It’s the smartest of the bunch, as intricate and sprawling as Parklife, and armed with just a few anthems but ones that managed to sound less indebted to other artists than those on Definitely Maybe, accordingly making them age better. Pulp had already achieved some pop success and released another crucial entry in the Britpop canon the preceding year with His ‘N’ Hers — which, as you’ll notice with the publication of our dual anniversary pieces this week, came out a week before Parklife — but it was Different Class that was definitive, and that really threw them into superstardom akin to what the Gallaghers and Damon Albarn were experiencing. The difference was that Jarvis Cocker was already in his 30s. Pulp had been formed in the late ’70s. Their first record came out in 1983. It had been a much more circuitous, stop-start route for Cocker, but he had made it.
And, as it turns out, he had given voice to what wound up being the last word on a certain phase of Britpop. It’s hard to imagine something like this happening again now, but between ’94 and ’95 Oasis, Blur, and Pulp all released two albums, each following a landmark record with something even more ambitious. (What’s The Story) Morning Glory? followed Definitely Maybe, The Great Escape followed Parklife, and Different Class followed His ‘N’ Hers. It depends on your bias, but generally speaking Blur and Oasis released their masterworks in 1994, and Pulp theirs in 1995. (I’ve actually always liked Morning Glory more than Definitely Maybe, and I usually prefer The Great Escape to Parklife, but I’m going with consensus here, and my opinion actually runs counter the point I’m about to make, so.) Different Class seemed the final, perfect encapsulation of what Britpop was supposed to be about. By the time Pulp released This Is Hardcore in 1998, things were completely different.
“This is the sound of someone losing the plot/ Making out that they’re OK when they’re not/ You’re going to like it, but not a lot/ And the chorus goes like this,” Cocker sings at the end of the first verse of “The Fear,” the opening track on This Is Hardcore. Pulp’s music often had longing and sadness in it, but this was something else — underneath Cocker, a distorted guitar yawned in a way entirely foreign to the spritely beginnings of Different Class opener “Mis-Shapes.” Pulp had found the success they’d fought for so long, and the result was they they wrote new music that was much bleaker and world-wearied than anything they’d yet released.
It wasn’t just Pulp. After the streak of Britpop classics established the genre and its forerunners in ’94 and ’95, the next wave of records showed the primary Britpop artists in an entirely different headspace. Starting in 1997 and trickling through 1998 and 1999, there was a slew of new classics that were difficult, expansive and/or bloated, more all-encompassing at the same time they were more deeply personal and frayed. In February of 1997, Blur put out a self-titled album that for the most part sounded like an entirely different band than the one who had released The Great Escape two years prior. Oasis’ Be Here Now followed in August, and the Verve’s very temporary breakup ended with Urban Hymns being released the subsequent month. Always plugging along to the side of Britpop, Spiritualized released their masterwork Ladies And Gentlemen We Are Floating In Space in May, and for a moment seemed on a similar wavelength stylistically to all their more famous counterparts even though that record generally seems on no other human’s wavelength in any other way. (Crucially, in that same month Radiohead released OK Computer, but we’ll get to that later.)
It was audible that these albums were made by people who were exhausted, or drugged-up, or generally despondent and listless in the wake of a few years being rich and famous. Collectively, this run of records — continuing on with This Is Hardcore in 1998 and Blur’s 13 in 1999 — represented not necessarily a development in Britpop, but a collapse of it. Even as these bands were releasing perhaps their greatest works, the movement that had birthed them was giving out underneath of — and because of — them. These were the last wheezing growing pain of Britpop, and what it meant was that Britpop ceased to exist as a binding concept in any relevant form.
According to each band’s style, they had their own particular version of strained or exhaustive, their own version of everything blowing out and slowly running down into the ground. Be Here Now doesn’t necessarily sound sad, just bloated and power-mad (there’s no other way to describe the impulse to put as many guitar tracks on “D’You Know What I Mean” as Noel Gallagher did). I mean, “bloated” somehow feels like an understatement. There’s no other way to put this, really: Be Here Now is ridiculous. Fueled by an unlimited amount of coke and arrogance, Noel made every song two or three minutes too long, drowning them in orchestration and overdubs that wrestle each other into a sort of collective, wall-of-expensive-noise oblivion. It basically single-handedly began the tarnishing of Oasis’ legacy; Noel Gallagher had been an infallible songwriter, and then he immediately showed himself to be very fallible. Even with all its flaws, though, Be Here Now is better than its reputation and perhaps one of the more fascinating Oasis listening experiences. The hooks couldn’t always keep up with the ambition these songs sought. Everything here was evidently produced by someone who really believed each song could and should be placed in the great rock canon (Aside from the title track, “D’You Know What I Mean” is my favorite song on the record, but those classic rock song and album title references are a bit comical). It’s wounded, desperate maximalism.
Where Be Here Now is coked-out and overblown, much of This Is Hardcore sounds like pained remembrances aired in a seedy bar in the bleary-eyed, early hours of the morning. It’s the comedown record to sum up Britpop’s comedown, again positioning Pulp as the band who said it one year later but said it best. (Blur’s 13 was yet to come, but you could make the argument that was almost entirely outside of Britpop stylistically.) Where the lasciviousness and prurience of Pulp’s earlier work were given human weight by the strength of Cocker as lyricist, “This Is Hardcore” was lurid in a way even the Different Class track “I Spy” hadn’t been. It’s ominous. Those horns, the way Cocker airs his anxieties about fame and touring via a song about porn, the fact that it lent the album its name — it sounds like a manifesto of self-revulsion. Cocker tells you plainly enough when the record begins: you’re going to like it, but not a lot. Guilt and anxious self-awareness are woven into the experience of the album. There’s a strong argument to be made that This Is Hardcore is the best Pulp album, the logical and decrepit endpoint of all that preceded it on His ‘N’ Hers and Different Class, and a conclusion that could only be followed by the post-script of We Love Life. “Party Hard” is one of only a few songs that still bear facets of the dance-rock Pulp had done so well, and it’s a haggard thing. I’m convinced the chorus sounds gross on purpose. “Common People” and “Disco 2000″ had their own emotional stakes, but they were sly and self-assured and funny. “Party Hard” is the guy who doesn’t realize the party wound down a few hours (or years) ago. It’s one of many moments on This Is Hardcore that sounds like cheap cigarettes and liquor, like vomit on the floor, like the shadows under a beleaguered man’s eyes.
If Modern Life Is Rubbish, Parklife, and The Great Escape formed Blur’s Britpop trilogy, Blur and 13 could almost be said to be something of sister projects. Blur was when the band began departing from idiosyncratically British music and incorporating the influence of American indie music, which would’ve previously been anathema in the Blur camp, and was certainly at least partially due to the influence of guitarist Graham Coxon. Perhaps most importantly, they are the records where Albarn was writing most specifically about his own personal turmoil, where before he had couched any such insight in stories and social critique. These are the heroin records. “Beetlebum” — a candidate for the best Blur song, if you ask me — is about heroin, but the whole record has a shambolic, strung out vibe to it. Blur transitions from logical maturations of their style like “M.O.R” or “On Your Own” to scuzzy, ragged stuff like “I’m Just A Killer For Your Love” or “Death Of A Party.” It runs all over the place.
Its successor, 13, was heavily inspired by the disintegration of Albarn’s seven year relationship with Justine Frischmann. Frischmann was, in many ways, woven closely into Blur’s narrative. She’d been a founding member of Suede, the lover of its frontman Brett Anderson, and then departed to become frontwoman for Elastica, whose 1995 debut was another pivotal entry in the Britpop canon. When she took up with Albarn instead of Anderson around the same time Suede was being championed as the best British band out there, it provided the impetus that drove Albarn into the obsessive need to prove himself that produced Blur’s breakthrough work. The collapse of their relationship could likely be tied to the heavy drug scene both had become involved in, though to hear Frischmann tell it, one of the main reasons was the tension of celebrity. 13 is a heavy, heavy album — songs like “Tender,” “Battle,” and “1992” are beautiful and haunting and raw. The record is perhaps Blur’s greatest moment. Much like This Is Hardcore, it directly or indirectly came out of the consequences that followed pop success. There was something symbolic to Albarn and Frischmann parting ways. One of the foundational stories of Britpop had unraveled into a bedraggled, inglorious conclusion. It would’ve been a logical ending point for Blur.
That leaves two somewhat ancillary inclusions: the Verve and Spiritualized. The Verve, who had been dark and grungey and psychedelic when Britpop was at its height, actually came back with the only record of theirs that sonically makes much sense in the general Britpop conversation. Urban Hymns is a panoramic listen, and ironically the slightly happier of the Verve records, which means they brightened up a bit just when everyone else was going off the cliff. Still, it has the quality of a band going for broke, which makes it still fit in with these other ’97 releases. As for Spiritualized, Ladies And Gentlemen We Are Floating In Space had its own supposed roots in heartbreak: much of it has been rumored to be influenced by Kate Radley, a founding member of the band, leaving frontman Jason Pierce (and, later, Spiritualized itself) for the Verve’s Richard Ashcroft. It’s the sort of successfully over-the-top, classic rock-influenced freakout you’d imagine Noel Gallagher would’ve loved to have made with Be Here Now, and all its drugginess and suffering make it a fine companion piece for Blur and This Is Hardcore.
These bands would continue on. After a detour with the first Gorillaz album, Albarn returned to Blur for 2003’s Think Tank, which sans Coxon basically sounds closer to Gorillaz than it does to any other Blur release. Pulp would release We Love Life, and barely looked or sounded like themselves: far from the slinky rhythms and glistening surface of hits like “Babies” or “Common People,” We Love Life was dominated by weathered art-pop and folkier overtones that gives the whole thing an oddly naturalistic vibe one would’ve previously imagined to be entirely at odds with the urbane sound of Pulp. Oasis, of course, soldiered on the most, cranking out albums that started to sound the same — the last two of which, 2005’s Don’t Believe The Truth and 2008’s Dig Out Your Soul, are actually pretty great and underrated — as much as they did brotherly spats, one of which finally ruptured the band in 2009. None of it matched the headiness, the lightning-in-a-bottle quality of Britpop’s zenith, and after that last glut of difficult, tortured albums in the late ’90s, it all felt tangential. The remaining strands of Britpop were dissipating off into separate directions. The albums of ’97-’99 were the final chapter, everything else a prolonged epilogue. Besides, there were other things afoot now.
***
As Britpop’s leading figures departed for solo careers or whatever else, their influence lingered in different ways for different artists. By the early- and mid-’00s, bands were beginning to crop up that quoted Britpop alongside the genre’s own influences, reaching back to punk and mod. You had bands like the Libertines (who I still don’t get the big deal about, but whatever), and bands like Kasabian and Kaiser Chiefs, who were good for a handful of infectious singles and then stuck around way too long and lingered as punchlines of sorts. Every now and then you got an Arctic Monkeys, who were rawer than Britpop’s main figures (though not necessarily more so than, say, Supergrass’ I Should Coco) and wound up maturing far better than you might’ve expected; never having been much of a fan of their earliest iteration, I find their last two records to be their best, and am constantly surprised that they’ve already become trad-rock troubadours of a certain kind.
But there was a whole other slew of artists making music that had very little to do with Britpop musically, even if it seemed to come directly out of the more wearied tone that permeated Britpop’s waning days. Less world-weary than “afraid of” or “at odds with” the world, Radiohead released OK Computer in 1997. Some people lump Radiohead in with Britpop because the years line up, but they had nothing to do with the movement. Their 1993 debut Pablo Honey was indebted to Sonic Youth, U2, Nirvana, and the Pixies, not the Jam or the Clash or the Kinks. Their music is more cerebral or philosophical; their social commentary is always framed in apocalyptic imagery rather than character studies akin to what Cocker or Albarn might write. And by the time they got to OK Computer, they were totally on their own trip. Where many of the records discussed above had a worn out sprawl to them, OK Computer was tightly wound, chilly, claustrophobic. With this record and 2000’s Kid A, the band grappled with anxiety about the impending turn-of-the-millennium and technology. Most importantly, they took the baton from Britpop.
There may have been those aforementioned bands that bore resemblance to Britpop, but it was Radiohead who ascended — they became critical darlings, and remained the world’s unlikeliest arena rockstars through their most recent tour in support of 2011’s The King Of Limbs. And immediately in the wake of OK Computer came the wave of copycats or bands simply influenced by them, the post-Britpop bands. Britpop came out of Madchester and baggy, among other things, but was partially developed in reaction to such movements. It was only in hindsight that a band like Primal Scream or Charlatans or Stone Roses would get lumped together with Blur and Pulp as being part of the same generation or movement. It doesn’t seem there’s a willful negation of Britpop occurring in the music of bands like Coldplay, Doves, or Elbow, but there’s little chance of those bands getting summed up together as having anything to do with their predecessors musically. The post-Britpop bands took, if anything, the atmosphere of the times from Britpop — the perpetually rainy murk of Doves’ Lost Souls or Elbow’s Asleep In The Back could be a further extension of the dejectedness of This Is Hardcore or 13.
The morose atmospherics of Radiohead proved to be the defining sound there for a few years. This probably had something to do with the fact that these bands drew on similar influences that departed somewhat from those of the British bands that had preceded them. Post-punk instead of punk, the Smiths, R.E.M., and the anthems of U2 all mingled together. Bands got more ethereal, for a time. There was a kind of dramatic gravity to it all. The most famous of these in America is Coldplay, who were at first written off as a Travis/Radiohead ripoff when Parachutes came out, and only later became more closely associated with being a U2 ripoff. Elbow’s gotten their accolades in recent years, including a Mercury Prize in 2008 for The Seldom Seen Kid, but their friends over in Doves remain one of the most underrated bands of the ’00s. Each had a run of gorgeous, mostly heartbreaking albums in the first half of the last decade, though it was somehow Elbow’s orchestral progginess that wound up finding mainstream success. (Or licensing “Grounds For Divorce” and “One Day Like This” a million times each, whichever.)
The thing that stands out now from those years is fragmentation. (Fitting, if we’re looking to Radiohead as the godfathers of this era of British music.) The handful of bands I mentioned above saw some success, as did that other handful I started with; how many Americans you know that are familiar with them probably depends on if your friends are obsessive music fans, and if they actively seek out recent-ish guitar music. You’re not going to stumble into Doves the way you could Pulp or Blur. They never had that reach, but neither did their contemporaries. Many things had changed since the ’90s — the mainstream was more fully in the digital era and going down that road of ballooning to incorporate the world. It was becoming, as it is now, hard to point to a single movement as if it’s a the universally “defining our times” movement the way you could’ve said about Britpop in ’90s Britain. I can’t say whether it’s worse or better. Maybe it’s received nostalgia, but there does seem like there’s been something lost since the end of Britpop (or, Stateside, the ’90s alternative boom). There isn’t the same kind of universal experiences shared amongst a generation, and we might be more listless for it.
It’s appropriate that the tone of post-Britpop is one of perpetual elegy. It seems outlandish to think that albums like This Is Hardcore or 13 could produce popular radio singles. But that was the power of Britpop — they had complete control of Britain’s mainstream, and in 1997 they drove it into the ground. We still have our collective experiences now, of course, but to hear fans reminisce of experiencing something as big and over-arching as Britpop in the moment has begun to feel like an entirely foreign concept. Illegible. Nothing like that happened again in Britain in the wake of Britpop. We’re left with shards in the new millennium, with Radiohead and Bloc Party and Kaiser Chiefs and Editors jostling around together. And that’s before you even get to any other English imports, like Amy Winehouse or Adele. Maybe it is indeed better off this way, to have to navigate the big mess of it. After all, if you listen to all those last great Britpop albums, it sounds like universality took its toll.
//
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dbpedia
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3
| 34 |
https://www.soundoflife.com/blogs/mixtape/90s-music-trends
|
en
|
‘90s Music Trends That Made the Decade What it Was
|
[] |
[] |
[] |
[
""
] | null |
[
"Sound of Life"
] | null |
90s music trends were eclectic, full of stark contrast, and creative fusions between genres. The era marked the line between counterculture and mainstream.
|
en
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/images/icon/favicon.ico
|
Sound of Life
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https://www.soundoflife.com/blogs/mixtape/90s-music-trends
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1641
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dbpedia
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2
| 97 |
https://bellacaledonia.org.uk/2021/02/08/2000s-school-disco-playlist/
|
en
|
2000s School Disco Playlist
|
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2021-02-08T00:00:00
|
Up until now, my monthly playlists for Bella have demonstrated my refined and impeccable taste. I am nothing if not a connoisseur, an aesthete, an authority. However, today, I am going to let mysel…
|
en
|
Bella Caledonia
|
https://bellacaledonia.org.uk/2021/02/08/2000s-school-disco-playlist/
|
Up until now, my monthly playlists for Bella have demonstrated my refined and impeccable taste. I am nothing if not a connoisseur, an aesthete, an authority. However, today, I am going to let myself down …
Something spectacularly terrible happened to pop culture in the early 2000s, and much like I am startled by photographs of my mother’s, particularly spherical, 1970s pudding-bowl haircut, I am certain that future generations will be rightly troubled by the fashions of the new millennium, with its penchant for chunky highlights and lilac eyeshadow, tinny eurodance music and rom coms with questionable attitudes to consent.
I was in single digits at the time, and didn’t have the capacity to know any better, but in retrospect, I have a few questions – like who allowed low slung jeans, that most misogynistic of all trousers, to be in fashion for so long? And at such girth? What was children’s TV’s obsession with gunge all about? Against all odds – and because time is an ever-tightening gyre – certain facets of today’s youth are already pioneering a noughties revival. However ill-advised this might be, I have some sympathy for the rose tinted, rimless glasses.
It was a simpler time. Pop culture was cheap and disposable fun, expressing much less of the existential angst and concern with injustice prevalent in today’s mainstream. Even the whine-core of emo culture feels charmingly melodramatic and vainglorious now. Additionally, the internet was still a ‘thing that one did’ for an hour in the evening (see Habbo Hotel, Bebo, MSN) and hadn’t yet developed into the all-encompassing, doom-laden death knell that it is today.
Anyway. Why am I saying all this? Well, if you hadn’t noticed, things have been pretty dreary for a while now. My life has been reduced to a series of stoic, solitary walks, and I am pining ever-so for colour, conviviality, communal dance, carefree fun! It is an odd task, being an arts and music editor in a time where very little art has been able to take place, so in the absence of any real inspiration I have decided to do like my Gen Z counterparts and self-indulge in some early 2000s nostalgia. Travel back with me, to a time when we all had our hands in the air, and we just didn’t have a care.
As synonymous with the noughties as the Sims, Jacqueline Wilson and dresses worn over jeans for me is the school disco. That is why I have chosen to model my sentimental playlist on the likely soundtrack of a school disco of the time, making me, I suppose, the DJ. It is two and a half hours full of sugary shite pop, giving you plenty of time to knee slide across the kitchen, before the lights come up and you wait awkwardly for your mum to arrive with your Helly Hanson jacket. I would recommend playing it on shuffle, so that the surprise slow dance song will be as unforeseen as in days of old. Enjoy!
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1641
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dbpedia
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0
| 61 |
https://www.staimusic.com/en/bands/pulp_3574.html
|
en
|
Listen to Pulp Songs
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Listen to the best of Pulp's music with Staimusic. Choose from a wide selection of genres and explore new sounds from worldwide artists. Find your favorite music and create the perfect soundtrack for your day.
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https://www.staimusic.com/en/bands/pulp_3574.html
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Music has the power to bring people together, evoke a range of emotions, and create memories that last a lifetime. One musical artist who has certainly lived up to this ideal is Pulp, the British rock band that epitomizes the Britpop music genre of the 1990s. After all, it's hard not to feel moved by their lyrics, melodies, and overall charisma. So, let's take a closer look at the inspiration, sound, and success of Pulp.
Pulp, formed in Sheffield, England in 1978, developed a sound over the years that fused elements of indie rock, punk, disco, and electronic music. The band's founder and main vocalist, Jarvis Cocker, was the brains behind the music. His own unique life experiences served as material for many of the band's songs, which were often quite personal and introspective. The other members of the band changed multiple times over the years, but the sound remained distinct and captivating.
Despite being a relatively obscure band in the 1980s, the 1990s proved to be their most successful decade, both commercially and critically. Their 1995 album, Different Class, was a smash hit. Featuring hits like Common People and Disco 2000, the album went platinum in the UK and won the Mercury Prize. It got Pulp onto the world stage and cemented their legacy into the annals of pop culture history.
Their music also had a special resonance with fans, who found themselves both moved and uplifted by Pulp's storytelling and captivating beats. Some of Pulp's most notable tracks are Babies, Something Changed, and Help the Aged. These songs, among many others, were both cleverly written and undeniably enchanting, further earning the band a place in the hearts and minds of music fans.
Pulp was deeply influenced by Britpop icons such as The Smiths and David Bowie, as well as the 1970s and 1980s disco era. From David Bowie, Pulp's music took on a theatricality, whereas the disco era brought them an irresistible beat. These influences informed the music Pulp created that was distinct, purposeful, and soulful.
Wrapping things up, it is evident that Pulp was an artist who left their mark on the world of music. Through clever lyrics, masterful musicianship, and a captivating stage presence, they inspired countless fans and became megastars in their own right. Though they may no longer be playing together, the music of Pulp remains as powerful and moving as ever, a testament to the band's lasting impact on the world.
Nobody can deny that Pulp’s music carried a unique flavor. From their lyrical content to Jarvis Cocker’s iconic singing style, it was clear the Sheffield natives had established themselves as one of England's most beloved bands during the 1990s-2000. But what made them just as controversial were some of the less conventional tunes and unexpected industry moves they produced throughout their career. Today, we will take a look at both what critics are praising and critiquing about Pulp music -- while diving into why this diverse sound is still influencing generations today!
Pulp’s music was certainly one-of-a-kind, with its distinctive sound and iconic lead singer Jarvis Cocker. The Sheffield band made a name for itself in the 90s and early 2000s, capturing the hearts of fans with their innovative sound and approach to making music. However, their success wasn't just down to their music. What set them apart from other bands and made them controversial was their unexpected industry moves and non-conventional tunes. In this blog post, we will explore what critics admire and critique about Pulp’s music while highlighting why their diverse sound continues to influence generations of music lovers today.
Pulp is mostly celebrated for their groundbreaking approach to songwriting. Their music fused various sub-genres of rock, indie, and Britpop, with tongue-in-cheek lyrics that captured the essence of British life and culture. Pulp's music is often described as dark and humorous, with a quintessentially British tone that Jarvis Cocker laid out in his unique singing style. This approach earned them a devoted fanbase, as well as industry recognition. Their 1995 iconic album Different Class won the prestigious Mercury Prize, and the band was at the top of their game.
However, despite their significant feats, Pulp's music also faced criticism, particularly on the topics that the band explored in their lyrics. For example, one of their popular songs “Common People” was interpreted by many critics as a negative comment on class privilege and working people. Still, the song's upbeat melody created an apparent contradiction with its content, which only increased criticism of the group. Still, this contrast was typical of Pulp's music, setting them apart from other Britpop bands and just making their music more interesting.
One thing which made Pulp controversial was their tendency towards unusual sound structures and a non-conventional approach to songwriting. The band's music contains a mix of sounds that can be surprising and sometimes rich in irony. Pulp achieved an incredible balance between accessible melodies while continuing to innovate with various musical techniques. For example, the frantic synth beats in “Disco 2000” bring to life a vivid image of the era, while the song’s lyrics speak about the hope and disappointment of a failed pursuit for love. This unconventional structure can be a double-edged sword: some listeners found it difficult to connect with, but when this process works, the result is hauntingly beautiful songs that remain unforgettable even in a noisy and ever-changing music landscape like today.
Apart from their songwriting, Pulp’s legacy lies with the impact the band had on Britpop and the evolution of English rock music. They were part of a wave of bands from the North of England that transformed British music during that period. Pulp’s heyday was the 90s, where the Britpop phenomenon emerged, with bands like Oasis and Blur enjoying mainstream success. Years later, when the popularity of Britpop had mostly died out, Pulp was still going strong. Their music continued to resonate with fans until they went on a decade-long hiatus after releasing the album, We Love Life. Throughout their career, they had impressive longevity, producing an innovative sound that continued to inspire future generations of musicians.
Pulp may have had their share of critics, but it's impossible to deny the impact they had on the music industry with their unique sound and captivating lyrics. Throughout their career, the band pushed boundaries and defied expectations, creating an unconventional approach to music-making that inspired a generation. Their music fuses together various sounds that may have been strange and discordant on paper but brought to life infectious melodies that continue to influence generations of music lovers. Even today, their influence is felt in a range of contemporary bands who experiment with similar sounds and aim to create something equally unique. We'll be hard-pressed to watch out for the next band who can replicate the magic of Pulp!
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1641
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2
| 78 |
http://klf.de/home/publication/disco-2000-nineteen-new-stories-last-hours-1999/
|
en
|
Disco 2000: Nineteen New Stories... (Book, 1998)
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2017-09-26T09:30:19+00:00
|
Disco 2000 is a collection of original short stories, featuring Bill Drummond's short story 'Let's Grind (or How K2 Plant Hire Ltd Went To Work)'.
|
en
|
http://klf.de/home/wp-content/uploads/2015/12/cropped-pyramidBlaster_x512-32x32.png
|
KLF ONLINE
|
http://klf.de/home/publication/disco-2000-nineteen-new-stories-last-hours-1999/
|
Disco 2000 is a collection of short stories edited by English music journalist Sarah Champion. The book features (mostly) original contributions by various different authors including Pat Cadigan, Grant Morrison, Robert Anton Wilson, and Douglas Coupland.
The book includes Bill Drummond’s short story ‘Let’s Grind (or How K2 Plant Hire Ltd Went To Work)‘. The companion album released alongside the book furthermore features 2K’s Fuck The Millennium.
Despite its name the book is – unsurprisingly – in no way related to the KLF side project of the same name.
Back Cover Blurb
The party starts here… with a cast of crazy scientists, nomadic DJs, fetish queens, conspiracy theorists, killer ants, graffiti artists, gangsters, convicts, cult leaders, Netheads, repilcants, religious maniacs and ball room dancers.
Is it worth getting?
|
||
1641
|
dbpedia
|
3
| 0 |
https://www.britannica.com/art/Britpop
|
en
|
Britpop | Bands, Songs, & Facts
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2007-10-15T00:00:00+00:00
|
Britpop, movement of British rock bands in the 1990s that drew consciously on the tradition of melodic, guitar-based British pop music established by the Beatles. Paul Weller of the Jam was considered ‘the Modfather of Britpop,’ while its two most prominent bands were Blur and Oasis.
|
en
|
/favicon.png
|
Encyclopedia Britannica
|
https://www.britannica.com/art/Britpop
|
Britpop, movement of British rock bands in the 1990s that drew consciously on the tradition of melodic, guitar-based British pop music established by the Beatles. Like nearly all musical youth trends, Britpop was about songs, guitars, jackets, and attitudes—though not necessarily in that order. It was perhaps not so much a movement as a simultaneous emergence of fairly like minds, given shape and direction by the determined boosting of the English music weekly the New Musical Express (NME)—which referred to Paul Weller of the Jam as “the Modfather of Britpop.” Indeed, many of those most associated with the term resisted the pigeonhole it offered.
Various peripheral bands were involved in Britpop—most enjoyably, Pulp, from Sheffield, which was fronted by the lanky veteran rocker Jarvis Cocker (b. September 19, 1963, Sheffield, England) and had its biggest hit with the single “Common People”—but it was essentially about Oasis and Blur. What the two bands had in common was a belief in the classic guitar-based pop song with a sing-along chorus—and a love of fashionable sportswear. Their attitudes were quite different, though. While both reached back to British pop’s golden age of the 1960s, each had a different take on the inheritance.
Oasis stood for authenticity. At heart the band was two brothers from Manchester, guitarist-songwriter Noel Gallagher (in full Noel Thomas David Gallagher; b. May 29, 1967, Manchester, England) and singer Liam Gallagher (byname of William John Paul Gallagher; b. September 21, 1972, Manchester). They were northern, working-class, and swimming in illegal drugs and the same kind of romantic aggressiveness as their hero John Lennon. Founded in 1992, Oasis released its first single, “Supersonic,” in 1994. Their biggest hit was the album (What’s the Story) Morning Glory? (1995) and its best-known track, “Wonderwall.” Oasis toured the United States; they fought; they entered into disastrous marriages, bought big houses, and took more drugs; and by the late 1990s they had faded into a rut of same-sounding songs.
|
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1641
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dbpedia
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0
| 20 |
https://rockyourlyrics.com/disco-2000-the-pulp/
|
en
|
Disco 2000
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Together with Oasis, Verve, Blur, the Pulp are one of the most representative bands of the Brit Pop genre.
Their music, we would say, is the most alternative among all the others, a mix between post-punk, indie rock, brit pop and indie pop.
They have been founded in Sheffield in 1978 by their
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Rock Your Lyrics
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https://rockyourlyrics.com/disco-2000-the-pulp/
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Together with Oasis, Verve, Blur, the Pulp are one of the most representative bands of the Brit Pop genre.
Their music, we would say, is the most alternative among all the others, a mix between post-punk, indie rock, brit pop and indie pop.
They have been founded in Sheffield in 1978 by their frontman Jarvis Cocker while he was still going on high school; other members are : Candida Doyle (keyboards), Mark Webber (guitar), Steve Mackey (bass) and Nick Banks (drums).
Till date they released seven studio album with an hiatus that lasted almost twelve year, 2013 is supposed to be the year of the so-much-waited latest studio album.
“Disco 2000” is one of their most famous commercial success together with “common people” one of our most favorite songs……a fight of class between who survives and who believes that poor is cool.
It has been written in 1995 and published as third single of the album “Different Class”
In an interview Jarvis would admit that the song is talking about real life and based on true events, we don’t know, most probably a old school friend of him from Sheffield that will later get married breaking the promise to meet on the year 2000.
That promise maybe was the one that we all did when we were young…. “if you will not be married before xx date, then it means that we should get married”….. for us it didn’t work, what about for you?.
But he still wants to see her, even if she got married, even if she got kids…… maybe he is still in love…..
Till date the Pulp sold over 13.000.000 copies, by the way, did you know that the name Pulp comes from a movie? “Pulp” of 1972 with Michael Caine.
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2024-07-29T22:27:06+00:00
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Page Template:Hlist/styles.css has no content.Page Module:Infobox/styles.css has no content. Britpop is a UK based music and culture movement in the mid 1990s which emphasised "Britishness", and produced bright, catchy pop music partly in reaction to the US led grunge music and the UK's own...
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Culture Wikia
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https://culture.fandom.com/wiki/Britpop
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Not to be confused with Bitpop.
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Britpop is a UK based music and culture movement in the mid 1990s which emphasised "Britishness", and produced bright, catchy pop music partly in reaction to the US led grunge music and the UK's own shoegazing music scene.[1][2][3][4] The most successful bands associated with the movement are Oasis, Blur, Suede and Pulp; those groups would come to be known as its "big four".[5] The timespan of Britpop is generally considered to be 1993-1997, with 1994-1995, and a chart battle between Blur and Oasis dubbed "The Battle of Britpop", being the epicentre of activity.[6] While music was the main focus, fashion, art, and politics also got involved, with artists such as Damien Hirst being involved in creating videos for Blur, and being labelled as Britart or Britpop artists,[7] and Tony Blair and New Labour aligning themselves with the movement.[8][9]
Though Britpop is viewed as a marketing tool, and more of a cultural moment than a musical style or genre,[10] there are musical conventions and influences the bands grouped under the Britpop term have in common, such as showing elements from the British pop music of the Sixties, glam rock and punk rock of the Seventies, and indie pop of the Eighties in their music, attitude, and clothing. An influence they shared in particular was the Smiths. Britpop was a media driven focus on bands which emerged from the independent music scene of the early 1990s—and was associated with the British popular cultural movement of Cool Britannia which evoked the Swinging Sixties and the British guitar pop music of that decade.[11][12][13]
In the wake of the musical invasion into the United Kingdom by American grunge bands, new British groups such as Blur and Suede launched the movement by positioning themselves as opposing musical forces, referencing British guitar music of the past and writing about uniquely British topics and concerns. These bands were soon joined by others including Oasis, Pulp, The Verve, Supergrass, Cast, Placebo, Space, Sleeper and Elastica.
Britpop groups brought British alternative rock into the mainstream and formed the backbone of a larger British cultural movement called Cool Britannia. "The Battle of Britpop" brought Britpop to the forefront of the British press in 1995. By 1997, however, the movement began to slow down; many acts began to falter and break up.[14] The popularity of the pop group the Spice Girls "snatched the spirit of the age from those responsible for Britpop".[15] Although its more popular bands were able to spread their commercial success overseas, especially to the United States, the movement largely fell apart by the end of the decade.
Style, roots and influences[]
Though Britpop is seen retrospectively as a marketing tool, and more of a cultural moment than a musical style or genre,[10][16][17] there are musical conventions and influences the bands grouped under the Britpop term have in common. Britpop bands show elements from the British pop music of the Sixties, glam rock and punk rock of the Seventies, and indie pop of the Eighties in their music, attitude, and clothing. Specific influences vary: Blur and Oasis drew from the Kinks and the Beatles, respectively, while Elastica had a fondness for arty punk rock. Regardless, Britpop artists project a sense of reverence for British pop sounds of the past.[18] Alternative rock acts from the indie scene of the Eighties and early Nineties were the direct ancestors of the Britpop movement. The influence of the Smiths is common to the majority of Britpop artists.[13] The Madchester scene, fronted by the Stone Roses, Happy Mondays and Inspiral Carpets (for whom Oasis's Noel Gallagher had worked as a roadie during the Madchester years), was an immediate root of Britpop since its emphasis on good times and catchy songs provided an alternative to the British-based shoegazing and American based grunge styles of music.[19]
Local identity and regional British accents are common to Britpop groups, as well as references to British places and culture in lyrics and image.[10] Stylistically, Britpop bands use catchy hooks and lyrics that were relevant to young British people of their own generation.[19] Britpop bands conversely denounced grunge as irrelevant and having nothing to say about their lives. Damon Albarn of Blur summed up the attitude in 1993 when after being asked if Blur were an "anti-grunge band" he said, "Well, that's good. If punk was about getting rid of hippies, then I'm getting rid of grunge."[20] In spite of the professed disdain for the genres, some elements of both crept into the more enduring facets of Britpop. Noel Gallagher has since championed Ride and stated in a 1996 interview that Nirvana's Kurt Cobain was the only songwriter he had respect for in the last ten years, and that he felt their music was similar enough that Cobain could have written "Wonderwall".[21]
The imagery associated with Britpop was equally British and working class. A rise in unabashed maleness, exemplified by Loaded magazine and lad culture in general, would be very much part of the Britpop era. The Union Jack became a prominent symbol of the movement (as it had a generation earlier with mod bands such as The Who) and its use as a symbol of pride and nationalism contrasted deeply with the controversy that erupted just a few years before when former Smiths singer Morrissey performed draped in it.[22] The emphasis on British reference points made it difficult for the genre to achieve success in the US.[23]
Origins and first years[]
Journalist John Harris has suggested that Britpop began when Blur's single "Popscene" and Suede's "The Drowners" were released around the same time in the spring of 1992. He stated, "[I]f Britpop started anywhere, it was the deluge of acclaim that greeted Suede's first records: all of them audacious, successful and very, very British".[24] Suede were the first of the new crop of guitar-orientated bands to be embraced by the UK music media as Britain's answer to Seattle's grunge sound. Their debut album Suede became the fastest-selling debut album in the history of the UK.[25] In April 1993, Select magazine featured Suede's lead singer Brett Anderson on the cover with a Union Flag in the background and the headline "Yanks go home!". The issue included features on Suede, The Auteurs, Denim, Saint Etienne and Pulp and helped start the idea of an emerging movement.[1][26]
Blur were involved in a vibrant social scene in London (dubbed "The Scene That Celebrates Itself" by Melody Maker) that focused on a weekly club called Syndrome in Oxford Street; the bands that met up were a mix of music styles, some would be labelled shoegazing, while others would go on to be part of Britpop.[27] The dominant musical force of the period was the grunge invasion from the United States, which filled the void left in the indie scene by The Stone Roses' inactivity.[26] Blur, however, took on an Anglocentric aesthetic with their second album Modern Life Is Rubbish (1993). Their new approach was inspired by a tour of the United States in the spring of 1992. During the tour, frontman Damon Albarn began to resent American culture and found the need to comment on that culture's influence seeping into Britain.[26] Justine Frischmann, formerly of Suede and leader of Elastica (and at the time in a relationship with Damon Albarn) explained, "Damon and I felt like we were in the thick of it at that point ... it occurred to us that Nirvana were out there, and people were very interested in American music, and there should be some sort of manifesto for the return of Britishness."[28] John Harris wrote in an NME article just prior to the release of Modern Life is Rubbish, "[Blur's] timing has been fortuitously perfect. Why? Because, as with baggies and shoegazers, loud, long-haired Americans have just found themselves condemned to the ignominious corner labeled 'yesterday's thing'".[20] The music press also fixated on what the NME had dubbed the New Wave of New Wave, a term applied to the more punk-derivative acts such as Elastica, S*M*A*S*H and These Animal Men.
While Modern Life Is Rubbish was a moderate success, it was Blur's third album Parklife that made them arguably the most popular band in the UK in 1994.[25] Parklife continued the fiercely British nature of its predecessor, and coupled with the death of Nirvana's Kurt Cobain in April of that year it seemed that British alternative rock had finally turned back the tide of grunge dominance. That same year Oasis released their debut album Definitely Maybe, which broke Suede's record for fastest-selling debut album.[25][29]
The term "Britpop" arose when the media were drawing on the success of British designers and films, the Young British Artists (sometimes termed "Britart") such as Damien Hirst, and on the mood of optimism with the decline of Thatcherism, and the rise of the youthful Tony Blair as leader of the Labour Party.[30] The term had been used in the late 1980s in Sounds magazine by journalist John Robb to refer to bands such as The La's, The Stone Roses, and Inspiral Carpets.[citation needed] However, it would be 1994 before Britpop started to be used by the UK media in relation to contemporary music and events.[31] Bands emerged aligned with the new movement. At the start of 1995 bands including Sleeper, Supergrass, and Menswear scored pop hits.[32] Elastica released their debut album Elastica that March; its first week sales surpassed the record set by Definitely Maybe the previous year.[33] The music press viewed the scene around Camden Town as a musical centre; frequented by groups like Blur, Elastica, and Menswear; Melody Maker declared "Camden is to 1995 what Seattle was to 1992, what Manchester was to 1989, and what Mr Blobby was to 1993."[34]
"The Battle of Britpop"[]
A chart battle between Blur and Oasis dubbed "The Battle of Britpop" brought Britpop to the forefront of the British press in 1995. The bands had initially praised each other but over the course of the year antagonisms between the two increased.[35] Spurred on by the media, the groups became engaged in what the NME dubbed on the cover of its 12 August issue the "British Heavyweight Championship" with the pending release of Oasis' single "Roll with It", and Blur's "Country House" on the same day. The battle pitted the two bands against each other, with the conflict as much about British class and regional divisions as it was about music.[36] Oasis were taken as representing the North of England, while Blur represented the South.[26] The event caught the public's imagination and gained mass media attention in national newspapers, tabloids, and even the BBC News. The NME wrote about the phenomenon, "Yes, in a week where news leaked that Saddam Hussein was preparing nuclear weapons, everyday folks were still getting slaughtered in Bosnia and Mike Tyson was making his comeback, tabloids and broadsheets alike went Britpop crazy."[37] Blur won the battle of the bands, selling 274,000 copies to Oasis' 216,000 - the songs charting at number one and number two respectively.[38] However, in the long run Oasis became more commercially successful than Blur. Unlike Blur, Oasis were able to achieve sustained sales in the United States thanks to the singles "Wonderwall" and "Champagne Supernova".[39] Oasis's second album (What's the Story) Morning Glory? (1995) eventually sold over four million copies in the UK, becoming the third best-selling album in British history.[40]
By the summer of 1996 Oasis's prominence was such that NME termed a number of Britpop bands (including The Boo Radleys, Ocean Colour Scene and Cast) as "Noelrock", citing Gallagher's influence on their success.[41] John Harris typified this wave of Britpop bands, and Gallagher, of sharing "a dewy-eyed love of the 1960s, a spurning of much beyond rock's most basic ingredients, and a belief in the supremacy of 'real music'".[42] Starting on 10 August 1996, Oasis played a two-night set at Knebworth to a combined audience of 250,000 people, with one journalist commenting; "(Knebworth) could be seen as the last great Britpop performance; nothing after would match its scale."[43][44] The demand for these gigs was and still is the largest ever for a concert on British soil; over 2.6 million people had applied for tickets.[44]
Decline[]
Oasis' third album Be Here Now (1997) was highly anticipated. Despite initially attracting positive reviews and selling strongly, the record was soon subjected to strong criticism from music critics, record-buyers and even Noel Gallagher himself for its overproduced and bloated sound. Music critic Jon Savage pinpointed Be Here Now as the moment where Britpop ended; Savage said that while the album "isn't the great disaster that everybody says," he noted that "[i]t was supposed to be the big, big triumphal record" of the period.[26] At the same time, Damon Albarn sought to distance Blur from Britpop with the band's self-titled fifth album, Blur (1997).[45] On guitarist Graham Coxon's suggestion, Blur moved away from their Parklife-era sound, and their music began to assimilate American lo-fi influences, particularly that of Pavement. Albarn explained to the NME in January 1997 that "We created a movement: as far as the lineage of British bands goes, there'll always be a place for us", but added, "We genuinely started to see that world in a slightly different way."[46]
As the movement began to slow down, many acts began to falter and broke up.[14] The popularity of the pop group the Spice Girls has been seen as having "snatched the spirit of the age from those responsible for Britpop."[15] While established acts struggled, attention began to turn to the likes of Radiohead and The Verve, who had been previously overlooked by the British media. These two bands—in particular Radiohead—showed considerably more esoteric influences from the 1960s and 1970s, influences that were uncommon among earlier Britpop acts. In 1997, Radiohead and The Verve released their respective efforts OK Computer and Urban Hymns, both of which were widely acclaimed.[14] Post-Britpop bands like Travis, Stereophonics and Coldplay, influenced by Britpop acts, particularly Oasis, with more introspective lyrics, were some of the most successful rock acts of the late 1990s and early 2000s.[47]
Post-Britpop[]
Main article: Post-Britpop
After Britpop the media focused on bands that may have been established acts, but had been over-looked due to focus on the Britpop movement. Bands such as Radiohead and The Verve, and new acts such as Travis, Stereophonics, Feeder and particularly Coldplay, achieved wider international success than most of the Britpop groups that had preceded them, and were some of the most commercially successful acts of the late 1990s and early 2000s.[49][50][51][52][53][54] These bands avoided the Britpop label while still producing music derived from it.[49][55] Bands that had enjoyed some success during the mid-1990s, but were not really part of the Britpop scene, included The Verve and Radiohead.[49] The music of most bands was guitar based,[56][57] often mixing elements of British traditional rock (or British trad rock),[58] particularly the Beatles, Rolling Stones and Small Faces[53] with American influences. Post-Britpop bands also utilized specific elements from 1970s British rock and pop music.[57] Drawn from across the United Kingdom, the themes of their music tended to be less parochially centred on British, English and London life, and more introspective than had been the case with Britpop at its height.[57][59][60][61] This, beside a greater willingness to woo the American press and fans, may have helped a number of them in achieving international success.[50] They have been seen as presenting the image of the rock star as an ordinary person, or "boy-next-door"[56] and their increasingly melodic music was criticised for being bland or derivative.[62]
The cultural and musical scene in Scotland, dubbed "Cool Caledonia" by some elements of the press,[63] produced a number of successful alternative acts, including The Supernaturals from Glasgow.[64] Travis, also from Glasgow, were one of the first major rock bands to emerge in the post-Britpop era,[49][65] and have been credited with a major role in disseminating and even creating the subgenre of post-Britpop.[66][67] From Edinburgh Idlewild, more influenced by post-grunge, produced 3 top 20 albums, peaking with The Remote Part (2002).[68] The first major band to breakthrough from the post-Britpop Welsh rock scene, dubbed "Cool Cymru",[63] were Catatonia, whose single "Mulder and Scully" (1998) reached the top ten in the UK, and whose album International Velvet (1998) reached number one, but they were unable to make much impact in the US and, after personal problems, broke up at the end of the century.[54][69] Other Welsh bands were Stereophonics,[70][71] and Feeder.[72][73]
These acts were followed by a number of bands who shared aspects of their music, including Snow Patrol, from Scotland and Elbow, Embrace, Starsailor, Doves, Electric Pyramid and Keane from England.[49][74] The most commercially successful band in the milieu were Coldplay, whose debut album Parachutes (2000) went multi-platinum and helped make them one of the most popular acts in the world by the time of their second album A Rush of Blood to the Head (2002).[48][75] Bands like Coldplay, Starsailor and Elbow, with introspective lyrics and even tempos, began to be criticised at the beginning of the new millennium as bland and sterile[76] and the wave of garage rock or post punk revival bands, like the Hives, the Vines, the Strokes, and the White Stripes, that sprang up in that period were welcomed by the musical press as "the saviours of rock and roll".[77] However, a number of the bands of this era, particularly Travis, Stereophonics and Coldplay, continued to record and enjoy commercial success into the new millennium.[48][71][78] The idea of post-Britpop has been extended to include bands originating in the new millennium, including Razorlight, Kaiser Chiefs, Arctic Monkeys and Bloc Party,[79] seen as a "second wave" of Britpop".[50] These bands have been seen as looking less to music of the 1960s and more to 1970s punk and post-punk, while still being influenced by Britpop.[79]
Retrospective documentaries on the movement include The Britpop Story - a BBC programme presented by John Harris on BBC Four in August 2005 as part of Britpop Night, ten years after Blur and Oasis went head-to-head in the charts,[80][81] and Live Forever: The Rise and Fall of Brit Pop, a 2003 documentary film written and directed by John Dower. Both documentaries include mention of Tony Blair and New Labour's efforts to align themselves with the distinctly British cultural resurgence that was underway, as well Britpop artists such as Damien Hirst.[82]
Bands associated with Britpop[]
Template:Prose
Main article: List of Britpop musicians
Ash[3][83]
Black Grape[83]
Blur[83]
The Boo Radleys[83]
Cast[83]
The Divine Comedy
Elastica[83]
Kula Shaker[83]
Oasis[83]
Ocean Colour Scene[83]
Pulp[83]
Sleeper[83]
Suede[83]
Supergrass[83]
Timeline
References[]
Sources
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Posts about Brit-Pop written by jacobbraybrooke
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One Track At A Time
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When life gives you limes, make guacamole. I would if I liked avocado. New post time!
Good Morning to you! I’m Jacob Braybrooke and it used to be my day-to-day pleasure to write up about a different piece of music every day before my adulthood got right in the way! It has been a few weeks since I last found the time to write on the blog so, first of all, thank you once again for waiting for me to return so patiently. Secondly, it allowed the space for plenty of emerging artists to grow and nurture in my favour since the last time that we interacted. One of my favourite bands that I discovered in that meantime was Lime Garden. Not only are they an all-female alternative pop 4-piece from Brighton, but they also specialise in their own brand of “Wonk Pop” which the ladies describe as an exotic combination of Disco, Pop and Surf Rock blended together. I would add that their sound takes me back to the 00’s where bands like Hard-Fi and Caesars scored chart hits with jams that were mainstream indie boom music in essence but they also had a slight urban twist to them where Dance and Psychedelic elements came into the fold rather subtly. Of course, “Wonk Pop” may imply that it’s cheap like Wonky Veg in the supermarket, but I like to think it’s as fresh as the cucumbers that you can buy straight from the greengrocers. Awful analogies aside, check out ‘Pop Star’ before reading my thoughts on the charming track below.
Reading & Leeds, Green Man and Standon Calling are just three of the festivals which Lime Garden have played since forming in 2017 leading to support slots with Yard Act and Sunflower Bean on tour. ‘One More Thing’ is the debut album out recently on So Young Records, which is a really confident first full-length effort. Lyrics reflecting on the modern strong woman stereotypes and the lengths that a creative is willing to go to get noticed are just a few of the core themes that speak to me and I feel that both their musical influences and their honest lyricism come to pass strongly in ‘Pop Star’. The opening synth riff is an interesting sonic choice that sets the scene for the sporadic lifestyle that vocalist Chloe Howard sings about with its upbeat yet slightly imperfect nature in how the pattern is a tad unsettled. The drums rattle on at a percussive, improv Jazz-like pace as Howard lays bare the highs and lows of navigating the music industry as a struggling artist with low name value. “I don’t want to work my job, cause life is short and this is long” during the chorus and “I’m finding it hard to breathe and I’m finding it hard to believe/Is this what its like for you or is this just what its like for me” in the verses details the realities of feeling stuck in a job which the powers that be have laid out for you and the curse of comparison to others on social media, respectively. Although the blind pursuit of an exciting dream that feels destined for depression is a personal reflection on these everyday issues for musicians, I also feel there’s something wider that Howard and pals are getting at here. There’s a thematic sense of rebellion to the record in which they feel defiant against the overexposure of generic music by established names being given all of the airplay and support in the modern media. The last lyric that I mentioned, especially, makes this clear to me in a subtle fashion. Overall, I really like how intelligence and dexterity are quite specific attributes to Lime Garden as a band here that can’t be heard on just any record and they offer a deep conversation on ‘Pop Star’ that, as well as the tune being quite a lively and eccentric one to groove to, there’s an attitude to it that feels totally Punk buried beneath the more obvious influences. I absolutely love the sense of specifity to them and if you haven’t heard of Lime Garden before but you are a fan of bands like Warpaint, The Strokes and The Last Dinner Party, I think that you will find their solid LP as fresh as a lime straight from the most tender source too.
That’s all for now! Thank you for your time today and keep your eyes peeled on the blog because, later in the week, I will be posting about a groovy new track by a funk, Jazz and Afrobeat-inflicted band who have recorded music with Hot Chip frontman Alexis Taylor and they have performed at KEXP’s World Clash Day back in April 2019.
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Good Morning to you! This is Jacob Braybrooke, and the time has come for us to go ‘Retro’ with another old-school edition of ‘Way Back Wednesdays’ on One Track At A Time, because it’s always my day-to-day pleasure to write up about a different piece of music every day! The latest favourite of Cherry Red Records to grace the feature, Beryl Marsden’s story began in the Merseyside boom of the 60’s where she found fame on the Liverpool club circuit after singing with local groups like Howie Casey and The Crew, after she won a talent competition at the age of 14. One child in a family of ten, she would start performing at the Star Club in Hamburg, re-locate to London and subsequently sign with Decca Records as a solo artist with Tony Stratton-Smith as a manager. In her career since then, Marsden supported The Beatles on their final UK tour in 1965 and participate in projects like Shotgun Express (Which Rod Stewart, Mick Fleetwood and guitarist Peter Green were also all members of), The She Trinity, Simbad, Gambler and The Beryl Marsden band. Her material was mostly centered around a then-contemporary Pop and soulful R&B style, although her solo records unfortunately gained little commercial success. Nevertheless, she has built up a reputation as an undeservedly neglected talent praised by sites like AllMusic and The Liverpool Echo. She has also been remembered in recent times with a theatrical musical – ‘One Dream: The Beryl Marsden Story’ – that was performed at the Cavern Club for two nights, which Beryl Marsden would close with a live performance. She was also portrayed by actress Gemma Sutton in 2013’s ‘Cilla’, a three-part TV drama series about Cilla Black. Her lack of success commercially was mostly contributed to how her singles were never released in a traditional album format, and this notion did not change until January 2012 when her first compilation – ‘Changes: The Story Of Beryl Marsden’ – was finally made available. Check out ‘Hello Stranger’ from it below.
‘Hello Stranger’ is likely one of Beryl Marsden’s more well-known original recordings because it was used in the 1997 film ‘Another 9 1/2 Weeks’ (Which was also released as ‘Love In Paris’ in certain markets) which starred Mickey Rourke and Angie Everhart, which features the clips that you just saw in the video above. It was also credited to “Gospel Garden (feat. Beryl Marsden)” in some territories too, but it was nonetheless one of her more radio pop chart-friendly works. Gospel Garden’s blueprints are also clear, as the track gets off to a start with some ethereal Synths and ambient washings of Bass that conjure up an atmosphere that, to fit the title, feels strange yet familiar. Marsden’s lyrics are more emotionally driven, as she waxes nostalgic with sustained refrains like “Have you had a good time?/It makes me smile when you look at me that way” that leads melodically into the bridge, where she questions the interest of a former lover with lyrics like “Can I come home with you tonight?/Is that what you’re asking?” and “You say you’re gonna treat me right/A stranger’s touch is what I need tonight” as the bassline builds up to some playful keys that lead nicely into the heightened pace of the chorus, where catchy hooks such as “It’s a strange kind of magic/When we touch” and “Strangers you and I will always be” play out above the soulful combination of keys and drums, which feels different to the slow-burning energy and gradual progression of the main verses that establish a slightly more gritty and subdued quality. The track is still quite lushly produced, and it demonstrates how richly her voice has aged throughout the decades too as her darkened vocals are conveying a decent variety of emotive qualities during the verses before the more formulaic Dance-Pop song structure creeps in around the halfway mark, but these elements still work cohesively together because of her uncertain presence. Her voice was enough to give you a light tingle down the spine, and that’s executed clearly here.
That’s all for now! Thank you for checking out my latest post on the blog, and I will be back tomorrow to review a recent, eclectic single by a self-described “Globetrotting Psychedelic Soul Savant” who is one of the co-founders of the Chalo project. I can’t wait to bring his exciting new single ‘Brooklyn Ballers’ to your notice and it follows variable collaborations with artists such as Dam Swindle, Mike Bloom & Kaidi Tatham.
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Good Morning to you! My name is Jacob Braybrooke, and its time for me to get writing up for yet another daily track on the blog, because it is always my day-to-day pleasure to write up about a different piece of music every day! With new albums by Royksopp, Toro Y Moi, Melody’s Echo Chamber, Kelly Lee Owens, Honeyglaze, Dana Gavanski and more all arriving today, you really can take your pick for ‘Album Of The Week’ because there seems to be something for everybody among the release slate today. I have been coloured intrigued by Bloc Party, therefore, as the established PLUG Award-winning and 30 million album-selling London rock band are entering a crucial new chapter of their careers with ‘Alpha Games’ – their sixth studio album – which is out now, as of today, via BMG/Infectious Records. The main draw for the record is how it is their first to feature their new line-up, as Gordon Moakes and Matt Tong have been replaced by Louise Bartle and Justin Harris. The urban rock band have been actively promoting the record as a twist on the band’s old dynamic, giving the sense they are steering away from their tried-and-tested formula in favour of something new, as Kele Okereke said “We’re not the same band now. The chemistry is different” and “We have a history and a legacy, but I’m more excited about the energy we have right now“, in a recent interview with NME’s Mark Beaumont. It also brings producers like Dan Carey, of Speedy Wunderground fame, on board as well. It has been backed by interesting singles like ‘Traps’ and ‘The Girls Are Fighting’, which have sounded edgy in new ways despite feeling like Bloc Party. Check out the latest single – ‘If We Get Caught’ – below.
“There are only two songs that I feel like have any tenderness on the record, and ‘If We Get Caught’ is one of them“, Kele Okereke says about the LP’s penultimate track in a press release, adding, “It’s really about recognizing that the game is coming to an end and about trying to steal a moment of tenderness with your partner before the curtain comes crashing down. I think it’s about trying to find moments where you can really connect with someone amid all of the chaos that’s going on in the world“, in his evaluation. While the other singles have boasted a sharper set of fangs, being defined by their sleazy punk theatrics and their intense guitar riffs, ‘If We Get Caught’ feels more like an indie anthem by-the-numbers with a decidedly more downbeat, yet still melodic, pace. A subtle, vintage Art-Rock touch and the staccato vocals of the chorus, where the acidic and playful vibes of singles like ‘Traps’ and ‘Sex Magic’ are replaced by a sound that seems more emotionally driven. Okereke chimes in with lyrics like “Where you go/I will go” and “Stick to the story, better with an alibi/Create diversion, take control with sleight of hand” that, while retaining a relatively straightforward Dance-Rock feel, are supported neatly by a slight rap delivery that Okereke uses in the verses, before he is supported by some cooing backing vocals by Bartle and airy bass guitar riffs in the chorus. Lyrics like “If we get caught/I want you to know/I will always, ride for you” capture the quality of trying to eek out a final moment of intimacy before an inevitable final goodbye, wringing out the joy of a doomed relationship, nicely in the chorus. A light channeling of the indie rock ghosts of the 80’s and 90’s mostly characterizes the visuals and emotions here, with Okereke and the rest of the band creating a sense of unity and strength by giving the impression that there is little sense of anger whatsoever. I feel that Okereke has created a fresh outlet for himself in his solo material, with side project releases like ‘2042’ feeling more fascinating and inspired than some of his main Bloc Party music in some cases, and I can see some of that influence spreading out into new avenues here. While ultimately not quite as interesting or experimental, it feels different to the music that I’ve heard by Bloc Party or may expect to hear from them because it feels more intimate, and so I feel like the goal of mixing up their recycled tropes has been achieved here, even if the sound is a little more generic in some ways. An enjoyable single that would sound great on the UK’s mainstream radio, ‘If We Get Caught’ makes it clear that Bloc Party are not attempting to emulate their past efforts too slavishly, as this one strikes a more full-tilted and introspective chord with me – and this is an effective way to play the game.
If you’re already a fan of this NME Album Of The Year-winning band, the party doesn’t need to end here as you can check out each of my other Bloc Party-related posts here:
‘Traps’ (2022) – https://onetrackatatime.home.blog/2022/01/08/todays-track-bloc-party-traps/
‘Helicopter’ (2021) – https://onetrackatatime.home.blog/2021/11/07/scuzz-sundays-bloc-party-helicopter/
That’s all for now! Thank you for checking out my latest post on the blog, and we will be looking ahead to the new month tomorrow with my review for a recent single by an established Australian indie rock band who will be releasing a new album within May. Formed in Melbourne in 2013 by three vocalists-guitarists, they have gained attention by the AIR Awards, Australian Music Prize, Music Victoria Awards and others.
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Good Morning to you! This is Jacob Braybrooke, and it’s time to save some space on your hard drive for the retrieval of some new digital (and legally purchased) MP3 files as we get invested in yet another daily track on the blog, because it’s always my day-to-day pleasure to write up about a different piece of music every day! First getting their break out via BBC Music Introducing in the mid-2000’s, Everything Everything is a familiar and friendly name for many longtime UK Indie fans given their established profile and diverse discography over the past couple of decades, with the Manchester-based Alternative Pop – bordering on Art-Pop, Industrial Rock and Microhouse – band receiving five Ivor Novello Awards nominations and one Mercury Prize nomination to their name for their efforts. The band also follow in similar foot steps to projects like Django Django, Talk Talk, The The, Duran Duran and The Linda Linda’s in giving their name a multiple repeated title – and if you can think of any more good ones, please feel free to let me know on Twitter (As the link is below) or leave me a note in the comments section. Anyhow, ‘Raw Data Feel’ is the follow-up to 2020’s ‘Re-Animator’ and it will be released on May 20th via Infinity Industries/AWAL Recordings. To make the album, the band enlisted the help of an AI programme that was fed information – including terms and conditions of LinkedIn, the poems regarding Beowulf, 4Chan posts and the teachings of Confucius – to create experimental lyrics, track titles and album artwork for their full-length project. Check out the new single ‘Teletype’ below.
Everything Everything have also confirmed a handful of live UK tour dates taking place between May and September 2022 – including a recent appearance at London’s Roundhouse on April 13th – which includes support slots from L’Objectif, Phoebe Green, Do Nothing and Liz Lawrence. Whetting our appetite for the band’s upcoming sixth studio album, the quartet says of ‘Teletype’ as a single outing, “This song began in a very experimental way, with Alex and Jon sampling voice and guitar then putting it through a process that randomized each chord in a chaotic and glitchy rhythm. A very direct song, straight from the heart, with a fresh new openness that we felt was a good scene-setting for the record”, in a press release. While my work is almost done, I need to share my thoughts on the track to give you a unique take on it. It starts off with a warped Synth-led instrumental which leans loosely into Breakbeat, with a scattered sense of pace that gives refrains like “It’s easy to lie when nothing makes sense anymore” and “I’m a liar, but I’m lying next to you, and you don’t care” a more psychedelic quality. These observations on the confusing world that 2022 presents to us are pushed to the forefront when the bridge closes and the chorus sweeps in, as the 8-bit inspired rhythms and the modular Drums are replaced by a more brooding bassline and a more percussive Drum beat that chirps along to the upbeat tempo of hooks like “You don’t talk a lot but I like it, ‘Cause I can’t tell you everything that went on” and “You might be everything that I want” that mold the glitchy Techno-driven production and the galloping melodicism of Jon’s vocals into a more anthemic and catchy chorus, despite the inherent aggression of the electronic instrumentals or the harshness of the Bass never quite changing much in any dramatic sense. The track maintains it’s Breakbeat origins and Glitch-Pop influences throughout, and the vocals manage to feel distinctly unsullied because there’s a lack of overdub, filtering effects or backing vocals to drown out the emphasis on Jon’s voice. Just because this is an electronically driven track does not mean that auto-tune has to make it sound overly processed, and I like that the band took that direction on this track and it avoids the feeling of the track seeming cheap or tacky. Some of the lyrics, like “I feel alright, yeah, I feel good” and “Gonna take a bit/Maybe this will take a little time to heal”, are slightly lacking in the depth department for me because they feel so straightforward, but their rhythm is still catchy despite the songwriting suffering a little from the AI programme’s influence in my opinion, although the use of the said AI scheme is still a mildly interesting idea on paper. The instrumentation is more effective, however, as the guitar and glitched samples remind me of their ‘Get To Heaven’ era and they give the track its vibrant, experimental feel that catches on infectiously. Overall, this is a vivid single that swiftly avoids the problem of not feeling like one thing, nor the other.
Everything Everything have been around for 15 years and my blog has been active for a few years, and so it is only natural that stars have aligned before. Find out how here.
‘Arch Enemy’ (2020) – https://onetrackatatime.home.blog/2020/08/04/todays-track-everything-everything-arch-enemy/
That brings us to the end of another roughly 24 hour period on the blog, and I’ll be back tomorrow to add a new entry of the weekly ‘Scuzz Sundays’ feature. Thank you for giving me a few minutes today, and join me then as we reminisce over the 20th anniversary of a Gold-certified album in Sweden by a Stockholm-formed indie rock band who are known by many names including Caesars Palace and Twelve Caesars. They are probably best known for their 2002 hit ‘Jerk It Out’ that reached #8 in the UK.
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Good Morning to you! This is Jacob Braybrooke, and I’m wishing you a good Easter Sunday with my latest installment of ‘Scuzz Sundays’ on the blog, given how it’s always my day-to-day pleasure to write up about a different piece of music every day! To be 100% transparent, I barely thought about ‘Easter’ this year and since ‘Easter Music’ isn’t really a thing, and it is not inclusive for all cultures and relgions anyway, I thought that I’d simply cover a band who have been in the news lately this week. The band in question is Hard-Fi, who released three albums between the years of 2004 and 2011 which all did decent business, spawning well-remembered hit singles like ‘Cash Machine’ and ‘Living For The Weekend’ in the process, before going on hiatus in 2014. The band received one Mercury Prize and two BRIT Awards nominations for their work, as well as a #1 album in 2007 and a 2x platinum certification for the sales of their debut album. They also dipped their toes into podcasting with their series ‘Hard-Fi: Rockin’ The City’ that was widely available in 2007 and even got nominated for ‘Best Podcast’ at the Digital Music Awards that year. I think that ‘Hard To Beat’ must be their best-known single as it did the rounds on the soundtracks of ‘FIFA 06’ and ‘MLB 06: The Show’ shortly following release and it reached #9 on the UK Singles Chart as well as #34 on the Billboard Hot Modern Rock Tracks Chart in the US too. If you’ve been following Hard Fi-related news lately – and you would be forgiven if you haven’t honestly due to them not being around for such a long time – they have been teasing a rare fifteenth anniversary show for ‘Stars Of CCTV’ with posters spotted on the London Underground that features a date pointing to a gig in mid-October. Just don’t shout ‘Hard-Fi’ if you see it next to your fellow passengers because they would probably take you for some kind of a mental lunatic. Let’s revisit ‘Hard To Beat’ below.
A series of social media posts relating to ‘Stars Of CCTV’ have been posted gradually by Hard-Fi elsewhere and they have not performed live together since 2014. In April 2020, Richard Archer – the frontman of the Staines-Upon-Thames formed indie rock outfit – told NME that Hard-Fi were considering a return to the stage to mark their unforgotten first album’s 15-year milestone, saying, “That album has defined people’s lives and when they were growing up. We’ll definitely do it at some point, but with new music too so we’re not just trading on past glories”, in an interview. ‘Hard To Beat’ takes obvious cues from Daft Punk’s ironically overplayed 2002 hit track ‘One More Time’ with filtered disco guitar sounds mixing with a more urban twist created by the lightly distorted Synths and Grunge-driven Bass melodies. Lyrics like “You in a short skirt/Shining eyes of deep brown/You had a dirty hook, you caught me on your hook” feel rhythmic and have a catchy twang to them, but the light darkness of the sexually aroused emotions consummates the rather evident marriage between the LCD Soundystem-influenced House genre explorations and the more “ladd-ish” feel of the ruthlessly driving mid-00’s lead guitar riffs. A hint of paranoia comes through, with lyrics like “I said come on, let’s dance/We’ve got to take our chance/You whispered in my ear/You wanna get out of here?” that talk about living in an environment like London, even though the band are much closer to Cornwall. Some obvious shots of Franz Ferdinand and The Clash are in here too, with the danceable Synths drawing out the vocals at the end and gruff Drum melodies riffing against the slightly more expansive electronic effects that create the Disco vibe most vibrantly. There is a light political commentary on surveillance and urban decay within their songwriting in the grander scheme of things beyond ‘Hard To Beat’ as a standalone single, but Archer doesn’t quite have the sharp-pointed vocal dexterity of Maximo Park’s Paul Smith or the socially observational abilities of Arctic Monkeys’ Alex Turner – two comparable indie rock bands that also found fame in a similar timeframe – but there’s an admirable attempt to ground the material in a sense of place that isn’t just tied to London in here, nevertheless. The Disco vibe is damn infectious too, but the lyricism works better when they’re smoothly trying to pick up love interests instead of reciting pains of urban dilapidation. That said, the track is a fun and melodic single that wears it’s influences on it’s sleeves and it simply feels very catchy. It felt a little disposable for the time but, admittedly, it still gets a fair amount of airplay today. It has stood the test of time because it is so memorable and pretty dynamic, if nothing very special. It goes to show that sometimes a simple throwback is, well, hard to beat.
Thank you for checking out my latest post because your support is absolutely valued every time, and I will be here kicking off the brand new week’s worth of music posts tomorrow with a review for a recent release by an Atlanta-based Hip-Hop duo who are also founding members of the Spillave Village collective. Their well-received second studio album, ‘Ghetto Gods’, was released in February via Dreamville Records.
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Good Morning to you! This is Jacob Braybrooke, and it’s time for me to cut to action on the set of another daily track on the blog, with a movie theme today, that helps me to fulfill my goal of writing up about a different piece of music every day! Born out of lead songwriter Anouska Sokolow’s “un-desire to be a solo act”, according to Red Light Management, Honeyglaze are an emerging indie rock trio based in Southern London who met officially at their first rehearsal together just three days prior to what would become a near-residency at The Windmill in Brixton, where bands like Black Midi and Squid have also found their footing. They have also performed at festivals including Green Man Festival, Fred Perry’s All Our Tomorrow’s Festival, Live At Leeds and Cardiff’s SWN Festival across the last couple of years too. Their debut studio LP is self-titled, and it will be coming out on 29th April 2022 via Speedy Wunderground, a Dance-influenced Post-Punk label that is, of course, partially run by well-respected producer Dan Carey. Pierre Hall, the A&R representative of the label, says “We’re so excited to announce Honeyglaze as our next proper signing to the label. We were blown away as soon as we heard their music, and then, furthermore, when we met them in person. It’s felt like such a natural partnership and they’ve created something really special. We can’t wait for the world to hear. Be prepared to fall in love”, about Honeyglaze’s music. The latest catchy single to be taken from their upcoming 11-track project is ‘Female Lead’, which gets accompanied by a music video that was directed by James Ogram and Sokolow herself, and it stars Jojo Macari, an actor who has also starred in Netflix’s ‘Sex Education’ TV series. Check out the pre-release offering below.
Honeyglaze will be performing headline gigs at venues in London, Portsmouth, Margate, Manchester and Hull throughout May in the UK, and it follows their support slots for Katy J Pearson and Wet Leg. Talking about the video for the track, Sokolow says, “Given that the song itself is so narrative heavy, we knew we wanted to make something with it’s own seperate story”, adding, “It started off with some ideas about duality and stolen identity. I had recently watched ‘Casablanca’ and that’s where we got the idea of this movie character coming to life and we ended up writing a full scene for a made-up, 50’s romance.”, in a press release. Tackling these themes of self-understanding and personal worth in the track itself, the trio back up Sokolow’s explorations of changing your appearance and feeling overwhelmed in your ambitions through the lens of flashy hair dye. Lyrics like “I put it in my black hair, and waited for an hour/But when I washed it out, oh, god, I’ve let my mother down” and “I look nothing like Madonna/More like an 80’s horror film/I’ll have to wear a hat, Until my golden hair turns black” are geared towards the witty side, but they provoke serious thoughts about how we view ourselves and compare ourselves to famous faces. The narrative builds up with soft vocals, steady drums, melancholic guitar riffs and delicate splashings of Bass that are kept simple and concise within the song’s short 2-minute runtime. The key lyrics are delivered to a vintage-leaning tune that was influenced by The Shangri-La’s, according to the trio themselves, and the buzz of the British narrative-based Pop songs that were all of the rage in the cinematic 60’s. They replicate the vibe well, while adding a ‘timeless’ feel to the track. The vocals sound pure and intimate, with a fragile mix of a spoken and haiku-like format to present what is being written between the lines with a rather direct sense of well-versed clarity. Although it is kept short and to the point, ‘Female Lead’ has enough depth and substance overall to spread its message of romanticized ideals and self-judgment through the temporal era of retro cinema. Who knows, going by this track record, maybe Honeyglze will put in a more Oscar-worthy performance in the future?
Thank you for checking out my latest post, and I look forward to bringing a new entry of ‘New Album Release Fridays’ to your eye line tomorrow, as we turn our attention to a multi-time Mercury Prize nominee who came out as non-binary in 2020. A breath of fresh air on the Spoken Word genre, they share one particular thing in common with Honeyglaze. They also had a residency at The Windmill in Brixton. Aside from music, they are a Sunday Times best-selling and Costa Book Of The Year-nominated author.
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Good Morning to you! This is Jacob Braybrooke, and it’s time for us to go ‘retro’ for ‘Way Back Wednesdays’ with yet another daily track on the blog, because it’s always my day-to-day pleasure to write up about a different piece of music every day! If you are not sold on the strength of the premise of a diverse tapestry of dystopian, dark-leaning IDM and Electronica with a loose theme of urban dilapidation and urban decay, with a hint of paranoia and a Cyberpunk aesthetic alone, the UK Top 15-charting single of ‘My Kingdom’ may just convince you otherwise. This single was released in 1996 by The Future Sound Of London – an English electronic music duo formed in 1988 by Brian Dougans and Gary Cobain who met in Manchester, ironically – in the build-up to their third studio album ‘Dead Cities’ they released in the same year. The record is an expansion of the ideas they explored on 1994’s ‘Lifeforms’ EP, a more nature-oriented and pastoral record, albeit with a darker variation of sounds. ‘Dead Cities’ also included the duo’s highest-charting single ‘We Have Explosive’, which was licensed as the theme track for the ‘Wipeout’ video game on the original Playstation, and it reached #12 in the UK Singles Chart. ‘Dead Cities’ is personally one of my favourite electronic records of the 90’s because it serves as a road trip of post-apocalyptic Ambient textures, but what really makes ‘Dead Cities’ click together so neatly is the stylistic tweaks which the duo make throughout it. The ballad-style tone and floating Piano chords of tracks like ‘Max’ are very different to the ring tone-style synths of tracks like ‘Antique Toy’ or the insistent drilling of the title track that are more harsh and dissonant in mood, or really feel like they are attacking the listener. Throughout it’s 12 tracks (and a hidden segment that starts around one minute after the final track plays like an MCU-style Post-Credits scene) and a hefty duration of 70 minutes, The FSOL create a varied tapestry of electronic sounds spanning through Psychedelia, Trip Hop, Techno, Dark Ambient, IDM and Dub that are tethered to a connected, if non-singular, vision – and I also feel the record has a softer side to it that can be overlooked in favour of the more crowd-pleasing Claustrophobia of EDM cuts like the more well-known single. ‘My Kingdom’ was the preceding single to ‘We Have Explosive’ and it was given a fairly low-budget looking music video that was animated by Buggy C. Riphead – who designed the graphics of the LP’s physical copies. The CGI is dated by modern standards – but their imagination is still there. Check it out below.
‘Dead Cities’ is an underrated classic which was released on the major label Virgin Records in the UK along with Astralwerks in the US, and many music critics have attributed the album’s mastery to being the reclusive duo’s most accessible work commercially, although it still unmistakably sounds like them. In fact, ‘My Kingdom’ got to #13 in the UK Singles Chart, joining an elite club of bizzare top 40 radio hits like The Chemical Brothers’ ‘Setting Sun’ and The Orb’s ‘Toxygene’ from around it’s then-contemporary times too. The opening of ‘My Kingdom’ carries it’s weight with an Urban Trip-Hop feel as ethereal samples that give the drums an African percussion feel guides us through a gradual lift-off, before the sampled voices of an elusive choir and wistful Asian-style Horn samples that evoke a stop-and-start pace slowly join the fray of the scattered soundscape, with breakbeats and light downtempo ambience separating the structure of the elements to blend them into a more cohesive whole together. The choir section is a highlight, as the duo’s modulation makes their voices feel distant and hollow, conveying the mournful themes of a ‘Dead City’ with expert precision. I also love how the mixture of aggression and percussion on ‘My Kingdom’ has a dark edge to it and takes center stage as the drawing, expansive structure of the piece comes into view. The duo dip their toes into Blade Runner and Ennio Morricone samples specifically here, and they combine the downtempo elements of those original recordings with gloomy, foggy Ambient Electronica sounds neatly here, almost creating an abstract characteristic of a dense forest that could remind you of their prior ‘Lifeforms’ work quite noticeably. ‘My Kingdom’ has the power to give you goosebumps because of it’s darkness and vibrant atmosphere, with a certain doom-and-gloom or woe-is-me tone that is turned into something surprisingly beautiful and hypnotic as the samples stretch along it’s duration progressively and conjure up the power to create it’s own experience that feels a little seperate to ‘Dead Cities’, but is enhanced by the context of the sounds, tones, atmosphere and textures of the album it is from. It is a very well-crafted record which each lover of music should experience.
That brings us to the bottom of the page for another roughly 24 hours period, and thank you for taking a short moment out of your day to support the site and the independent creatives that I, in turn, support here as well. It is back to new music recommendations tomorrow, as we turn our attention towards a new single by a now-duo of Indie Pop and Disco proportions from Brooklyn, New York who previously included Coco’s Dan Molad amongst their line-up. Their albums have also received acclaim from The New York Times, Rolling Stone, NPR, Paste and The Village Voice too. Their new LP – ‘Second Nature’ – will release on April 8th via Mom + Pop Records.
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Good Morning to you! This is Jacob Braybrooke, and the time has come for us to revisit one of the more ‘Scuzzy’ indie anthems of the mid-00’s as we remember the ghosts of Pop-Punk’s past for ‘Scuzz Sundays’ on the blog, which ties in to my goal of writing up about a different piece of music every day! Released in 2007, ‘Our Velocity’ is a ferocious Pop/Rock single coming from Newcastle Upon Tyne’s Maximo Park, led by their excellent and really energetic frontman Paul Smith. They seem to have been pigeon-holed a little into the ‘Indie Landfill’ of the 00’s where there were heaps upon heaps of other bands following some similar ideas musically, but Maximo Park have stood the test of time as they are still recording today. In fact, they gained a rather kind amount of praise for ‘Nature Always Wins’ – their latest full-length album record – an architecturally designed set list of tracks that became something of an unlikely comeback to the UK’s rock mainstream for the band, as a surprising campaign was led to help it score the UK’s number one album spot. It ended up reaching #2 – I like to think that some of the love was aided by my support on the site – with just a few hundred sales separating it from Architects ‘For Those That Wish To Exist’ at the #1 spot – at the time of it’s first week of release in February, 2021. At the time that ‘Our Velocity’ was being issued alongside its crafty music video, the band were following up on their Mercury Prize-nominated debut LP with ‘Our Earthly Pleasures’ in 2007. Suprisingly, their first album was actually released on the legendary experimental label Warp Records – the home of IDM pioneers such as Aphex Twin, Plaid, Boards Of Canada and Squarepusher. ‘Our Velocity’ was produced by Gil Norton, and it reached Silver sales certification status in the UK. Let’s remind ourselves of the hit track below.
Teletext’s Planet Sound music page named ‘Our Velocity’ as the best single of 2007, and it was also used in Channel 4’s ‘Hollyoaks’ TV series, as well as video games like ‘Guitar Hero: On Tour – Modern Hits’ and ‘Project Gotham Racing 4’ shortly following its release. Written by guitarist Duncan Lloyd and lyricist Paul Smith, the track was written as a response to the international conflicts that the UK was involved in at the time, mostly being the middle eastern wars in Iraq and Afghanistan. ‘Our Velocity’ starts off with a blend of 8-Bit synth effects that wouldn’t sound too out of place in a ‘Super Mario’ video game title, before the squelching guitar riffs and the tight Drum section introduces us to the next part of the track, where Smith recites dramatic yet poetic lyrics like “I’m not a man, I’m a machine/Chisel me down until I am clean” and “There is a poison in the air/A mix of chemicals and fear” that hit quite hard when you know about the influences behind the songwriting, and they are accentuated brilliantly by the vibrant mix of rock ‘n’ roll and electronic production. The rest of Smith’s lyrics come across like a ramble that comes from a stream of consciousness, with aggressive quips like “I’ve got no one to call in the middle of the night anymore/I am just alone with these thoughts” flowing out in contrast to more politically charged lines like “You’re asking for commitment/When I’m somewhere in-between” that pack a more socio-economic punch. True, if outspoken, lyrics like “If everyone became so sensitive/I wouldn’t have to be so sensitive” set the scene up too. The guitar riffs wind through the breakneck stages of being faster and faster each time, while the bass is frenzied and the pace briefly pulls away for a few minutes as Smith delivers the pre-chorus refrain, before the dizzying drums and the fizzy guitar riffs of a gently camp abandon separates the structure up a little to resemble a more radio-friendly sound. ‘Our Velocity’ is packed with a precise amount of lyrics and references, with plenty of ideas in terms of the instrumentation too, although it may come across to me as just a tad bit over-ambitious at times due to the chaotic nature of the layout. Paul Smith was bang on the money as the front-man of the piece however, and the execution of the music video is faultless. A superb showing that packs a lot into a concise run time.
Underrated no longer, you can check out some of Maximo Park’s most recent stuff here:
‘Baby, Sleep’ (2020) – https://onetrackatatime.home.blog/2020/11/30/todays-track-maximo-park-baby-sleep/
‘All Of Me’ (2021) – https://onetrackatatime.home.blog/2021/02/27/todays-track-maximo-park-all-of-me/
That’s all for now! Thank you for taking a little share of your time from your day to check out what’s been going on today right here at One Track At A Time, and your support is very highly appreciated by me. I’ll be back tomorrow to start the new week’s worth of music posts with a review of a recent single by a wonderfully proficient Brooklyn-based singer-songwriter who has just released her debut solo album – ‘Under The New Light’ – via Last Gang Records. You may know her for her foremost roles in other bands and musical projects such as Dirty Projectors and Coco.
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Good Morning to you! This is Jacob Braybrooke, and it’s time for us to go retro with another weekly blog entry of ‘Way Back Wednesdays’ on the site, since it’s always my day-to-day pleasure to write up about a different piece of music every day! Today, we really are going ‘Way Back’ because we are talking about the British Ska revival band The Specials, who were part of the 2 Tone and Alternative Reggae movements all of the way back in the late-70’s and they have continued to represent these styles through to the present day. I was going to see a tribute band for The Specials in Stoke-On-Trent before the pandemic hit in 2020 – which I was very much looking forward to, in a way – but, unfortunately, we know how that turned out in the end. Known for combining uplifting Dub melodies with the ferocious spirit of Punk, The Specials were formed back in 1977 when they lived in Coventry – and that is way before my time. They used to wear mod-style 60’s period ‘rude boy’ outfits complete with pork pie hats, tonic & mohair suits, and loafers on-stage, likely performing their greatest hits like ‘Ghost Town’ and ‘Too Much Too Young’ that reached #1 in the UK’s singles chart. They continued their career throughout the 80’s and 90’s under a revised line-up with an alternate name of The Specials AKA, which represented their informed political stance and their wry social commentary on British society. Most impressively, The Specials are still recording new material today, and they most recently released ‘Encore’ in 2019 – an original album that re-introduced vocalist Terry Hall to their ranks, and it was a #1 entry on the UK Albums Chart. ‘Gangsters’ was another of their classics, which was recorded in Studio One of Horizon Studios in Coventry during 1979 to be released as their first track under The Specials AKA name, and it peaked at #6 in the UK Singles Chart following release. Let’s give it a spin below.
Terry Hall created the vocals for ‘Gangsters’ by mixing an “angry” recording and a “bored” recording that were cobbled together, while Horace Panter had to re-cut the Bass parts because they were originally so extreme that they “blew the needle out of the record’s grooves” and pianist Jerry Dammers overdubbed a treble-heavy Piano instrumental on to the track to compensate for the low-end of the Bass. Lyrically, ‘Gangsters’ was allegedly written about a real-life incident where The Specials had to pay for damage caused to a hotel by another band (rumored to be The Damned) as they were held responsible, and the track is also reportedly a re-working of Prince Buster’s 1964 ska track ‘Al Capone’ because ‘Gangsters’ samples the car sound effects which played at the beginning of Buster’s track. Moreover, The Specials changed the refrain in the opening line to “Bernie Rhodes knows, don’t argue” as an insult aimed at Bernie Rhodes, who was the band’s manager for a brief stint. Taking all of these different stories into account, The Specials telling a story of dis-establihment in a bizzare way as they reference incidents like a mis-step involving a guitar above a perky variety of gently Skanting Dubplate beats and odd Middle Eastern-sounding instrumentals, while the lead vocals retain an energetic – yet eeire – delivery. The guitar melodies sound different to Al Capone’s track, and so The Specials did an excellent job of re-writing that track in their own image, with the deadpan vocals conveying a feeling of self-awareness about them. Overall, ‘Gangsters’ was a vital step in introducing The Specials’ take on British Ska to wider audiences at large by paying tribute to some nice influences in clear, yet poignant ways. The vocals have a quality of vagueness which retains an aura of mystery throughout, and the danceable Rocksteady drums are likely to encourage weird great uncle’s to partake in some questionable “jerky dancing” at some family parties. Injected with humor, darkness and youth – The Specials had a big hit on their hands when they released ‘Gangsters’.
That same year, The Specials also re-created ‘A Message To You, Rudy’ with the famous British-Jamaican saxophonist Dandy Livingstone. You can find out more about that here: https://onetrackatatime.home.blog/2020/02/06/todays-track-the-specials-a-message-to-you-rudy/
That brings me to the end of another nostalgic breakdown of a beloved classic for another week on the blog, and I thank you for spending a moment of your day with me on the site today. I’ll be back to bringing some new music to your eardrums tomorrow, as we take a light gander on a downtempo soul track by an experimental Toronto-based performance artist and producer whose music encompasses Pop, Indie Rock, Jazz, Neo-Soul and Bossa Nova. She has learned to play several exotic instruments including the Harp, a Pairometer and the Tenori-on. She has shared the stage with the likes of Janelle Monae and Aloe Blacc, and she contributed her vocals to Bob Wiseman’s ‘Giulietta Masina At The Oscars Crying’ that was first issued in 2012.
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Good Morning to you! This is Jacob Braybrooke, and it’s time for us to revisit one of the seminal sounds of the past for another weekly entry of ‘Way Back Wednesdays’ on the blog, which fits my goal of writing up about a different piece of music every day! If I’m being wholly transparent with you, I wasn’t quite born yet when the ‘Madchester’ or ‘Baggy’ mini-movements began here in the UK, and so it’s thanks to my Dad and the records that he used to play in the car that I really have as much significant knowledge about the time that I still do. Although not quite one of the most chart-bothering bands of the time, like The Stone Roses and Ocean Colour Scene perhaps were, The Charlatans are still an active rock group who boasts the mid-pandemic Twitter hero Tim Burgess as their ringmaster, who have released thirteen albums to date. A set-closer that was the opening track of their debut album, ‘Some Friendly’, released in 1990 – ‘You’re Not Very Well’ is just one of the recordings that helped their debut album to enter the UK Albums Chart at #1. Introduced to the industry by the visual programming wonders of ITV’s ‘The Chart Show’, a still-lamented show, The Charlatans have scored hits like ‘The Only One I Know’ and ‘Then’ that reached the Top 15 in the UK. Let’s see them perform it at Manchester’s The Ritz from 1990 below.
The story behind 1990’s ‘Some Friendly’ is a well-documented one, since the record suffered from all sorts of production issues during the time of development. The recording sessions near Wrexham, Wales were awkward because ‘Burgess and buds’ fell out with the owners of the studio. The label executives were very keen on pushing them, and they wanted the band to record the album’s tracks despite them not having wrote many of them, and Burgess didn’t have the opportunity to stockpile songs beforehand. In spite of this, it still received great reviews from journalists and the record has been certified as ‘Gold’ in UK sales, and so that’s an achievement, whether it’s down to coincidence or raw fate is another dilemma. Opening track ‘You’re Not Very Well’ got the 90’s LP off to a start with prominent Organ stabs and repeating Bass hooks, with willful lyrics like “I don’t like all these sharks in the city/They don’t do much for me anyway” and “There’s that car that I used to swerve/This town traffic is knocking me over” that talk about how you can outgrow your surroundings while reflecting on the nostalgic moments that you’ve enjoyed within a certain area, as Burgess goes back and forth on his feelings regarding the people that he has met and the time that he has spent while growing up, with lyrics like “One step forward into mine/Faking pictures and opening doorways” and “Intervene and you privatise/Health is health and I don’t know about it” that each express anything but warm, sunshine-filled sentiments. There’s splashings of the slide guitar here and there to follow the Brit-Pop trends of the time while following an undercurrent of Funk as an influence. It is not necessarily steady on it’s feet as an overall piece, but ‘You’re Not Very Well’ is very pointed and it has a 1960’s Beat Groove with plenty of ‘Baggy’-ness and ‘Madchester’ elements to it that ensures that Burgess and his band-mates are delivering their instrumentation and vocals with a decent amount of cadence. An eclectic 90’s track that feels decent, if not particularly classic, which laid out a diverse, rhythmic framework for The Charlatans for decades to come.
If you are looking for some more catchy melodies by The Charlatans, then you need to look no further than my blog. Here is my take on The Charlatans’ 90’s classic ‘The Only One I Know’: https://onetrackatatime.home.blog/2021/04/28/way-back-wednesdays-the-charlatans-the-only-one-i-know/. You can also check out some of Tim Burgess’ solo work by giving ‘Empathy For The Devil’ a spin here: https://onetrackatatime.home.blog/2020/05/29/todays-track-tim-burgess-empathy-for-the-devil/.
That’s all of the time that I have got for now! Thank you for revisiting some ‘Baggy Brilliance’ with me today, and I’ll be back at it again tomorrow with new music from a ‘Post-Punk Poet’ who has often been featured on the blog before and she topped my ‘Best EP’s of 2020’ list that was published two years ago. She has toured with The Brian Jonestown Massacre across the UK and Ireland, and she has recently been working with Speedy Wunderground’s Dan Carey as her producer. She will finally be releasing her highly-anticipated debut LP record in June through Chess Club Records.
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dbpedia
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| 40 |
https://www.pastemagazine.com/music/the-50-best-britpop-songs
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en
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The 50 Best Britpop Songs
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[] |
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"Bonnie Stiernberg"
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2014-06-11T17:56:00+00:00
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For a good chunk of the '90s, a handful of bands from across the pond managed to rule the world.
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en
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Paste Magazine
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https://www.pastemagazine.com/music/the-50-best-britpop-songs
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For a good chunk of the ’90s, a handful of bands from across the pond managed to rule the world. Influenced by guitar pop forebears like The Kinks and The Beatles, groups like Blur, Oasis and Pulp stood in contrast to America’s grunge scene at the time and carried the torch for Cool Britannia. Their reign was brief, in the grand scheme of things, with Britpop fizzling out in the late ’90s, and when Radiohead unleashed OK Computer, it was clear that music fans on both sides of the Atlantic would be leaving the genre behind and following Thom Yorke and company to the next big thing. But the influence left by Britpop remains undeniable.
For the purposes of this list, we’re defining “Britpop” as the stuff produced during the first two-thirds of the ‘90s: no Radiohead or Stereophonics, no early influencers like the Stone Roses or revivalists like Coldplay. Not to be confused with simply “pop music by British artists,” we present to you the 50 Best Britpop Songs.
50. Elastica, “Connection”
Yes, Wire fans, Justine Frischmann did crib liberally from the post-punk icon’s “Three Girl Rhumba” when writing this tune. But think of it this way: the continued success of this jaunty synth-driven ode to love and confusion is surely still refreshing Colin Newman and co.’s bank accounts on a regular basis. Besides, when that hip-shaking beat takes over, who has time to look at the writing credits?—Robert Ham
49. The Charlatans, “One to Another”
For whatever reason, The Charlatans never made the lasting impression that the likes of Oasis, Blur or Pulp did on the international stage, but in the UK they were just as vital to Britpop’s development and cultivation as any of those three bands. “One to Another,” a single from 1996, was released in the midst of Britpop and was able to make a notable mark. Ignited by a rock riff, the song epitomizes the pomp and glow that the movement held so dear.—Michael Danaher
48. Echobelly, “King of the Kerb”
Echobelly was essentially the Britpop Blondie, and “King of the Kerb” is one of the band’s crowning achievements. On it, Sonya Madan and company tell stories of homelessness and prostitution over a deceptively cheery melody.—Bonnie Stiernberg
47. Ash, “Girl From Mars”
Though this still-teenaged Northern Irish trio was already beloved in the indie world, this 1995 single with a Pixies-like love of quiet/loud dynamics and leader Tim Wheeler’s bouncing vocal melody pushed them into the top 40 for the first time. As if that weren’t enough, the song was also used by NASA as their telephone hold music for a stretch in the late ‘90s.—Robert Ham
46. Pulp, “Babies”
Originally released in 1992 on an indie imprint, this track didn’t catch fire until Pulp’s new label Island wanted to keep the momentum of the band’s fourth album His ‘n’ Hers rolling. The remixed and re-released version, all glossy synths and aching guitar melodies, went to the Top 20 two years later. And Jarvis Cocker’s wry tale of teenage sexual fumblings and wardrobe hiding helped set the table for the band’s massive success with the similarly minded “Common People.”—Robert Ham
45. The Auteurs, “New French Girlfriend”
Despite never making much of an imprint outside of the UK, The Auteurs were a significant presence during the 1990s. One of their most impressive offerings comes in their hit “New French Girlfriend,” which pairs flouncing electrics and bass with strong song structure. At the time, “New French Girlfriend” wasn’t the band’s best-known song, but it has endured over the years to be their strongest effort.—Michael Danaher
44. Cast, “I’m So Lonely”
By the time Cast’s cheekily titled Mother Nature Calls was released in 1997, ballads had been done to death by their contemporaries. But what makes “I’m So Lonely” (a Top 20 hit for Cast) stand out isn’t its grandiosity or bombast but its honed-in simplicity and subtlety. Yes, there are strings and harmonies that build and blossom as the song progresses, but the track keeps its feet on the ground with a repetitive, straightforward melody. It was a welcome return to form at a time when many bands were submerged in excessive ornamentation and superfluous overproduction.—Michael Danaher
43. Shed 7, “On Standby”
England’s Shed 7 enjoyed some notable success in the UK, thanks to the quartet’s wily songwriting and comparisons to pre-Britpop acts like the Stone Roses and The Smiths. “On Standby,” one of the singles off of the band’s 1996 album, A Maximum High, is a straight-up guitar pop-rock song. Other acts may have leaned on schtick or rivalries to spark attention, but Shed 7 was content to rely on the strength of its songwriting. “On Standby” is a gorgeously raucous work that capitalizes on a beguiling song structure and approachability.—Michael Danaher
42. Sleeper, “Inbetweener”
Though all three of their albums cracked the UK top 10 and they served as Blur’s opening act on the triumphal Parklife tour, Sleeper are still regarded as something of an also-ran in the Britpop hierarchy. Shame, too, as tracks like this prove that singer/guitarist Louise Wener had a knack for earworm melodies and cheeky lyrics that reveal the dark, seamy thoughts hidden away by British suburb dwellers.—Robert Ham
41. Blur, “Charmless Man”
Blur’s 1995 album, The Great Escape, continued Modern Life is Rubbish’s theme of the band’s abhorrence of what the world was coming to. While the tone of “Charmless Man” is generally upbeat and pop-centric, the theme explored is anything but. Only Blur could make a song about decadence and extravagance sound loose and buoyant. “He thinks his educated airs / Those family shares / Will protect him / That you will respect him,” Albarn sings. The combination of the main character’s inescapable gloom juxtaposed with Blur’s infectious “la la” refrain makes the song impossible not to enjoy.—Michael Danaher
40. Pulp, “Sorted for E’s and Whizz”
There was a call to ban this song in the UK after The Daily Mirror’s Kate Thornton misinterpreted it as being pro-drugs (“e’s and whizz” are ecstasy and speed). And while to call it anti-drugs would also be oversimplifying it, there’s a definite melancholy displayed here when Jarvis Cocker sings lines like “In the middle of the night, it feels alright /But then tomorrow morning, oh, then you come down.”—Bonnie Stiernberg
39. Dodgy, “Good Enough”
Dodgy flew too far under the radar to ever be considered part of 1990s British invasion, but that doesn’t mean they weren’t deserving of some attention. The band’s single “Good Enough” is its most immediately accessible song, pairing bubble-gum pop tendencies with a resilient arrangement. From the fluttering brass section to the jangling guitars to the warbling Wurlitzer, Dodgy’s best-known hit was one of the scene’s biggest and best surprises.—Michael Danaher
38. The Boo Radleys, “Wish I Was Skinny”
Already an established band before Britpop became a household term in the early ’90s, The Boo Radleys had no problem whatsoever aligning themselves with the movement’s catchiness and heartfelt musings. The band’s most sincere instance of this is the bright, sunny “Wish I Was Skinny”—a radio-friendly tune that gave the band some much-deserved recognition in 1993. It wasn’t the band’s biggest hit, but it was their most accessible, and its carefree attitude and nonchalance gave the band a sunnier disposition than many of their peers.—Michael Danaher
37. Blur, “Country House”
Released the same day as Oasis’ “Roll With It,” this single managed to trump Blur’s Britpop rivals in the charts going in straight in at No. 1 in late summer 1995. While time will tell which song will be remembered most fondly, this track is surely the most fun of the two. The band sprinkles Damon Albarn’s Kinks-inspired social commentary and guitarist Graham Coxon’s best Mick Ronson impression with liberal amounts of Sgt. Pepper-esque production touches and clanging percussion.—Robert Ham
36. Pulp, “Do You Remember the First Time?”
To some degree, every ‘90s Pulp song is about sexual frustration or struggling against class. Usually, it’s both rolled into one. But Jarvis Cocker got to the heart of distorted sexual longing best on His ‘n Hers’ “Do You Remember the First Time?” At its core, the song is about trying to manipulate someone’s marital boredom in order to sleep with them again, but the startling thing about the jam is its wistful humanity. The gangly frontman’s pleas are desperate from beginning to end: “You say you’ve got to go home / Well, at least there’s someone there for you to talk to.” Even if Cocker can’t remember a worst time, the first time you hear this song is something you’ll always long for time and time again.—Mack Hayden
35. Embrace, “All You Good Good People”
Embrace were one of the last bands to be affiliated with Britpop before its rapid decline in the wake of Radiohead’s earth-shattering OK Computer. A monumental chorus and full-blown horn section are the big payoffs for the band’s 1997 single “All You Good Good People”—which was later included on their 1998 full-length The Good Will Out (and which went to the top of the charts in UK upon its release). The song seems to pick up where (What’s the Story) Morning Glory? left off, before Oasis drowned in their own fatuous, self-absorbed Be Here Now. “All You Good Good People” was Britpop taking in one of its last breaths.—Michael Danaher
34. Suede, “Beautiful Ones”
As Britpop wore on, many bands were growing darker with their sounds, but Suede’s 1996 hit “Beautiful Ones” is content to keep things light and breezy, thanks to a solid electric guitar riff serving as the main lead against Brett Anderson’s distinct tenor and falsetto. The song is a fluttering, amicable concoction that ultimately looks on the bright side of things when so many of Suede’s peers were slipping into a perpetual denial or decline. The song is both simple and sophisticated, and it’s a true Britpop gem that deserves much attention.—Michael Danaher
33. The Verve, “The Drugs Don’t Work”
One of the most emotionally jarring tracks on Urban Hymns, “The Drugs Don’t Work” came at an appropriate time in the bigger picture of Britpop. In a music scene constantly oscillating between success and excess, Ashcroft, like many, found himself on the wrong end of those two points too often. (The demo version of the song originally had the lyrics as: “The drugs don’t work / They just make me worse.”) Dark, honest and poignant, the song is the sound of someone at the end of their rope, funneling in all of the heartsickness and sorrow that goes along with it.—Michael Danaher
32. Pulp, “Mis-Shapes”
As the opening track on 1995’s Different Class, “Mis-Shapes” is forceful mediation on social status and dissatisfaction with contemporary life—a theme carried throughout the rest of the album. “Brothers, sisters, can’t you see / The future’s owned by you and me,” sings Jarvis Cocker. The song builds to a boiling-point chorus armed with frantic drums, desperate vocals, and vigorous guitars and synths. At the time, “Mis-Shapes” was a glimpse of what was to follow for Pulp—socially conscious themes and high-brow musicianship—but it has endured to be one of the band’s most impressive offerings.—Michael Danaher
31. Oasis, “Cigarettes & Alcohol”
As Manchester’s favorite sons, brothers Liam and Noel Gallagher debuted with a swagger unlike any other band in the UK. With Noel’s foolproof songwriting and Liam’s unmistakable aura, Oasis had primed themselves to be the voice of a new generation—one forging its way through life the best way it could: self-medicating and inebriated (a common trend across Britpop). “Is it worth the aggravation / To find yourself a job when there’s nothing worth working for?” sings Liam. “Cigarettes & Alcohol” was the sound of revolting against the status quo. Something was shifting in the music scene, and Oasis had placed themselves at the front and center of it.—Michael Danaher
30. Supergrass, “Caught By The Fuzz”
The opening salvo by this hyperactive quartet of Oxford lads, “Fuzz” is a rip-roaring two-and-a-half minutes of glammed-up fist-pumping garage pop, capped off by a sneering vocal turn by leader Gaz Coombes and his unfettered tale of being busted for drug possession at the tender age of 15.—Robert Ham
29. Suede, “Animal Nitrate”
Suede was one of the first big bands of Britpop, so it’s only appropriate that some sort of feud ensued. The band’s sparring with Blur may have been usurped by the eventual Oasis-Blur rivalry, but tensions and competition were ever-present in both bands’ early days. Not only was guitarist Justine Frischmann kicked out (a result of her own dissolved relationship with singer Brett Anderson and her dating Blur’s Damon Albarn shortly thereafter), but the band enjoyed immense success in the UK while Blur were still struggling to make it big. The band’s song “Animal Nitrate,” a distortion-infused pop-rock track off of their self-titled 1993 debut, was one of the high points for the band, giving Brett Anderson and company immediate and impactful success.—Michael Danaher
28. Pulp, “Lipgloss”
Before His ’n’ Hers came out, Pulp had been dabbling in different incarnations of itself, but the 1994 release is the point where the band really found out what it was made of. For the duration of the album, Jarvis Cocker and company sound focused and fervent, and perhaps most on “Lipgloss”—an upbeat track equipped with one of the band’s best-penned choruses. The song, exploring sexual disenchantment with swirling guitar leads and ubiquitous synths, was a highlight for the band—hinting that the band’s best work lay ahead, not behind.—Michael Danaher
27. The Bluetones, “Slight Return”
While many bands in the mid-’90s were pushing the limits of drenching their sound with loud, sprawling guitars and strings, The Bluetones’ 1996 debut, Expecting to Fly, showed a more tempered side to Britpop. One of the best representatives from that album comes in the single “Slight Return,” a jangly acoustic pop song that offered a nice alternative to the Britpop heavyweights—so much so that it knocked off (What’s the Story) Morning Glory? from the top of the charts, though only briefly. The Bluetones’ accessible, inoffensive sound was the opposite side of the Britpop coin.—Michael Danaher
26. Blur, “For Tomorrow”
Blur’s Modern Life is Rubbish was born after Blur toured the US and became increasingly disenchanted with the music business and American culture. They weren’t gaining traction with their first record, and bands like Suede were garnering much more attention back in the UK. Blur responded in the best way they could: penning and recording a career-altering album. Its lead single and opening track, “For Tomorrow,” propelled Blur forward and resulted in some much-deserved recognition. The song’s music and lyrics are coated with frustration and anguish—and its sing-song chorus and chord changes are catchy and off-kilter in a way that shouldn’t work, but it does.—Michael Danaher
25. The Verve, “Sonnet”
The Verve weren’t the media darlings that many of their peers were, but when the band came out with Urban Hymns, they started to gain respect. “Sonnet,” the second track from the album, is a stunning incantation of love and longing. Like many songs on Urban Hymns, the song soon spills into guitars that thrum and swoon, backed by a wall of strings, bass and drums. “Sinking faster than a boat without a hull,” sings Richard Ashcroft. He may have been singing about his own personal problems, but given the release of the album, he may as well have been singing about Britpop itself, as it was one of the scene’s last breaths of fresh air before it sank entirely.—Michael Danaher
24. Oasis, “Some Might Say”
Oasis more or less claimed to be the best band in the world while at their peak, and while that probably wasn’t the case, for a moment in 1995, it felt like it. Case in point: “Some Might Say”—one of the most striking songs off of (What’s the Story) Morning Glory? Pairing Liam Gallagher’s lead vocals with Noel’s backing vocals, the song showed the strength of both brothers’ skill sets. Its distortion-drenched rhythm and lead would be the same blueprint that would mar much of 1997’s Be Here Now, but in 1995, the approach was both powerful and validating. One of their finest moments.—Michael Danaher
23. Elastica, “Stutter”
After Justine Frischmann was ousted from Suede, she was not content to sit on the sidelines and watch her peers surpass her—including then-boyfriend Damon Albarn. She founded Elastica (along with ex-Suede member Justin Welch) and released their self-titled debut in 1995, which would be the band’s only release during Britpop’s glory days—but what a release it was. “Stutter” is a incredible punk-pop song that chugs along thanks to pummeling drums and ambitiously distorted electrics, punctuated with a calculated verse-chorus arrangement. Unfortunately, like Suede, Elastica never successfully translated to the American mainstream.—Michael Danaher
22. Lush, “Ladykillers”
Another foremost member of the scene early on, Lush had released a handful of albums before their last, Lovelife, came out in 1996. From that record, “Ladykillers” stands out as the stuff pop-rock dreams are made of: dueling vocals from Meriel Barham and Emma Anderson, a Halloween surf-rock guitar lead, a handclap breakdown during the verse, a chorus that gets stuck in your head for days on end. The band seemed to be at its best. Unfortunately the milestone was too good to last; the band called it quits not long after drummer Chris Acland’s suicide later that year.—Michael Danaher
21. Oasis, “Champagne Supernova”
“Champagne Supernova” is one of the final instances of Oasis functioning at its highest level. The lengthiest single released off of (What’s the Story) Morning Glory?, the track was everything a Britpop song was supposed to be: catchy, gluttonous, far-reaching, over-the-top. And while the lyrics still don’t make sense, Oasis could get away with it because they were beloved as the working-class heroes from Manchester. The famous line “Where were you while we were getting high?” may be have come across as shtick or pandering to their own persona, but Oasis didn’t care what anyone thought. And for a few years in the ’90s, that’s what made them so damn good.—Michael Danaher
20. Blur, “Chemical World”
One of Blur’s earlier triumphs, “Chemical World” came out when the band was in the midst of finding what it was made of. While they already had an album under their belts with Leisure, it wasn’t until their sophomore effort, Modern Life is Rubbish, that Blur would able to find a voice and position themselves as one of Britpop’s founding fathers. “Chemical World” is the culmination of the band’s different musical styles all rolled into one—distorted guitar leads, harmonies and hooks, relentless drumming and bass. It’s the band finding and cultivating its sound.—Michael Danaher
19. Super Furry Animals, “Something 4 The Weekend”
In the halcyon days of Britpop, a batch of daffy Welshman could do ridiculous things like purchase secondhand tanks and drive them to raves. You know, when they weren’t cooking up spirited pop concoctions like this, which seems to chronicle getting delightfully lost in a psychedelics-induced frenzy.—Robert Ham
18. Blur, “End of a Century”
Out of the bands that made the biggest splashes in Britpop, Blur was probably the one that showed the most variety and versatility early on. Seamlessly marrying guitarist Graham Coxon’s punk roots and Damon Albarn’s fetish with musical variation and symphonic leanings, “End of a Century” established that Blur wasn’t just some flash in the pan. Mixing acoustic strumming and distorted ornamentation with brass and horns, the song swells and swoons into a chiefly British-sounding arrangement. The lyrics of “End of a Century” may focus on a world stumbling into a new millennium lost and confused, but the music proved that Blur was anything but.—Michael Danaher
17. Supergrass, “Alright”
One of Britpop’s lesser-known stars, Supergrass didn’t have the same adaptability that other bands did when their 1995 album I Should Coco came out (those skills would be realized on subsequent releases), but their hit “Alright” offered a glimpse of their knack for crafting a great hook. (The song would even gain some traction in America thanks to its inclusion on the Clueless soundtrack.) A sunny sing-along song celebrating youth, “Alright” is bright and brief and brilliant.—Michael Danaher
16. Blur, “Beetlebum”
One of Blur’s comeback singles, “Beetlebum” is the opening track on the band’s 1997 self-titled album. The song gets back to Blur’s more guitar-driven early days, but it keeps itself in step with the band’s knack for solid songwriting and crafting catchy-as-hell choruses. It’s the start to one of Blur’s darker, more scattered albums, released when Britpop’s posture was beginning to slouch—when the bands involved were struggling to keep their heads up amid all the expectation and criticism. For all intents and purposes, Radiohead’s OK Computer would come out in the same year and essentially dismantle Britpop’s prominence. In retrospect, “Beetlebum” was the beginning of that end—and you can hear it in the music.—Michael Danaher
15. Oasis, “Supersonic”
The Brothers Gallagher exploded onto the scene with this, their debut single, in 1994. The driving guitar (which, sure, sounds a little familiar to George Harrison’s “My Sweet Lord” riff in some spots—but no one’s better at ripping off the Beatles than Oasis) helped carry this one all the way to the US charts, a first for the band and a Britpop milestone.—Bonnie Stiernberg
14. Suede, “Trash”
Suede was one of Britpop’s most dominant acts, even though they never reached the commercial success in America that many of their peers did. However, that fact doesn’t deter from flashing frequent signs of Britpop genius throughout the ’90s. One of the best examples comes from “Trash,” the lead single off of 1996’s Coming Up, the band’s first album without guitarist Bernard Butler. But the band didn’t seem to miss a beat. The song is a festering, anthemic pop gem that featuring a glorious chorus and guitar- and synth-driven rhythm. A vastly underrated song this side of the Atlantic.—Michael Danaher
13. Manic Street Preachers, “A Design For Life”
The first single from this Welsh band’s fourth album, this track was also the initial step forward by the Manics after their founding guitarist/lyricist Richey Edwards disappeared in early ’95. The emotion baked into these driving riffs and singer/guitarist James Dean Bradfield obviously struck a chord with fans as the tune hit No. 2 on the UK charts and capped off a run of five consecutive Top 5 singles for the band.—Robert Ham
12. Pulp, “Disco 2000”
If you have a nostalgic bone in your body, you had to have felt it thrumming the first time you heard this, the third single from Pulp’s hugely successful Different Class LP. The title suggests a wizzed-up ode to the polyester era, but instead singer Jarvis Cocker calmly opens his high-school diary to remember Deborah (Deb-o-rah!), the first girl at school to get breasts and the one that got away.—Robert Ham
11. Blur, “The Universal”
One of biggest parts of Britpop’s history was the rivalry between Blur and Oasis. It began when Blur released “Country House” on the same day as Oasis’s “Roll with It” and beat it to the No. 1 spot in the charts. Blur would come out on the losing end with its next single, “The Universal”—which would fail to chart as high as Oasis’s “Wonderwall”—but the song remains one of the most superb songs in the Blur catalog. Featuring a distinctly English-sounding string section that couldn’t be pulled off by any other band, the song allowed Blur to not only show its versatility but also its strengths. Musical differences would ultimately dissolve Blur in the early 2000s, but “The Universal” is a shining moment for the band—one that shows they were much more than punk revivalists or “chimney-sweep music,” as Oasis so lovingly put it.—Michael Danaher
10. The Verve, “Lucky Man”
What makes The Verve’s Urban Hymns so great is its inward-looking, soul-searching reflection of Richard Ashcroft’s struggles and shortcomings. But while much of the album is devoted to the downbeat and downtrodden, “Lucky Man” is a definite bright spot on the record—showcasing an upbeat contentment that celebrates doing the best with what you have. The song broods and builds, going from a lone acoustic strum to a string-laden bravado set to Ashcroft’s dueling vocals and a supporting cast of guitars, bass and drums. The Verve would eventually disband because of Ashcroft’s failure to see beyond anything but himself, but on “Lucky Man,” his tunnel vision does the band a great service.—Michael Danaher
9. Pulp, “This is Hardcore”
By the time Pulp’s This is Hardcore came out in 1997, the band was already at the height of its powers. While known for upbeat, lilting sing-alongs, the band took a decidedly darker tone with the album’s direction, particularly with its title track. The song’s creepy piano tinkerings and haunting symphonic rhythm take you through a tale of excess and perversion—something all Britpop contributors would familiarize themselves with sooner or later. Things had begun to unravel. Pulp, a band that had probably best articulated the movement just a couple years prior, now seemed to be detaching itself and coming apart at the seams. “This is the end of the line,” sings Jarvis Cocker on the track, and in many ways it was—for Pulp and for Britpop.—Michael Danaher
8. Blur, “Parklife”
Credit actor Phil Daniels with a big assist on this one, as he handles the excellent spoken-word verses, dropping lines like “Confidence is a preference for the habitual voyeur of what is known as parklife.” It also brought the Blur-Oasis rivalry to a head at the 1996 Brit Awards when the latter band—having just defeated Blur in the “Best British Album” category—took the stage and mockingly sang “Parklife,” replacing the title with “Shite-life.” Classy!—Bonnie Stiernberg
7. Oasis, “Don’t Look Back in Anger”
It may not be the biggest hit that Oasis ever had, but it is most certainly the band hitting its stride. Singer Liam Gallagher sits this out as brother Noel (the sole songwriter of the first few Oasis releases) takes over lead vocals, and the results are spectacular. Notorious for their unabashed lifting from the Beatles, the song’s intro piano is set to the same chords as John Lennon’s “Imagine,” but that’s where the similarity ends. The song elevates to a level that the band could only sometimes achieve on their debut. “Don’t Look Back in Anger” is the sound of everything working. And though Oasis would try to continually capture lightning on subsequent releases, they never sounded more at ease, more confident, more natural than on this highlight from 1995’s (What’s the Story) Morning Glory?—Michael Danaher
6. Blur, “Girls & Boys”
Blur’s presence in America wouldn’t be fully realized until later in the 1990s, but in 1994, with a couple albums under their belt, they were already a behemoth music maker in the UK. And when their defining album Parklife came out, the opening track “Girls & Boys” was a clear indication that Blur was going to places other bands couldn’t even fathom. Fusing punk-laden, off-kilter guitars with a dance beat and synth-heavy hooks, the song showed that Blur was growing and evolving from album to album—a knack that the band would carry into the 2000s. It was the first indication of many that Blur could stay ahead of the curve and still be radio-friendly.—Michael Danaher
5. Oasis, “Live Forever”
No one helped launch Britpop quite like Oasis. The Manchester quintet helped propel the movement into a prominent force and became one of its most prolific contributors. That began with “Live Forever,”one of their best songs off of their debut, Definitely Maybe. Filled with confidence and optimism and swagger, “Live Forever” established the Gallagher brothers as the next big thing. With Liam’s nasally vocals, Noel’s searing guitar leads and an easily navigable arrangement, the song became a catalyst for putting Britpop on the map. While Oasis’s musical formula would eventually wear itself down into redundancy and regurgitation, “Live Forever” is the sound of a band knowing exactly what to do and how to do it. “I think you’re the same as me / We see things they’ll never see,” Liam sings. The song perpetuated Britpop’s grandiosity and everything it stood for.—Michael Danaher
4. The Verve, “Bittersweet Symphony”
For a brief moment, The Verve were the best thing to happen to Britpop. Formerly ignored by the UK press, the quintet unleashed a force with 1997’s Urban Hymns, jump-started by the lead single, “Bittersweet Symphony.” From the hook-heavy strings to the distinct drum arrangement to the pompousness and bombast that singer Richard Ashcroft oozes in the video’s excellent music video, The Verve finally made an impression felt on both sides of the Atlantic—something that didn’t always translate for other champions of Britpop. The movement may have been on its last leg in ’97, but at the time, “Bittersweet Symphony” fooled you into thinking the scene would never end with songs like this out there.—Michael Danaher
3. Blur, “Song 2”
The song that launched a thousand victory celebrations in sports stadiums around the globe, this short fuzzy tune clocks in at just over two minutes and was supposedly inspired by the overwrought dynamics of American outfits like Nirvana and Pixies. On paper that sounds almost silly, but kudos to Blur for pulling it off with surprising authority. All together now: “Woo-HOO!”—Robert Ham
2. Oasis, “Wonderwall”
In spite of all of Britpop’s various voices and styles, this will always be the track that best represents the genre. The song that even The Edge and Blur’s Alex James have said that they wish they had written. The absolute apex of Oasis’s career. Nearly 20 years later, the song still has the power to stir up deep-seated emotions and nostalgia for the bygone era of your choice via that persistent acoustic guitar strum and the plaintive melody of the cello that wanders through the track. But the true power of “Wonderwall” is that for four glorious minutes, all of the lunkheaded press quotes from the Gallagher brothers and all their egregious musical sins of recent years seem downright forgivable. If they were once capable of creating something as undeniably great as this, maybe they aren’t so bad after all.—Robert Ham
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https://frominsideright.wordpress.com/2016/08/01/disco-2000-or-time-goes-by-so-slowly/
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Disco 2000, or ‘Time Goes By So Slowly’.
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We are approaching 21 years since the release of Disco 2000 by Pulp, a glorious piece of 1990s indie that slots in below Common People in a lot of people's appreciation of the band, but deserves more of a life of its own. Disco 2000 came out in November 1995, another single from Different Class,…
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https://s1.wp.com/i/favicon.ico
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From Inside, Right
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https://frominsideright.wordpress.com/2016/08/01/disco-2000-or-time-goes-by-so-slowly/
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We are approaching 21 years since the release of Disco 2000 by Pulp, a glorious piece of 1990s indie that slots in below Common People in a lot of people’s appreciation of the band, but deserves more of a life of its own.
Disco 2000 came out in November 1995, another single from Different Class, and a few weeks after the album. Both were to become classics.
It went away for a long time after the turn of the 2000s made it sound dated, it’s visions of a grimy future obsolete in the bright flashing colours of the nascent century.
Its feeling, through all of this, remained true. As a boy – I was 13 when it was released – Jarvis Cocker felt like he was telling the truth. He’d already won me over with Mis-shapes, truth be told, but his knack for capturing the kitchen sink drama of the North in stories that could happen to anyone struck me raw.
It would be wrong to say there was nothing sexual about Pulp – after all, their next album was This Is Hardcore – but given that they inhabited the equivalent part of Sheffield as Suede did London, Jarvis’ sexuality was up front and on the table rather than dripping down the walls.
Disco 2000 was different to what came before. It was a dream of the future. 2000 seemed so far away then. It was. Another five years. Things would be different then. We could meet up in the Fountain, some of our classmates would have babies, and we would be fully grown.
Perhaps the reason the song resonates now is that the future it talked of was no different to the present.
The great visions of the future were tawdry extensions of the life we already knew.
It is difficult as a 13 year old, growing up in a fairly poor part of the UK, to think beyond the boundaries of what you know.
Disco 2000 resonated that sentiment, but in a knowing way, as if by painting a picture of a similarly grim future, it would encourage the Mis-shapes to make more of themselves.
They had five years to do it, which is a decent window for such a clarion call.
All of the song gazes forwards, but only the timing of ‘lets all meet up in the year 2000’ provided glamour, the new century being the only glitz.
From damp and lonely Thursdays to walking girls home from school to whom you meant nothing; everything was very familiar and very menial.
It was something to look forward to, and it was nothing to look forward to.
I couldn’t say I based my life plans on a Pulp song, but to look back on it now, I see it in a very different light.
I did meet up with people in the Year 2000, and it was in the Fountain down the road – our Fountain was the Airedale Heifer – but that was the last year my life was like it was in the 1995.
I talk of this when I meet up with those friends, those increasingly rare occasions. We are dandelion seeds blown far from our home field, though our lives remain as intertwined as ever.
I still know people who drink in those same pubs, who married their Deborah – I went to some of the weddings. Maybe they were never Mis-shapes. Maybe they fitted in.
The point of Disco 2000, for me, then, turned out not to be a vision of the future, but a warning of what it might be.
Perhaps it might have been different if I had a Deborah of my own – there were girls I would have liked to have been at that age, but they, too, moved away.
Music is one of the easier ways to go back in time, and Disco 2000 allows me to do so fully.
The choppy intro immediately takes me back to a time when all I wanted was to have the life in the song.
The catchy chorus, even by the first time around, confirms that I’m glad I never got it.
It turns out that I didn’t need to wait five years to find out what I must have already really known.
A couple of tracks further into Different Class, Something Changed was a far more accurate version of the future.
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https://medium.com/the-rise-to-fame/the-clash-between-oasis-and-blur-and-how-it-relates-to-the-current-unrest-in-america-part-one-e43f656cd52d
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The Clash Between Oasis and Blur: The Rivalry Explained
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"Rose Harmon"
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2021-01-10T21:05:09.082000+00:00
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If you are an American, then you have probably felt embarrassed and fueled by rage for the past couple of days as you have watched fellow Americans threaten our very democracy, the beams on which our…
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Medium
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https://medium.com/the-rise-to-fame/the-clash-between-oasis-and-blur-and-how-it-relates-to-the-current-unrest-in-america-part-one-e43f656cd52d
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Who is Blur: Their Story
An early version of Blur was formed in the college years of the bandmembers lives at Goldsmith’s College in London. The band was originally named Seymour after J. D. Salinger’s Seymour: An Introduction, however the label that they signed with rejected the name and the members chose the name Blur out of a list of alternatives brought to them. The band produced “There’s No Other Way,” a single which peaked at number eight early in their career but had trouble matching it later on, producing a few flops. Leisure, their first full album did well, peaking at number seven on the UK Albums Chart; although, as John Harris wrote, he “could not shake off the odour of anti-climax,” and the reviews were controversial.
The band later discovered that they were £60,000 in debt, prompting an American tour to regain financial stability. They released “Popscene,” a pivot in their style, which was deemed to be quintessentially British. They claimed to be homesick while touring in the US, missing England, but when they returned home, they were upset to have found that another alternative rock group, Suede, had started to replace them as the rising stars. Later though, in 1994, Blur released “Girls & Boys” which is their highest charted single, reaching number five in the UK and number fifty-nine in America.
The bandmates started to fall apart after the Britpop battle with Oasis was over, and Graham Coxon specifically started to find comfort in drinking alcohol, unhappy with the image that Blur held as the ingenuine basic pop group compared to Oasis. He was also upset with Damon Albarn controlling the image of the band, so he started to listen to American punk and grudge bands, such as Pavement, which at first the rest of the band found distasteful, but they later embraced parts of the style, and the band grew in another direction.
After the mania of the Top of the Pops battle subsided, Blur continued to record and produce music but has not managed to regain the attention of the media. In short, they lost the spotlight while Oasis continued to grow more popular and even struck a number of hits in America, something that Blur could never accomplish.
They have only produced two albums in the 2000s and 2010s, Think Tank (2003) and The Magic Whip (2015).
The Clash Between Oasis and Blur: The Rivalry Explained
The tale as old as time goes as so: The North against the South, the rich against poor, the educated verses the ignorant, OR all of the above.
When Oasis and Blur started to grow into their styles, a new fridge movement called Britpop (a ‘pseudogenre’ mostly reported as a marketing tool and/or cultural movement) was new and was classified as sounding like a typical British, alternative rock-type sound. It was mostly combative to American punk and grudge styles.
From this movement, four bands, commonly called the “big four” arose, Blur, Oasis, Suede, and Pulp, although today, Blur and Oasis are seen as the genuine ‘big two’ per say.
Oasis was a band that had a simple and uncomplicated sound, one that seemed to speak to the British masses. Noel Gallagher is often referred to as the mastermind even though Liam was the out-spoken, outlandish bandmember often taken to be “the leader.” When Noel joined the band in 1991, he noticed that the band’s members had unrefined skills, and to combat this, he created rhythms and melodies that were not complex or difficult to play. This proved to be a genius move, and they grew to be beloved for their simplistic style.
At the same time that Oasis was gaining traction, Blur also started to become a mainstream band. They, hence the term Britpop, were a quintessential British band, and they started to rub shoulders with Oasis.
During the Brit Awards of 1995, Damon Albarn, after Blur had received four awards, which was unheard of at the time said “I think this should’ve been shared with Oasis.” Graham Coxon then said, “Yeah, much love and respect to them.”
But when Oasis produced “Some Might Say,” a single that reached number one on the charts, Damon attended their celebration, he says, to congratulate them. Liam reportedly came over to him and said, “Number fucking one,” right in his face. Albarn remembers thinking, “OK, we’ll see…”
At this point, Oasis and Blur both had their latest albums scheduled for a release date in Autumn of 1995, Blur’s in September and Oasis’s in October. This was not a problem because the albums could be released and would not interfere with the progress of one another. It was the release date of their singles that clashed. Oasis had their single scheduled to be released one week before Blur’s single “Country House.” The problem with this is explained by Andy Ross. He states, “We thought they were mad. But the thing is, a number one record tends to have a better-than-evens chance of being one the week after, just because it’s on Top of the Pops, and all the kids hear it.” This means that because Oasis had scheduled their single one week before Blur’s, it would most likely stay as number one, not giving Blur a chance to compete. This is why the release date had to be moved. So, the decision was to release Oasis’s Roll With It the same day as Blur released Country House. The date of both releases was now set for August 14 and the atmosphere was tense. Both bands were ready to claim the prize that they thought was rightfully theirs.
The thing about the rivalry was that it was about more than a title or even music — it was a battle between the British class systems. Blur was from the South, which, by stereotypes, meant that the bandmates were better educated and more financially stable than Oasis, who were from the North. None of Oasis’s bandmates went to college, and before their musical career they spent time as construction workers. Oasis dubbed Blur as “Art school wankers” while the press deemed Oasis to be working class heroes. The problem was not that either statement was more or less true but that the public seemed to be invested in this one-dimensional view of the bands.
By this point, Blur was seen as inauthentic and ingenuine. Oasis was almost guaranteed to win with “Bookmaker even giving the band odds of 6–4, in their favor” as Trash Theory states. But when the time came, Blur won by 58,000 copies, wining the battle of Top of the Pops. They then preformed at TOTP’s concert, bathing in their sweet victory. Alex James even wore an Oasis shirt, further antagonizing their archrivals.
But not all of the bandmates were enjoying their win. Guitarist of Blur, Graham Coxon, after not appearing to be enjoying the performance, almost jumped out of the window while drinking later that night. Alex James commented the following:
“I think Graham just thought ‘Oh my god, this isn’t what I wanted when I was listening to the Pixies and Pete Townsend. I didn’t want to be sitting in a pouncey club Soho club with an oomph record at number one. What have I done?”
But the truth is often described as so: “Blur won the battle, but Oasis won the war.”
When the two band’s albums came out, Blur’s The Great Escape hit number one on the charts, naturally, but never received the same recognition as Oasis’s (What’s the Story) Morning Glory? complete with the hit song “Wonderwall.” It became the fourth best selling album of all time in the UK, and even became beloved in America, a nation that Blur had repeatedly failed to be recognized by. Then, in the 1995 Brit Awards, Oasis won three albums, leaving Blur with nothing. In their speech, Oasis mocked Blur by singing the lyrics of one of their songs, saying, “All the people, all the people, so many people…”
Later, in 1996, Oasis sold out two concerts at Knebworth, “the two largest concerts in British history” as Trash Theory states. In fact, four-percent of the British population (2.5 million people) applied for tickets.
After the clear victory of Oasis, the Britpop movement slowed and then stopped altogether with Blur finally getting a hit in America. After they had started to drift into styles more connected with American bands such as Pavement and Beck, they finally produced their most popular song in America, “Song Two,” which is still widely acclaimed. Ironically, this also happens to be the song that is most unlike any of their other songs.
Blur, although Google says they are still active, are largely dormant, and have come out very little to preform. 2003 was their ending. Oasis continued until 2009.
History repeated itself a short time after, when a dispute between Oasis and Albarn broke out in 2005 when the Oasis song “The Importance of Being Idle” was knocked off the number one spot in the charts by Albarn’s song “Dare.” The dispute was not a hot topic as the Top of the Pops battle had been in 1995, but it was noted in several reputable newspapers.
But while Blur has retreated into the dark corner of history, the Gallagher brothers and their infamous fights are still very much in the media. Although, there might be something different about their relationship as the year starts off in 2021.
In 2017, Damon and Noel preformed on the same track, “We Got the Power,” and they even shared the stage. Liam was unhappy with this and took to tweeting.
But only three years later, as the 2021 year starts off, the two brothers, Noel and Liam Gallagher, try to patch their relationship. MSN says, “Oasis star Liam Gallagher started 2021 by attempting to end his long-running feud with brother Noel, telling him he loves him and that this is their year.” It’s a hopeful start to a new year and the end of bad blood. The only fight between Oasis and Blur was to make better music, and their contributions to the evolution of modern rock are undeniable. It seems that the only genuine problem that was that of the media and false stereotypes.
Comment your thoughts below and share your perspective.
References
Look through the list below to find quizzes and links that will send you to other articles that discuss specific albums and songs of the two bands.
Sources
Look through the list below to find the resources that I used to write this article.
References:
Band Quizzes
— Blur
Only True Blur Fans Will Know These Answers
Test Your Knowledge of Blur
Test Your Knowledge of Blur
What Blur Member Are You
— Oasis
Test Your Knowledge of Oasis
Test Your Knowledge of Oasis
Archive of Sporcle’s Oasis Quizzes
What Oasis Band Member Are You
Are You Liam or Noel Gallagher
Are You Liam or Noel Gallagher
A Close Look at Musical Style
— Blur
The Ultimate Archive
Blur’s Top Ten Songs
Blur’s Think Tank
The Ranking of Every Blur Album
— Oasis
The Ultimate Archive
The Ranking of Every Oasis Album
(What’s the Story) Morning Glory? Review
Which Oasis Album is the Best
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Disco 2000:Pulp
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"Disco 2000" is a hit single by British band Pulp, released in 1995. It reached #7 in the UK Singles Chart.[1] It was the third single from the album Different Class, following "Common People" and the double A-side "Mis-Shapes"/"Sorted for E's & Wizz", both of which reached #2. The song tells...
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Music Hub
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https://music.fandom.com/wiki/Disco_2000:Pulp
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"Disco 2000" is a hit single by British band Pulp, released in 1995. It reached #7 in the UK Singles Chart.[1] It was the third single from the album Different Class, following "Common People" and the double A-side "Mis-Shapes"/"Sorted for E's & Wizz", both of which reached #2.
The song tells the story of a narrator falling for a childhood friend called Deborah, who is more popular than he is and wondering what it would be like to meet again when they are older. The song is based on true events. Pulp frontmanJarvis Cocker said "the only bit that isn't true is the woodchip wallpaper."[2]
It is believed that the fountain referred to as the meeting place was Goodwin Fountain, formerly located on Fargate, in Sheffield city centre. The song's riff is said to be influenced by Laura Branigan's 1980s hit "Gloria".[3]
Due to its millennial subject matter, Pulp removed the song's synchronisation licence, effectively banning the song from being used in TV and radio trailers throughout 1999 and 2000.[4]
Contents[]
[hide] *1 Track listing
1.1 CD
1.2 12"
1.3 7"
2 In popular culture
3 Cover versions
4 References
5 External links
Track listing[edit][]
CD[edit][]
All lyrics written by Jarvis Cocker, all music composed by Jarvis Cocker, Nick Banks, Steve Mackey, Russell Senior,Candida Doyle and Mark Webber.
Part one No. Title Length 1. "Disco 2000 (7" Mix)" 4:51 2. "Disco 2000 (Album Mix)" 4:33 3. "Ansaphone" 4:01 4. "Live Bed Show (Extended)" 4:10
Part two No. Title Length 1. "Disco 2000 (Album Mix)" 4:33 2. "Disco 2000 (7" Mix)" 4:51 3. "Disco 2000 (Motiv 8 Discoid Mix)" 7:31 4. "Disco 2000 (Motiv 8 Gimp Dub)" 6:31
Single-CD version No. Title Length 1. "Disco 2000 (7" Mix)" 4:51 2. "Disco 2000 (Motiv 8 Discoid Mix)" 7:31
UK Cassette editions have the same track listing.
12"[edit][]
Side A No. Title Length 1. "Disco 2000 (7" Mix)" 4:51 2. "Ansaphone" 4:01
Side B No. Title Length 3. "Disco 2000 (Motiv 8 Discoid Mix)" 7:31 4. "Disco 2000 (Motiv 8 Gimp Dub)" 6:31
7"[edit][]
Orange Vinyl No. Title Length 1. "Disco 2000 (7" Mix)" 4:51 2. "Ansaphone" 4:01
Released: November 1996.
In popular culture[edit][]
"Disco 2000" was featured in Episode 7 of the first series of Life on Mars, where DI Sam Tyler hears it come on the radio in 1973, and mentions to DCI Gene Hunt that he had seen Pulp play the Manchester Nynex in 1996, to Hunt's bemusement. The song also appeared in a party scene in the 2013 Seth Rogen film "This Is the End".
Cover versions[edit][]
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Britpop: A 20 year anniversary celebration…
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It has been decreed that “Britpop” is twenty years old this year and it, therefore, is time for lots of journalists to look back and either fondly reminisce about the time when some genuinely great music, the sort of thing that exists only on the fringe these days, became mainstream or decide that it was…
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The Album Preservation Society
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https://andrewdsweeney.wordpress.com/2014/04/29/britpop-a-20-year-anniversary-celebration/
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It has been decreed that “Britpop” is twenty years old this year and it, therefore, is time for lots of journalists to look back and either fondly reminisce about the time when some genuinely great music, the sort of thing that exists only on the fringe these days, became mainstream or decide that it was a fake, faux-patriotic pile of claptrap that allowed lots of substandard indie bands to jump on the bandwagon. The truth, as always, lies somewhere in-between the two absolutes and it’s all a matter of opinion as to which end of the scale it actually rests. I have read quite a few articles with interest and have been surprised by the harsh tone of some of them, especially Taylor Parkes’ enjoyable assassination, “A British Disaster: Blur’s Parklife, Britpop, Princess Di & the 1990s” for The Quietus, and they have inspired me to commit my thoughts to writing, mainly because that era of music is very close to my heart. Firstly, I have to say that I loathe the term “Britpop”. It is not only a bit of a naff term, it seems to have a huge amount of negative connotations these days, only really representing the most popular and plastic aspect of British musical culture at the time. However, after the domination of primarily American music from the grunge movement in the early nineties (Nirvana, Pearl Jam, Soundgarden et al), the fact that there was a mainstream shift in popular taste from the US bands (which arguably ended when Kurt Cobain decided to take his own life in April 1994) to up and coming home-grown talent, such as Blur, Suede and, yes, Oasis, all appeared to offer something fresh, new and unashamedly British, all steeped in the legacy of The Beatles, The Kinks, David Bowie, The Buzzcocks and The Jam.
It’s all a bit vague as to when Britpop actually started and it’s pretty much a certainty that there was no cynical attempt to start a movement from any of the bands involved. Oasis and Blur, the two heavyweight contenders of Britpop who the media seemed to mainly concentrate upon, came from two very different places in their career. The rookie Noel Gallagher, with a bunch of songs he wrote whilst being a roadie with Inspiral Carpets together with his brash brother couldn’t have a clue of how successful “Definitely Maybe” was going to be. Blur, working on their third album which was, essentially, their last shot at making it in the music industry, were just trying to write a good album that would finally get them into the big time or, at the very least, get them a new record deal. Both had aspirations, I’m sure, but the origins of the two bands couldn’t be more different. Oasis’ brand of working-class confidence and swagger against Blur’s tales of detachment, alienation and human fragility; the northern salt-of-the-Earth Oasis against the posh art-school mockney Blur were a sensationalist newspaper and music magazine’s wet dream. For people who really knew the music scene, though, there was an awful lot more to it than just Blur and Oasis and those who got caught up in the near football-club polarised rivalry of which tribe you belonged to were missing the bigger picture anyway.
I turned 19 years old in the summer of 1994, still smarting from the death of Kurt Cobain. I had started working in a record store in Coventry and was a fierce advocate of ‘proper’ guitar music, having embraced the grunge scene wholeheartedly, after a childhood of Beatles and Bowie and my formative mid teen years spent listening to Alice Cooper, Guns ‘n’ Roses and Extreme. When I heard Oasis’ “Rock ‘n’ Roll Star” and “Shakermaker” for the first time, I thought they weren’t bad, but they seemed a little basic and cartoonish. That all changed when I heard “Slide Away” and “Live Forever”, usually at top volume at a city centre pub with work colleagues and those songs, together with “Cigarettes & Alcohol”, T-Rex riff and all, turned me into a believer. The first Blur songs I heard, “Girls and Boys” and “Parklife” made me instantly hate them; Damon’s mockney singing voice made it sound as if they were taking the piss. Then, one day, I happened to hear “End Of A Century” and liked it. Really, really liked it, much to my annoyance. I reluctantly spent the pittance I got paid for my part-time job on a copy of “Parklife” and realised what an idiot I had been, as I melted to the sound of “Badhead”, “To The End” and “This Is A Low”.
1994 turned into an incredible year for music with Suede releasing their seminal “Dog Man Star”, Elvis Costello producing the magnificent “Brutal Youth”, Portishead’s trip-hop revelation “Dummy” expanding my musical horizon and the Manic Street Preachers’ life-changing masterpiece “The Holy Bible” also being released; all four albums, I have to say, being way more important to me than both the Blur or Oasis releases at the time, as good as they were. Then, of course, there were still excellent albums coming in from the USA, such as Green Day’s “Dookie”, Grant Lee Buffalo’s “Mighty Joe Moon”, R.E.M.’s “Monster”, Weezer’s self-titled “Blue” album, Jeff Buckley’s sublimely beautiful “Grace” and Soundgarden’s “Superunknown” featuring the huge MTV hit, “Black Hole Sun”. Considering the amount of non-British albums that dominated my trusty portable cassette player (I couldn’t afford a real Sony Walkman), it didn’t exactly feel as if the Brit bands had quite conquered the world. Indeed, one of the most highly anticipated albums of the year, The Stone Roses’ “Second Coming” was a massive disappointment to Stone Roses fans and a bit of a commercial flop compared to what it could have been. It really should have been one of the most important British bands in recent history heading a resurgence in British music, but it turned out to be a bit of a damp squib for many people, with guitarist John Squire seemingly having listened to a lot of Led Zeppelin records prior to making an album jam packed with Jimmy Page-esque blues-rock riffs. Actually, I really quite liked it.
Despite the excitement I felt at discovering some excellent new bands, the rise of Blur and Oasis didn’t particularly feel like a movement at that point, more like a continuation of good, indie music that had been around for a while, but it was the fact that people were sitting up and starting to really notice it, instead of just people like me who religiously bought every music weekly and monthly magazine, that is what had changed. Just like every other popular art-form, it only seemed to become important when the media decided it should and, although the term Britpop had been coined in the late eighties and the melodic indie bands with sixties and seventies classic influences that rose as a counterpoint to the shoegazing band had actually started in around 1992, the media decided that everything was fresh and brand new in 1994 which was, really, not true at all. Suede’s Brett Anderson, for example, had appeared on the April 1993 edition of Select magazine draped in a Union Flag, together with the caption “Yanks Go Home!”. If that isn’t an example of a Britpop icon, then I don’t know what is. However, the mainstream success of big indie bands in 1994 opened the doors to other musicians who had, up to that point, been only modestly successful, as well as making some newcomers to the scene ridiculously popular almost instantly.
1995 saw the release of new albums by Oasis, the massive selling “(What’s The Story) Morning Glory” and Blur, with “The Great Escape”. Although the latter received many rave reviews, history and hindsight hasn’t judged it as kindly, although I, personally, think it has some undeniably excellent tracks and much prefer it to Oasis’ effort. The year also saw emergence of albums by the punky Elastica, Sleeper and Supergrass, who were all catapulted into instant stardom by a press eager for fresh meat on the scene. Some of the more established artists who had been producing good music for quite a while got noticed a lot more because of the spotlight on British music. Teenage Fanclub’s excellent “Grand Prix” got the acclaim it deserved and Paul Weller’s “Stanley Road”, as great as it was, got the praise that its superior predecessor “Wild Wood” should have received. The Charlatans’s self-titled fourth albums meant that many people discovered their existence for the first time and Cast, a band formed by ex-La’s bassist, John Power, were responsible for “All Change”, one of the surprise hits of the year. The Boo Radleys also joined the list of Britpop artists with one of the feel-good hits of the summer, “Wake Up Boo”, and the subsequent album “Wake Up!”, the change of direction on which was met with discontent by many of their existing fan-base.
The biggest comeback kids, of course, were Pulp. I remember lots of people at the time referring to their incredible début album “Different Class”, when Jarvis Cocker and the band had been releasing records since the early eighties. I’m not being too superior, because I’d only ever heard of “His ‘n’ Hers” and that’s only because it had been advertised in Viz and was nominated for the Mercury Music Prize the year before. In fact, when I first heard “Common People”, I instantly dismissed it as terrible because, according to my sage wisdom at the time, “it sounded as if it was being played on a Bontempi keyboard”. Yes, I was an idiot, you don’t have to tell me. “Different Class” was, aptly, in a different class to most records (and won the Mercury Music Prize in 1996). When Blur sang about working-class alienation, it seemed like they were trying to write a clever song about something they didn’t really understand. When Jarvis Cocker sang about working-class alienation, rum and coca-cola and wood-chip on the wall, it felt like he was telling us about his life and a life that most working-class people could relate to, myself included. They remain one of the only bands to escape from Britpop with their reputation in tact.
The whole Blur v Oasis farce rose to its fervent peak in the summer of 1995 when there was a completely manufactured battle for the number one single position between Oasis’ “Roll With It” and Blur’s “Country House”. Neither was either band’s best song by a long way, but Blur emerged as victors of that particular skirmish and the idiotic hype that surrounded the “battle” catapulted Britpop onto the front pages of British tabloids whilst the crisis in the Balkans got relegated to a few column inches within the papers. It was at that point the key-players from Blur got a nasty taste in their mouths, felt as if everybody was being manipulated and retreated from the spotlight to concentrate on the music (well, all apart from Alex James, of course). The music scene rode on this belief in British talent over the next year and 1996 gave an opening for Ocean Colour Scene’s album full of retro anthems “Moseley Shoals” to sell a bucketload, for Shed Seven’s “A Maximum High” to get airplay it probably wouldn’t have a couple of years previously, for the Bernard Butler-less Suede to release “Coming Up”, one of their most jubilant records, and for Sleeper’s “The It Girl” to become the most successful album they were ever going to enjoy. The Boo Radleys amusingly freaked the hell out of all the fickle people who only liked them because of “Wake Up Boo!” by releasing the follow-up, “C’mon Kids”, a purposely loud, challenging record, sabotaging their short-lived Britpop career. Oasis, the biggest band of the whole Britpop movement, arguably reached their pinnacle in the summer of 1996, playing to 250,000 people at Knebworth, a gig of such an immense scale that it seems like an exercise in arrogance and hubris more than a triumph. It all seemed to be downhill from this point.
The fact of the matter is that, to a music fan and at the peak of its success, Britpop seemed like a total hi-jacking of the music I loved, giving it a false sheen and the distasteful glow of showbiz. As the movement put the music that meant so much to me into the hands of the fickle and the shallow, I resented their ownership of it, however temporary. 1997 is the year when it all seemed to go wrong and, although I had loved much of the music over the past couple of years, I was glad when it did. It was the year when the British iconography seemed to matter more than the music, the year that saw Geri Halliwell from The Spice Girls in a Union Flag dress at the Brit Awards, when David Bowie wore the same flag on a jacket on his drum ‘n’ bass experimental album, “Earthling”. Of course, Geri Halliwell and David Bowie had bugger all to do with Britpop, but the lines were really starting to blur (no pun intended). It was also the year when Oasis released the most overblown, indulgent album of their career, “Be Here Now” which, to be fair, had a couple of decent songs under the deafening wall of guitars; the only problem is that every track seemed to go on and on. It committed the worst crime an album could – it was simply boring. However, by the time “Be Here Now” was released in August of that year, it was pretty much all over. In my opinion, the death of Britpop began with the release of Blur’s self-titled album in February of that year; inspired by US lo-fi indie bands Pavement and Sonic Youth, it was an album so different from anything they had done before, it announced that the game had changed. I’ve seen criticism levelled at Blur that this was a cynical move and they simply stole the sound of another band, but the whole tone of the album is fuelled by a meltdown in the band, by Damon Albarn’s heroin use, Alex James’ shallow playboy lifestyle and Graham Coxon’s battle with alcoholism. It has a startling bleakness which turned off some of the band’s more fickle fans, but to others, it was the antidote to a music scene which had started to become a little stale and clichéd.
Some of the best artists of that era seemed to escape the Britpop tag, despite releasing melodic guitar-based indie rock. The Manic Street Preachers, for example, even with their most successful album to date, “Everything Must Go” never seemed to get entangled with the whole Britpop scene. Their fellow Welsh countrymen, Super Furry Animals, released a couple of the most striking albums of the time during the Britpop years and never really seemed to get tarred with the same brush. Teenagers Ash, whose flame burned brightest on their 1996 album, “1977” managed to get lots of column inches in the NME, but very few look back at them and consider them part of the Britpop movement. That, of course, is probably more of a blessing than a curse and is most likely because Britpop was a shamelessly London-centric movement. Artistic groups such as The Divine Comedy and Belle & Sebastian were probably seen as being too “clever” to fit in with the mainstream and Radiohead, despite the quality and success of “The Bends” and the fact that their guitar music met the criteria for Britpop, somehow also escaped that label. Whilst people would select Radiohead tracks on jukeboxes alongside Blur, Oasis and Pulp songs, they always seemed too aloof to be a real part of the popular scene. Indeed, the art-rock brilliance of “OK Computer” was one of the albums that helped signify the end of the popular Britpop movement and told us it was time for us all to grow up and move on.
Britpop faded away rather than suddenly dropping dead. 1997 still saw some really good records being released, such as Supergrass’ second album, “In It For The Money”, “Do It Yourself” by Seahorses (featuring The Stone Roses’ John Squire) and Ocean Colour Scene’s underrated “Marchin’ Already”, but despite a few hangers-on, it seemed quite clear the party was over. The whole “Cool Britannia”, with Noel Gallagher drinking champagne at Downing Street with Tony Blair didn’t help, either. Once Government, put its stamp on something, it ceases to be cool and many bands voiced their dissent about the whole Britpop movement taking on a slightly nationalistic bent. Even England’s presence at the Euro ’96 football tournament had its own excellent, catchy Britpop anthem (written and performed by The Lightning Seeds, with David Baddiel and Frank Skinner) and strengthened the association between national identity and music. It had all started to be a bit too establishment. To be fair to Noel Gallagher, I am of the same generation who grew up with a Conservative government from the age of four until I was twenty-two, so I don’t actually blame him for going to a party held at a place that the sworn enemy had occupied for the past eighteen years and having a triumphant drink with the new Labour Prime Minister. It felt euphoric at the time and the promise of change, however short-lived, was very powerful. Noel wasn’t to know how it was going to turn out; not many of us did, but that’s a subject worthy of a whole other article, so I’ll leave it there.
In essence, Britpop was destroyed by the very thing that created it: the media. Like any fad, it started off as being a fresh, new, exciting celebration of talent and got every single ounce of originality beaten from it by over-exposure and by it becoming part of the establishment that youth culture generally rebels against. It started to crumble when suddenly every guitar act had an instant shot at fame and fell to pieces when the term had been taken over by pop acts like The Spice Girls. By the time the whole hype machine was at its most active, in the summer of 1997, it was already over. What came next in the mainstream was pop blandness, with cyclical interest in rock, indie and whatever the industry decides the kids should be into, led, these days, by Simon Cowell and his never ending X Factor/Pop Idol/Britain’s Got Flatulence type shows. However, it’s not like good indie music has ever gone away, but it is supported by people who love the music rather than by the mainstream. There have been numerous successful post-Britpop indie bands and the death of Britpop didn’t kill the genre completely, but I do feel sorry for the artists who released pretty good albums just when the Britpop genre (if you can call it that) was rapidly falling out of fashion, bands like The Supernaturals, Octopus and Tiger whose début albums are all very worthy and would have probably been successful if they’d all have been released a year earlier than they were.
One of the most annoying characteristics of the multitude of articles looking back at Britpop and the comments about them on Facebook and Twitter is the derision some bands get. “Oh, wasn’t Britpop crap. Menswear! Snigger. Echobelly! Chortle. Marion! Guffaw! Sleeper! Pfft… stop, you’re killing me!”… they’re cheap laughs and they’re unfair. Actually, I can understand people’s reservations about Menswear, seeing as they were pretty much cynically put together by a record company to cash in on the Britpop revolution, but their debut album, “Nuisance”, whilst not a classic, by any means, isn’t the car wreck that people will have you believe. True, there are a handful of wince-worthy moments, but believe it or not, there are a moment or two of greatness; “I’ll Manage Somehow”, for example, stands side-by-side with some of the best indie pop from that era and “Piece Of Me” is a particularly tasteful helping of melancholia. What has to be remembered is that although it’s a hastily cobbled together album, there were at least a couple of talented people in that band, people whose love of music is reflected by what they’re doing today. Naturally, it’s difficult to feel too sorry for them and the reputation of the band, knowing how much they got paid for such a brief career, but that highlights the madness that was the Britpop Camden scene.
Echobelly, for some reason, seem to get their unfair share of snide remarks for a band that certainly weren’t crap. In fact, they were responsible for a couple of enjoyable, more than competent albums that demonstrated good musicianship, wit and ear for a great melody. The same could be said about Sleeper, Shed Seven and many others that people enjoy putting down; these bands are responsible for more than a few really excellent songs. I even bought the first Northern Uproar album for a few pennies last year just to see if it was half as bad as I expected it to be at the time and was almost disappointed to find that it wasn’t actually that terrible (I wouldn’t recommend it, however). Oh, and Marion, as short-lived as they were, were pretty bloody fantastic; their first album is evidence of their energy, ability and creativity. I get the impression that people who take the piss out of these bands have never listened to the albums. Certainly not actually sat down listened to them, twenty years later, and re-appraised just how good they were. Their loss, because the vast majority of the music really stands the test of time and, oddly enough, some albums I loved when they were released have revealed themselves to be even better with time.
It could be argued that Britpop went on beyond 1997, but, realistically, the wind had been taken out of the sails of the genre and the so-called second generation of Britpop artists, such as Rialto, Gay Dad, Theaudience and Snow Patrol met with considerably less enthusiasm and certainly diminished commercial success, although one of those bands obviously persevered and broke though (no prizes for spotting which one). Of course, you could argue that the lack of success was down to their material, but I would bet my next wage packet on the fact that Rialto, if they’d released their début album in 1994 and not 1998, would have been one of the big names of the scene. The artists who made their names during the era carried on, with varying success. Some, like Oasis, struggled to repeat their Britpop success. Others, like Supergrass, made their best albums once they had escaped the shadow of the label and Pulp helped put another nail in the coffin of Britpop with 1998’s brilliant but dark “This Is Hardcore” before splitting a few years later after one final album.
To surmise, I think it’s perfectly fine to hate the Britpop tag and all the idiotic connotations of the term. I certainly do, especially when it’s used by Americans who give the label to bands who had bugger all to do with that era, but to be dismissive and derisive about bands from a beautifully creative few years is foolish, to say the least. There were very few successful bands that got together to cynically exploit the popularity of melodic indie, if any. There was no Britpop band factory spitting out blokes in Parka jackets complete with earnest expression and a ready-tuned guitar trying to get people to part with their money, just lots and lots of individual bands who became very famous and successful within a very short period of time, many of whom had been playing for a good few years with very little success before a freak of fashion catapulted them into the limelight. To put down a genre of music from a period that included all the bands I have mentioned so far, plus superb albums from the likes of Black Grape, Dodgy, Space, Gene, The Bluetones, Heavy Stereo, Longpigs and My Life Story – you either don’t like this kind of music at all or you’re a bit of an idiot. The fact is, the very best music of those three short but prolific years lies a little deeper than “Parklife”, “Don’t Look Back In Anger”, “Wonderwall” and any over-used music clip that Channel 4 will use to illustrate a story based on that period of time. The exception to this, of course, is Pulp’s “Common People”, which is one of the few tracks that gets played regularly and justifies its timeless popularity, despite some clueless bumpkin from Coventry saying that it sounded like it was played on a Bontempi keyboard when he first heard it. He knew nothing, but has hopefully learned a little since then.
Andy Sweeney, April 2014.
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https://www.scribd.com/document/76840079/Britpop-and-Its-Influences
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Britpop and Its Influences
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Britpop and Its Influences - Free download as PDF File (.pdf), Text File (.txt) or read online for free. Britpop refers to the four bands that made the biggest impact in the mid-1990s. The majority of the bands associated with Britpop (willingly or otherwise) were English. The influence of The Smiths was common to the majority of Britpop artists.
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https://s-f.scribdassets.com/scribd.ico?f0445a4f2?v=5
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Scribd
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https://www.scribd.com/document/76840079/Britpop-and-Its-Influences
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https://tgtrs.wordpress.com/2021/05/24/who-won-the-battle-of-britpop/
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Who Won The Battle of Britpop?
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"~ That Guy"
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2021-05-24T00:00:00
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If you want to look at a cultural moment like Britpop, you can't look at a single chart race, but rather, at the war itself.
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Those Guys That Review Stuff
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https://tgtrs.wordpress.com/2021/05/24/who-won-the-battle-of-britpop/
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Britpop. What a wild few years that was, eh? Cultural moment, they call it nowadays, as opposed to being an actual genre, but I think there’s merit in both descriptions. I am, after all, a seasoned provider of opinion about music. The seasoning is a basic salt and pepper rub, but it’s still seasoning! So what do I make of the Battle of Britpop? We know that, officially speaking, the Battle of Britpop was a single chart-race between Oasis and Blur, with Blur winning out by a Country House mile, but if you want to look at a cultural moment like Britpop, you can’t look at a single chart race, but rather, at the war itself.
So, buckle up, and we’ll go on an adventure to explore the Battle of Britpop properly, shall we?
Now, between you, me, and that person reading over your shoulder (Hi Dave!) I was a bit young when Britpop was in its prime, so I’ve had to do a bit of research and according to that research, there was a quartet of bands referred to as the “big four” – Oasis, Blur, Suede and Pulp. I had heard of all of these, and in fact, three of these feature on the playlist from our music suggestions page. But, I’ll be as fair as I can, and incorporate facts and figures into the matter rather than just relying on – ugh – feelings.
So, we’ll do a proper comparison in a tournament style. It’ll be fun, you’ll love it. And if not, it gives me a chance to mess about with some pictures and websites. To start, I’ve gone to Challonge.com, who have a tournament bracket generator, plugged in the four names, and it randomly generated the below tournament for us to start with. We’ll go through, deciding who wins section 1, section 2, the 3rd place match, and then the final. Let’s get on with it, shall we? Should be fun!
Oasis vs. Suede
Honestly, I’m not entirely sure I can be impartial on this one, so we’ll resort entirely to statistics.
On the face of it, Oasis won out there, and honestly, I prefer them to Suede, myself. Match goes to Oasis.
Blur vs. Pulp
I don’t know for sure which band I was introduced to first of the two, but I’ve been aware of them both for many, many years. I remember being shown the Common People video and thinking “what the hell is the guy doing in a trolley, and why would she leave Greece to study sculpture?”, and I also remember blasting Parklife in the car on the way to do the shopping last week and singing along, so they’ve both given me positive memories.
It’s awkward, cos as a rule, I prefer Pulp‘s sound, but, so far, I prefer more of Blur‘s songs. You can’t beat the likes of Country House, Song 2 or Girls and Boys, but you also can’t beat the likes of Disco 2000 or Sorted For E’s & Wizz, so it’s a real tough one. I’m going to give it to Blur. Don’t hate on me for it, just accept that you’re allowed to disagree.
Looks alright, doesn’t it? I went with stars instead of crowns, but the message gets across still. And considering it’s been edited in paint, I’m sure we can allow a few inconsistencies. Let’s resolve the 3rd place ranking.
Suede vs. Pulp
In order to try and keep this fair, let’s have a look at two specific songs, one from each, and compare them. In order to keep this fair, we’ll do songs about the same topic, in this case, drug use, cos that’s a rock and roller move, isn’t it? I would normally insert a picture of someone who looks like they’ve had a particularly rough time of it with drugs, here, and make some joke about this being a now-washed-up rock star, but let’s be honest, I can just do a picture of Ronnie Wood and get the same message across.
So, drug use songs. Let’s go with So Young by Suede and Sorted For E’s And Wizz for Pulp. The former refers to the experience of taking drugs, with the repeated line “let’s chase the dragon”, something commonly associated with smoking heroin. Not so subtle. The latter has a more upbeat look at drug use at a festival of some sort – potentially Glastonbury, though it can’t be, cos it references Hampshire, and Glastonbury is in Somerset. Oddly though, I just found out it was debuted at Glastonbury, so that’s something.
The former looks at taking drugs as a consequence of misspent youth, whilst the other looks at it as an experience altering occasion, whilst also highlighting the possible consequences of partaking of whatever E’s and Wizz are. One assumes ecstasy and some other substance.
I prefer Sorted For E’s And Wizz by a long shot. It’s a more cheerful song, it’s a happier song, even when looking at the controversial topic of drug use. It’s mellow – no real stress until towards the end, and even then, it’s a sort of chilled out stress – like I would assume someone tripping out might have. I wouldn’t know, I’ve never done MDMA. Unless you count listening to the Madonna album.
So, Pulp wins that one, putting them in 3rd place in the Battle of Britpop. What does that do for the standings?
So that brings us to the final. Who won the Battle of Britpop, between Oasis and Blur?
Oasis vs. Blur
Part of me hoped it wouldn’t come down to this pair, but in my gut, when I started this post, I just knew it had to. There’s a reason they’re the two the media focussed on, and it’s because they’re the big ones of the big four. They were the ones to watch, and watch we did. So, to make this fair, I’m going to do the same thing I did for 3rd place, but twice. We’re going to look at the official “Battle of Britpop” songs – Country House, and Roll With It – and then the ones that, in retrospect, Noel Gallagher thought it should have been between – Girls & Boys, and Cigarettes & Alcohol. I’ll be doing this by scoring each song out of – unusually for us – five, and then combining each band’s scores to give them a score out of ten. The winner is the one with the highest score. Seems simple enough, right? Then let’s go!
So there we have it. The final standings. In fourth place, Suede, in 3rd, Pulp, Oasis in 2nd, and then Blur, the official TGTRS winners of the Battle Of Britpop. The final tournament image is below, because I’ve made the others and it seems daft not doing the last one too.
As always – and be aware, I only highlight it because we mean it – get in touch if you agree, disagree, whatever. Let us know what you think, and if you think differently, convince us of why you’re right and we’re wrong. I love a good discussion.
-That Guy
Additional Comment: Personally, though, I think my favourite songs from each band are Parklife and Half The World Away. Very different songs, but both amazing.
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https://www.lyrics.com/lyric/3918203/Pulp/Disco%2B2000
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Pulp - Disco 2000 Lyrics
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Disco 2000 Lyrics by Pulp from the Now: 1996 album- including song video, artist biography, translations and more: Oh we were born within one hour of each other
Our mothers said we could be sister and brother
Your name is Deborah, D…
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PDF Playlist
Disco 2000
Pulp
Year:
1999
4:49
419 Views
Playlists:
#1
Become A Better Singer In Only 30 Days, With Easy Video Lessons!
Oh we were born within one hour of each other Our mothers said we could be sister and brother Your name is Deborah, Deborah It never suited ya And they said that when we grew up We'd get married, and never split up Oh, we never did it, although I often thought of it Oh Deborah, do you recall? Your house was very small With wood chip on the wall When I came around to call You didn't notice me at all And I said let's all meet up in the year 2000 Won't it be strange when we're all fully grown Be there 2 o'clock by the fountain down the road I never knew that you'd get married I would be living down here on my own On that damp and lonely Thursday years ago You were the first girl at school to get breasts And Martyn said that you were the best Oh the boys all loved you, but I was a mess I had to watch them trying to get you undressed We were friends, that was as far as it went I used to walk you home sometimes but it meant Oh, it meant nothing to you 'Cause you were so popular Deborah do you recall? Your house was very small With woodchip on the wall When I came around to call You didn't notice me at all And I said let's all meet up in the year 2000 Won't it be strange when we're all fully grown Be there 2 o'clock by the fountain down the road I never knew that you'd get married I would be living down here on my own On that damp and lonely Thursday years ago Do it Oh yeah Oh yeah Ah Deborah do you recall? Oh, your house was very small With wood chip on the wall When I came around to call You didn't notice me at all And I said let's all meet up in the year 2000 Won't it be strange when we're all fully grown Be there 2 o'clock by the fountain down the road I never knew that you'd get married I would be living down here on my own On that damp and lonely Thursday years ago Oh what are you doing Sunday baby Would you like to come and meet me maybe? You can even bring your baby Oh ooh ooh ooh ooh ooh ooh What are you doing Sunday baby Would you like to come and meet me maybe? You can even bring your baby Ooh ooh oh oh ooh ooh ooh Ooh ooh ooh ooh ooh
Become A Better Singer In Only 30 Days, With Easy Video Lessons!
0 fans
Sheet Music PDF Playlist
Written by: Candida Doyle, Jarvis Branson Cocker, Mark Andrew Webber, Nick Banks, Russell Senior, Stephen Patrick Mackey
Lyrics © BMG Rights Management, Universal Music Publishing Group, Kobalt Music Publishing Ltd.
Lyrics Licensed & Provided by LyricFind
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Apple Music
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Listen to music by Pulp on Apple Music. Find top songs and albums by Pulp including Common People (Full Length Version), Disco 2000 and more.
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https://music.apple.com/us/artist/pulp/312518
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https://aesthetics.fandom.com/wiki/Britpop
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Britpop was a British music movement that emerged in the early 1990s and became particularly influential during the mid-1990s. It was characterized by bands that took inspiration from the British pop music of the 1960s and the punk rock and indie pop of the 1970s and 1980s The movement was seen...
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Aesthetics Wiki
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https://aesthetics.fandom.com/wiki/Britpop
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This page needs work. Please help us by expanding it. If you aren't sure how to help, check the article guide Format and Content
Britpop was a British music movement that emerged in the early 1990s and became particularly influential during the mid-1990s. It was characterized by bands that took inspiration from the British pop music of the 1960s and the punk rock and indie pop of the 1970s and 1980s The movement was seen as a reaction to the grunge music that dominated the early '90s, which originated from the United States. Britpop bands sought to produce bright, catchy alternative rock that was distinctly British, both in sound and attitude.
History[]
The term “Britpop” itself was coined by the media and was part of a larger British cultural movement known as “Cool Britannia,” which aimed to celebrate British culture and creativity This period saw a resurgence of interest in British fashion, art, and politics, with the music scene being at the forefront of this revival.
Some of the most prominent bands associated with Britpop were Oasis, Blur, Suede, and Pulp, often referred to as the “big four” of the movement1. These bands, while each having their unique style and influences, shared common traits such as catchy melodies, sharp lyrics, and a reverence for past British pop sounds. Oasis, for example, drew heavily from The Beatles, while Blur was influenced by The Kinks and the mod subculture.
The peak of Britpop is often marked by the famous chart battle between Blur and Oasis in 1995, which was dubbed “The Battle of Britpop” and received extensive media coverage. This rivalry was symbolic of the larger cultural and musical impact of the movement, which had by then become a defining feature of 1990s British pop culture.
Britpop as a whole fizzled out by 1997. This was due to several major events in 1997:
Blur released their fifth studio album "Blur" in February 1997, which marked a departure from Britpop and saw the band dabbling in alternative rock, indie rock and lo-fi.
Oasis released their third studio album "Be Here Now" in August 1997, which went on to receive overwhelmingly negative reviews for being overproduced, bloated and lengthy.
The death of Princess Diana in August 1997.
Spice Girls debut in 1996 seemed to recapture Pop's supremacy back to UK radio and Ok Computer stole the spotlight in 1997.
Many saw the death knell with Pulp's This Is Hardcore in 1998 abandoning the former Britpop sound and ending that band.
However, there has been a resurgence of Britpop shortly after it's "demise" called Post-Britpop. Post-Britpop is a derivative form of Britpop that emerged in the 2000's with groups such as Coldplay, Travis, Keane, and Snow Patrol. By musically straying away from the sounds of 1960s British guitar groups, favoring those crafted by more contemporary, non-British groups instead (aside from their Britpop predecessors, including Oasis and Blur), and by emphasizing more contemplative songwriting styles.
There also existed the British Indie Rock Revival around the same period. NME focused mostly on a set of Indie Rock revivals, with most of it focused on the raw sounding Garage Rock Revival and the tighter sounding Post Punk Revival. Both of these kicked off thanks to The Strokes early success abroad and the rest of their NYC Indie Scene. The UK countered with a host of Indie Rock Revival bands of their own; The Libertines, Franz Ferdinand, Bloc Party, Maxïmo Park, Kaiser Chiefs, and Arctic Monkeys. The first wave of these bands found success and classic releases before a surplus of less original bands eventually lead to the derivative moniker of Landfill Indie that mockingly described the latter half of this movement.
Music[]
Artists[]
Blur
Oasis
Pulp
Elastica
Suede
The Verve
Rialto
The Divine Comedy
Saint Etienne
The Seahorses
Shed Seven
Silver Sun
Echobelly
Sleeper
Stereophonics
Strangelove
Ash
Super Furry Animals
The Supernaturals
These Animal Men
Travis
Complete list on Wikipedia.
Songs[]
"End of a Century" - Blur
"Wonderwall" - Oasis
"Common People" - Pulp
"Animal Nitrate" - Suede
Resources[]
External links to help get a better understanding of this aesthetic.
Guides:[]
RYM Ultimate Box Set > Britpop
Britpop on Rate Your Music
RYM Ultimate Box Set > Post-Britpop
Post-Britpop on Rate your Music
Playlists[]
YouTube:
Top 200 Greatest Britpop Songs by Mr Secondsoul
The Ultimate Britpop Playlist by Doogie
Something For The Weekend - Britpop Classics by G Rock
British Pop Music 2022 ♫ Best UK Pop Songs 2022 Playlist by MEDLEY.ARTEMIS
Cool Britannia: '90s Britpop by YouTube Music
Cool Britannia - Ultimate Britpop Playlist by RoadTrip NewEngland
Spotify:
Britpop music by Spotify
90's Britpop by Spotify
BRIT-POP CLASSICS by STUART BLEAZARD
Britpop 90's by Adrian Hughes
Britpop Playlist by NME
Britpop Archive (Top Britpop Anthems) by Lennon
Gallery[]
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https://www.imdb.com/title/tt12253094/
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en
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Pulp: Disco 2000 (Music Video 1995)
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1995-11-27T00:00:00
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Pulp: Disco 2000: Directed by Pedro Romhanyi. With Jarvis Cocker, Pulp, Jo Skinny, Pat Skinny.
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https://www.imdb.com/title/tt12253094/
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Disco 2000
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http://davemacleod.blogspot.com/2015/08/disco-2000.html
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Dave MacLeod blog: Disco 2000
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Disco 2000, 8a+ Blåmman from Dave MacLeod on Vimeo . The video above takes in some of the great climbing on Disco 2000. The pitches...
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Britpop: A 20 year anniversary celebration…
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It has been decreed that “Britpop” is twenty years old this year and it, therefore, is time for lots of journalists to look back and either fondly reminisce about the time when some genuinely great music, the sort of thing that exists only on the fringe these days, became mainstream or decide that it was…
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en
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The Album Preservation Society
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https://andrewdsweeney.wordpress.com/2014/04/29/britpop-a-20-year-anniversary-celebration/
|
It has been decreed that “Britpop” is twenty years old this year and it, therefore, is time for lots of journalists to look back and either fondly reminisce about the time when some genuinely great music, the sort of thing that exists only on the fringe these days, became mainstream or decide that it was a fake, faux-patriotic pile of claptrap that allowed lots of substandard indie bands to jump on the bandwagon. The truth, as always, lies somewhere in-between the two absolutes and it’s all a matter of opinion as to which end of the scale it actually rests. I have read quite a few articles with interest and have been surprised by the harsh tone of some of them, especially Taylor Parkes’ enjoyable assassination, “A British Disaster: Blur’s Parklife, Britpop, Princess Di & the 1990s” for The Quietus, and they have inspired me to commit my thoughts to writing, mainly because that era of music is very close to my heart. Firstly, I have to say that I loathe the term “Britpop”. It is not only a bit of a naff term, it seems to have a huge amount of negative connotations these days, only really representing the most popular and plastic aspect of British musical culture at the time. However, after the domination of primarily American music from the grunge movement in the early nineties (Nirvana, Pearl Jam, Soundgarden et al), the fact that there was a mainstream shift in popular taste from the US bands (which arguably ended when Kurt Cobain decided to take his own life in April 1994) to up and coming home-grown talent, such as Blur, Suede and, yes, Oasis, all appeared to offer something fresh, new and unashamedly British, all steeped in the legacy of The Beatles, The Kinks, David Bowie, The Buzzcocks and The Jam.
It’s all a bit vague as to when Britpop actually started and it’s pretty much a certainty that there was no cynical attempt to start a movement from any of the bands involved. Oasis and Blur, the two heavyweight contenders of Britpop who the media seemed to mainly concentrate upon, came from two very different places in their career. The rookie Noel Gallagher, with a bunch of songs he wrote whilst being a roadie with Inspiral Carpets together with his brash brother couldn’t have a clue of how successful “Definitely Maybe” was going to be. Blur, working on their third album which was, essentially, their last shot at making it in the music industry, were just trying to write a good album that would finally get them into the big time or, at the very least, get them a new record deal. Both had aspirations, I’m sure, but the origins of the two bands couldn’t be more different. Oasis’ brand of working-class confidence and swagger against Blur’s tales of detachment, alienation and human fragility; the northern salt-of-the-Earth Oasis against the posh art-school mockney Blur were a sensationalist newspaper and music magazine’s wet dream. For people who really knew the music scene, though, there was an awful lot more to it than just Blur and Oasis and those who got caught up in the near football-club polarised rivalry of which tribe you belonged to were missing the bigger picture anyway.
I turned 19 years old in the summer of 1994, still smarting from the death of Kurt Cobain. I had started working in a record store in Coventry and was a fierce advocate of ‘proper’ guitar music, having embraced the grunge scene wholeheartedly, after a childhood of Beatles and Bowie and my formative mid teen years spent listening to Alice Cooper, Guns ‘n’ Roses and Extreme. When I heard Oasis’ “Rock ‘n’ Roll Star” and “Shakermaker” for the first time, I thought they weren’t bad, but they seemed a little basic and cartoonish. That all changed when I heard “Slide Away” and “Live Forever”, usually at top volume at a city centre pub with work colleagues and those songs, together with “Cigarettes & Alcohol”, T-Rex riff and all, turned me into a believer. The first Blur songs I heard, “Girls and Boys” and “Parklife” made me instantly hate them; Damon’s mockney singing voice made it sound as if they were taking the piss. Then, one day, I happened to hear “End Of A Century” and liked it. Really, really liked it, much to my annoyance. I reluctantly spent the pittance I got paid for my part-time job on a copy of “Parklife” and realised what an idiot I had been, as I melted to the sound of “Badhead”, “To The End” and “This Is A Low”.
1994 turned into an incredible year for music with Suede releasing their seminal “Dog Man Star”, Elvis Costello producing the magnificent “Brutal Youth”, Portishead’s trip-hop revelation “Dummy” expanding my musical horizon and the Manic Street Preachers’ life-changing masterpiece “The Holy Bible” also being released; all four albums, I have to say, being way more important to me than both the Blur or Oasis releases at the time, as good as they were. Then, of course, there were still excellent albums coming in from the USA, such as Green Day’s “Dookie”, Grant Lee Buffalo’s “Mighty Joe Moon”, R.E.M.’s “Monster”, Weezer’s self-titled “Blue” album, Jeff Buckley’s sublimely beautiful “Grace” and Soundgarden’s “Superunknown” featuring the huge MTV hit, “Black Hole Sun”. Considering the amount of non-British albums that dominated my trusty portable cassette player (I couldn’t afford a real Sony Walkman), it didn’t exactly feel as if the Brit bands had quite conquered the world. Indeed, one of the most highly anticipated albums of the year, The Stone Roses’ “Second Coming” was a massive disappointment to Stone Roses fans and a bit of a commercial flop compared to what it could have been. It really should have been one of the most important British bands in recent history heading a resurgence in British music, but it turned out to be a bit of a damp squib for many people, with guitarist John Squire seemingly having listened to a lot of Led Zeppelin records prior to making an album jam packed with Jimmy Page-esque blues-rock riffs. Actually, I really quite liked it.
Despite the excitement I felt at discovering some excellent new bands, the rise of Blur and Oasis didn’t particularly feel like a movement at that point, more like a continuation of good, indie music that had been around for a while, but it was the fact that people were sitting up and starting to really notice it, instead of just people like me who religiously bought every music weekly and monthly magazine, that is what had changed. Just like every other popular art-form, it only seemed to become important when the media decided it should and, although the term Britpop had been coined in the late eighties and the melodic indie bands with sixties and seventies classic influences that rose as a counterpoint to the shoegazing band had actually started in around 1992, the media decided that everything was fresh and brand new in 1994 which was, really, not true at all. Suede’s Brett Anderson, for example, had appeared on the April 1993 edition of Select magazine draped in a Union Flag, together with the caption “Yanks Go Home!”. If that isn’t an example of a Britpop icon, then I don’t know what is. However, the mainstream success of big indie bands in 1994 opened the doors to other musicians who had, up to that point, been only modestly successful, as well as making some newcomers to the scene ridiculously popular almost instantly.
1995 saw the release of new albums by Oasis, the massive selling “(What’s The Story) Morning Glory” and Blur, with “The Great Escape”. Although the latter received many rave reviews, history and hindsight hasn’t judged it as kindly, although I, personally, think it has some undeniably excellent tracks and much prefer it to Oasis’ effort. The year also saw emergence of albums by the punky Elastica, Sleeper and Supergrass, who were all catapulted into instant stardom by a press eager for fresh meat on the scene. Some of the more established artists who had been producing good music for quite a while got noticed a lot more because of the spotlight on British music. Teenage Fanclub’s excellent “Grand Prix” got the acclaim it deserved and Paul Weller’s “Stanley Road”, as great as it was, got the praise that its superior predecessor “Wild Wood” should have received. The Charlatans’s self-titled fourth albums meant that many people discovered their existence for the first time and Cast, a band formed by ex-La’s bassist, John Power, were responsible for “All Change”, one of the surprise hits of the year. The Boo Radleys also joined the list of Britpop artists with one of the feel-good hits of the summer, “Wake Up Boo”, and the subsequent album “Wake Up!”, the change of direction on which was met with discontent by many of their existing fan-base.
The biggest comeback kids, of course, were Pulp. I remember lots of people at the time referring to their incredible début album “Different Class”, when Jarvis Cocker and the band had been releasing records since the early eighties. I’m not being too superior, because I’d only ever heard of “His ‘n’ Hers” and that’s only because it had been advertised in Viz and was nominated for the Mercury Music Prize the year before. In fact, when I first heard “Common People”, I instantly dismissed it as terrible because, according to my sage wisdom at the time, “it sounded as if it was being played on a Bontempi keyboard”. Yes, I was an idiot, you don’t have to tell me. “Different Class” was, aptly, in a different class to most records (and won the Mercury Music Prize in 1996). When Blur sang about working-class alienation, it seemed like they were trying to write a clever song about something they didn’t really understand. When Jarvis Cocker sang about working-class alienation, rum and coca-cola and wood-chip on the wall, it felt like he was telling us about his life and a life that most working-class people could relate to, myself included. They remain one of the only bands to escape from Britpop with their reputation in tact.
The whole Blur v Oasis farce rose to its fervent peak in the summer of 1995 when there was a completely manufactured battle for the number one single position between Oasis’ “Roll With It” and Blur’s “Country House”. Neither was either band’s best song by a long way, but Blur emerged as victors of that particular skirmish and the idiotic hype that surrounded the “battle” catapulted Britpop onto the front pages of British tabloids whilst the crisis in the Balkans got relegated to a few column inches within the papers. It was at that point the key-players from Blur got a nasty taste in their mouths, felt as if everybody was being manipulated and retreated from the spotlight to concentrate on the music (well, all apart from Alex James, of course). The music scene rode on this belief in British talent over the next year and 1996 gave an opening for Ocean Colour Scene’s album full of retro anthems “Moseley Shoals” to sell a bucketload, for Shed Seven’s “A Maximum High” to get airplay it probably wouldn’t have a couple of years previously, for the Bernard Butler-less Suede to release “Coming Up”, one of their most jubilant records, and for Sleeper’s “The It Girl” to become the most successful album they were ever going to enjoy. The Boo Radleys amusingly freaked the hell out of all the fickle people who only liked them because of “Wake Up Boo!” by releasing the follow-up, “C’mon Kids”, a purposely loud, challenging record, sabotaging their short-lived Britpop career. Oasis, the biggest band of the whole Britpop movement, arguably reached their pinnacle in the summer of 1996, playing to 250,000 people at Knebworth, a gig of such an immense scale that it seems like an exercise in arrogance and hubris more than a triumph. It all seemed to be downhill from this point.
The fact of the matter is that, to a music fan and at the peak of its success, Britpop seemed like a total hi-jacking of the music I loved, giving it a false sheen and the distasteful glow of showbiz. As the movement put the music that meant so much to me into the hands of the fickle and the shallow, I resented their ownership of it, however temporary. 1997 is the year when it all seemed to go wrong and, although I had loved much of the music over the past couple of years, I was glad when it did. It was the year when the British iconography seemed to matter more than the music, the year that saw Geri Halliwell from The Spice Girls in a Union Flag dress at the Brit Awards, when David Bowie wore the same flag on a jacket on his drum ‘n’ bass experimental album, “Earthling”. Of course, Geri Halliwell and David Bowie had bugger all to do with Britpop, but the lines were really starting to blur (no pun intended). It was also the year when Oasis released the most overblown, indulgent album of their career, “Be Here Now” which, to be fair, had a couple of decent songs under the deafening wall of guitars; the only problem is that every track seemed to go on and on. It committed the worst crime an album could – it was simply boring. However, by the time “Be Here Now” was released in August of that year, it was pretty much all over. In my opinion, the death of Britpop began with the release of Blur’s self-titled album in February of that year; inspired by US lo-fi indie bands Pavement and Sonic Youth, it was an album so different from anything they had done before, it announced that the game had changed. I’ve seen criticism levelled at Blur that this was a cynical move and they simply stole the sound of another band, but the whole tone of the album is fuelled by a meltdown in the band, by Damon Albarn’s heroin use, Alex James’ shallow playboy lifestyle and Graham Coxon’s battle with alcoholism. It has a startling bleakness which turned off some of the band’s more fickle fans, but to others, it was the antidote to a music scene which had started to become a little stale and clichéd.
Some of the best artists of that era seemed to escape the Britpop tag, despite releasing melodic guitar-based indie rock. The Manic Street Preachers, for example, even with their most successful album to date, “Everything Must Go” never seemed to get entangled with the whole Britpop scene. Their fellow Welsh countrymen, Super Furry Animals, released a couple of the most striking albums of the time during the Britpop years and never really seemed to get tarred with the same brush. Teenagers Ash, whose flame burned brightest on their 1996 album, “1977” managed to get lots of column inches in the NME, but very few look back at them and consider them part of the Britpop movement. That, of course, is probably more of a blessing than a curse and is most likely because Britpop was a shamelessly London-centric movement. Artistic groups such as The Divine Comedy and Belle & Sebastian were probably seen as being too “clever” to fit in with the mainstream and Radiohead, despite the quality and success of “The Bends” and the fact that their guitar music met the criteria for Britpop, somehow also escaped that label. Whilst people would select Radiohead tracks on jukeboxes alongside Blur, Oasis and Pulp songs, they always seemed too aloof to be a real part of the popular scene. Indeed, the art-rock brilliance of “OK Computer” was one of the albums that helped signify the end of the popular Britpop movement and told us it was time for us all to grow up and move on.
Britpop faded away rather than suddenly dropping dead. 1997 still saw some really good records being released, such as Supergrass’ second album, “In It For The Money”, “Do It Yourself” by Seahorses (featuring The Stone Roses’ John Squire) and Ocean Colour Scene’s underrated “Marchin’ Already”, but despite a few hangers-on, it seemed quite clear the party was over. The whole “Cool Britannia”, with Noel Gallagher drinking champagne at Downing Street with Tony Blair didn’t help, either. Once Government, put its stamp on something, it ceases to be cool and many bands voiced their dissent about the whole Britpop movement taking on a slightly nationalistic bent. Even England’s presence at the Euro ’96 football tournament had its own excellent, catchy Britpop anthem (written and performed by The Lightning Seeds, with David Baddiel and Frank Skinner) and strengthened the association between national identity and music. It had all started to be a bit too establishment. To be fair to Noel Gallagher, I am of the same generation who grew up with a Conservative government from the age of four until I was twenty-two, so I don’t actually blame him for going to a party held at a place that the sworn enemy had occupied for the past eighteen years and having a triumphant drink with the new Labour Prime Minister. It felt euphoric at the time and the promise of change, however short-lived, was very powerful. Noel wasn’t to know how it was going to turn out; not many of us did, but that’s a subject worthy of a whole other article, so I’ll leave it there.
In essence, Britpop was destroyed by the very thing that created it: the media. Like any fad, it started off as being a fresh, new, exciting celebration of talent and got every single ounce of originality beaten from it by over-exposure and by it becoming part of the establishment that youth culture generally rebels against. It started to crumble when suddenly every guitar act had an instant shot at fame and fell to pieces when the term had been taken over by pop acts like The Spice Girls. By the time the whole hype machine was at its most active, in the summer of 1997, it was already over. What came next in the mainstream was pop blandness, with cyclical interest in rock, indie and whatever the industry decides the kids should be into, led, these days, by Simon Cowell and his never ending X Factor/Pop Idol/Britain’s Got Flatulence type shows. However, it’s not like good indie music has ever gone away, but it is supported by people who love the music rather than by the mainstream. There have been numerous successful post-Britpop indie bands and the death of Britpop didn’t kill the genre completely, but I do feel sorry for the artists who released pretty good albums just when the Britpop genre (if you can call it that) was rapidly falling out of fashion, bands like The Supernaturals, Octopus and Tiger whose début albums are all very worthy and would have probably been successful if they’d all have been released a year earlier than they were.
One of the most annoying characteristics of the multitude of articles looking back at Britpop and the comments about them on Facebook and Twitter is the derision some bands get. “Oh, wasn’t Britpop crap. Menswear! Snigger. Echobelly! Chortle. Marion! Guffaw! Sleeper! Pfft… stop, you’re killing me!”… they’re cheap laughs and they’re unfair. Actually, I can understand people’s reservations about Menswear, seeing as they were pretty much cynically put together by a record company to cash in on the Britpop revolution, but their debut album, “Nuisance”, whilst not a classic, by any means, isn’t the car wreck that people will have you believe. True, there are a handful of wince-worthy moments, but believe it or not, there are a moment or two of greatness; “I’ll Manage Somehow”, for example, stands side-by-side with some of the best indie pop from that era and “Piece Of Me” is a particularly tasteful helping of melancholia. What has to be remembered is that although it’s a hastily cobbled together album, there were at least a couple of talented people in that band, people whose love of music is reflected by what they’re doing today. Naturally, it’s difficult to feel too sorry for them and the reputation of the band, knowing how much they got paid for such a brief career, but that highlights the madness that was the Britpop Camden scene.
Echobelly, for some reason, seem to get their unfair share of snide remarks for a band that certainly weren’t crap. In fact, they were responsible for a couple of enjoyable, more than competent albums that demonstrated good musicianship, wit and ear for a great melody. The same could be said about Sleeper, Shed Seven and many others that people enjoy putting down; these bands are responsible for more than a few really excellent songs. I even bought the first Northern Uproar album for a few pennies last year just to see if it was half as bad as I expected it to be at the time and was almost disappointed to find that it wasn’t actually that terrible (I wouldn’t recommend it, however). Oh, and Marion, as short-lived as they were, were pretty bloody fantastic; their first album is evidence of their energy, ability and creativity. I get the impression that people who take the piss out of these bands have never listened to the albums. Certainly not actually sat down listened to them, twenty years later, and re-appraised just how good they were. Their loss, because the vast majority of the music really stands the test of time and, oddly enough, some albums I loved when they were released have revealed themselves to be even better with time.
It could be argued that Britpop went on beyond 1997, but, realistically, the wind had been taken out of the sails of the genre and the so-called second generation of Britpop artists, such as Rialto, Gay Dad, Theaudience and Snow Patrol met with considerably less enthusiasm and certainly diminished commercial success, although one of those bands obviously persevered and broke though (no prizes for spotting which one). Of course, you could argue that the lack of success was down to their material, but I would bet my next wage packet on the fact that Rialto, if they’d released their début album in 1994 and not 1998, would have been one of the big names of the scene. The artists who made their names during the era carried on, with varying success. Some, like Oasis, struggled to repeat their Britpop success. Others, like Supergrass, made their best albums once they had escaped the shadow of the label and Pulp helped put another nail in the coffin of Britpop with 1998’s brilliant but dark “This Is Hardcore” before splitting a few years later after one final album.
To surmise, I think it’s perfectly fine to hate the Britpop tag and all the idiotic connotations of the term. I certainly do, especially when it’s used by Americans who give the label to bands who had bugger all to do with that era, but to be dismissive and derisive about bands from a beautifully creative few years is foolish, to say the least. There were very few successful bands that got together to cynically exploit the popularity of melodic indie, if any. There was no Britpop band factory spitting out blokes in Parka jackets complete with earnest expression and a ready-tuned guitar trying to get people to part with their money, just lots and lots of individual bands who became very famous and successful within a very short period of time, many of whom had been playing for a good few years with very little success before a freak of fashion catapulted them into the limelight. To put down a genre of music from a period that included all the bands I have mentioned so far, plus superb albums from the likes of Black Grape, Dodgy, Space, Gene, The Bluetones, Heavy Stereo, Longpigs and My Life Story – you either don’t like this kind of music at all or you’re a bit of an idiot. The fact is, the very best music of those three short but prolific years lies a little deeper than “Parklife”, “Don’t Look Back In Anger”, “Wonderwall” and any over-used music clip that Channel 4 will use to illustrate a story based on that period of time. The exception to this, of course, is Pulp’s “Common People”, which is one of the few tracks that gets played regularly and justifies its timeless popularity, despite some clueless bumpkin from Coventry saying that it sounded like it was played on a Bontempi keyboard when he first heard it. He knew nothing, but has hopefully learned a little since then.
Andy Sweeney, April 2014.
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https://www.slideshare.net/slideshow/britpop-28598675/28598675
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en
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Britpop- codes and conventions
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2013-11-25T06:57:53+00:00
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Britpop- codes and conventions - Download as a PDF or view online for free
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en
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https://public.slidesharecdn.com/_next/static/media/favicon.7bc3d920.ico
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SlideShare
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https://www.slideshare.net/slideshow/britpop-28598675/28598675
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3. Codes and Conventions • How do we recognise the Britpop genre? • Colours= blue, white and red • Logo/symbols= tends to be the Union Jack (sometimes mod symbols- influence of 1960/70’s pop music) • Influenced by British guitar music of the past • Glam rock • Imagery associated with Britpop was equally British and Working class. • Making sounds of the past (similar music to what it was in the 60/70’s)
4. Britpop was defined by focusing on bands rather than solo artists. Writing their own material and playing instruments themselves. Singing in regional British accents. References to British places and culture in their lyrics. Fashion consciousness. Stylistically, Britpop bands relied on catchy hooks and wrote lyrics that were meant to be relevant to British young people of their own generation.
5. Audiences • Because there was the emphasis on British reference points, it made it difficult for the genre of Britpop to achieve success in the US. • • • • The audience would have ranged from: British young people Working class Those who were interested in bands such as The Beatles, The Kinks, The who etc.
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https://open.spotify.com/track/2aC8wwfrM0YeTAzzk8hxqC
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en
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Disco 2000
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https://i.scdn.co/image/ab67616d0000b273fd952bece8f049dbcd7df93f
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https://i.scdn.co/image/ab67616d0000b273fd952bece8f049dbcd7df93f
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1995-10-30T00:00:00
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Listen to Disco 2000 on Spotify. Song · Pulp · 1995
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Spotify
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https://open.spotify.com/track/2aC8wwfrM0YeTAzzk8hxqC
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https://theoxfordblue.co.uk/revisiting-the-classics-pulp-non-fiction-2/
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Account Suspended
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0
| 6 |
https://medium.com/%40ARecordAlmostEveryday/pulp-different-class-06a15598f41a
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en
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Pulp — Different Class. This is the best “brit-pop” album…
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2023-10-25T22:18:43.452000+00:00
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Founded in 1978, Pulp is a British band from Sheffield. From 1983 to 1992 the band would release three unsuccessful albums and see several line-up changes. The band’s fortunes changed when they…
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en
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Medium
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https://medium.com/@ARecordAlmostEveryday/pulp-different-class-06a15598f41a
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This is the best “brit-pop” album, sorry, I don’t make the rules.
Founded in 1978, Pulp is a British band from Sheffield. From 1983 to 1992 the band would release three unsuccessful albums and see several line-up changes. The band’s fortunes changed when they shifted their style into what would soon be considered brit-pop. Along with Oasis and Blur, Pulp would stand at the forefront of this new musical movement. Their album His ’n’ Hers began receiving regular radio play and was nominated for a Mercury award. Following this success the band began recording for their fifth album, Different Class. Released in October of 1995 the album went on to be a critical and commercial success with three of the released singles cracking the top 10 in the UK. The album is also certified x4 Platinum in the UK. THis album and not the preceding one, went on to win the Mercury Award in 1996.
Displaying their driving pop-rock sensibilities, “Mis-Shapes” opens the album as an exemplar of this album at its best. Near spoken-word verses break into a catchy and melodic tambourine laced chorus with Jarvis Crocker belting for the rafters. This track also establishes the main theme of Different Class. The less well off blue collar class vs. the affluent upper crust. “Pencil Skirt” is one of the songs which doesn’t shine as much as many of the others for me. I find when the band leans into their old crooning ballad tendencies they lose me a bit. Perhaps their most well known song, “Common People,” is an absolute triumph. Crocker has stated in live performances this is the only song people will ever remember the band for, and he doesn’t care, because its a good fucking song. The song details an alleged interaction with a well off college student who longed to be like a commoner. Crocker then outlines the day to day life of the lower class over panging keyboard work while reinforcing the idea a rich person could never experience the desperation of poverty. The song has a neo-disco vibe but eschews the genre’s steady bpm for a song which grows in intensity with each verse and chorus. “I Spy” is a dark pop song with whispering urgency in each line. “Disco 2000” lives up to its name and more. Reminiscing on his childhood and envisioning the distant future year of 2000, Jarvis sings to his would have been sweetheart. The song has a bit of an incel vibe if we are being honest in modern parlance, but the end of the song is more well adjusted and mature. Side B’s “Something Changed” is a swelling pop ballad about happenstance and fate. “Sorted For E’s and Wizz,” is a keys heavy drug haze of a song. The percussive drumming and other worldly keyboard of the verses lead into the stilted choruses about the glory of a drug high and the inevitable come down. “F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E.” has some inventive production value between its claps and stomps. The song builds up from a bleak and eerie space into a full blown pop anthem in the latter half. The menacing bass line becomes subservient to the high keys of the chorus as Crocker questions what love means in the most literal sense. This song is able to balance the band’s desires of being Leonard Cohen crooners and a disco pop revolution quite well. “Monday Morning” is a latin fusion power pop anthem which leads us into the album closer “Bar Italia.” This songs opening lines “Now if you can stand / I would like to take you by the hand” seems to be a continuation of the drug usage themes. In the end, the downcast common people all meet at this bar in Soho at the end of the night because there’s nothing else to do.
Must Listen To: F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E.
“What…
Is…
This…
Feeling called love?
Why me?
Why you?
Why here?
Why now?”
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1641
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dbpedia
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https://singersroom.com/w57/best-karaoke-singers-of-all-time/
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en
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15 Best Karaoke Singers of All Time
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2024-08-02T01:29:28-04:00
|
Karaoke singers are individuals who perform popular songs using a karaoke machine, which provides instrumental tracks and lyrics displayed on a screen. This activity, popular in social settings like parties and karaoke bars, allows people of all skill levels to experience the joy of singing. Karaoke singers often choose songs that match their vocal range
|
en
|
Singersroom.com - R&B Music, R&B Videos, R&B News
|
https://singersroom.com/w57/best-karaoke-singers-of-all-time/
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Karaoke singers are individuals who perform popular songs using a karaoke machine, which provides instrumental tracks and lyrics displayed on a screen. This activity, popular in social settings like parties and karaoke bars, allows people of all skill levels to experience the joy of singing. Karaoke singers often choose songs that match their vocal range and style, showcasing their personal interpretation of well-known tunes. The appeal of karaoke lies in its fun, communal atmosphere and the opportunity for performers to engage with an audience. Whether amateur or experienced, karaoke singers contribute to a lively, interactive entertainment experience.
1. “I Will Survive” by Gloria Gaynor
“I Will Survive,” performed by Gloria Gaynor, is an iconic disco anthem released in 1978. Written by Freddie Perren and Dino Fekaris, the song became a powerful symbol of empowerment and resilience. Its lyrics narrate a journey from heartbreak to strength and independence, with the singer declaring their ability to overcome adversity and thrive after a breakup. The song’s upbeat tempo, catchy melody, and empowering message resonated with audiences, making it a timeless classic in both the disco era and beyond. “I Will Survive” remains a popular anthem for personal empowerment and is celebrated for its enduring impact on music and pop culture.
2. “Sweet Caroline” by Neil Diamond
“Sweet Caroline,” performed by Neil Diamond, is a beloved classic hit released in 1969. Written by Diamond, the song is known for its catchy melody and uplifting lyrics, which celebrate the warmth and joy of a shared experience. Its memorable chorus—featuring the sing-along lines “Sweet Caroline, good times never seemed so good”—has made it a favorite at gatherings and sports events. The song’s nostalgic feel and infectious optimism have endeared it to generations of listeners. “Sweet Caroline” remains one of Neil Diamond’s signature songs, widely recognized for its ability to evoke a sense of communal happiness and connection.
3. “Livin’ on a Prayer” by Bon Jovi
“Livin’ on a Prayer” is a hit song by the American rock band Bon Jovi, released in 1986 as part of their album *Slippery When Wet*. Written by Jon Bon Jovi, Richie Sambora, and Desmond Child, the song is known for its anthemic chorus and powerful rock sound. It tells the story of a young couple facing economic hardship but finding strength and hope through their love and determination. With its memorable chorus and relatable lyrics, “Livin’ on a Prayer” became one of Bon Jovi’s signature songs and is considered a classic rock anthem, often celebrated for its energetic and uplifting message.
4. “Don’t Stop Believin’” by Journey
“Don’t Stop Believin’” by Journey, released in 1981, is a quintessential rock anthem known for its powerful melody and inspiring lyrics. Written by Jonathan Cain, Neal Schon, and Steve Perry, the song tells the story of a small-town girl and a city boy on a journey of hope and perseverance. Its iconic piano introduction, soaring vocals, and memorable chorus have made it a timeless classic, resonating with audiences across generations. The song’s message of holding on to dreams and never giving up has solidified its place as a favorite sing-along at concerts, sports events, and personal celebrations.
5. “Bohemian Rhapsody” by Queen
“Bohemian Rhapsody” is a groundbreaking song by the British rock band Queen, released in 1975 as part of their album *A Night at the Opera*. Written by Freddie Mercury, the song is known for its unique structure, blending rock, opera, and ballad elements into a seamless and dramatic musical experience. Its distinctive segments include a powerful operatic section, a hard rock bridge, and a poignant ballad conclusion. The song’s innovative approach, complex arrangement, and memorable lyrics, including the famous operatic chorus “Galileo,” have made it one of Queen’s most iconic and enduring hits. “Bohemian Rhapsody” is widely regarded as a landmark in rock music, celebrated for its creativity and influence.
6. “Love Shack” by The B-52’s
“Love Shack” by The B-52’s, released in 1989, is a vibrant and playful hit that became a defining song of the late 1980s. Written by Fred Schneider, Cindy Wilson, Kate Pierson, and Keith Strickland, the track features a catchy, upbeat rhythm and whimsical lyrics about a funky, carefree party spot. Its infectious groove, combined with the distinctive vocal styles of Cindy Wilson and Kate Pierson, helped it become a staple of dance floors and radio playlists. “Love Shack” is celebrated for its exuberant energy and fun, sing-along chorus, making it a timeless anthem of joy and celebration.
7. “Girls Just Want to Have Fun” by Cyndi Lauper
“Girls Just Want to Have Fun” is a lively and iconic song by American singer Cyndi Lauper, released in 1983 as the lead single from her debut album *She’s So Unusual*. Written by Robert Hazard and produced by Rick Chertoff, the song is known for its catchy melody, upbeat tempo, and playful lyrics celebrating female empowerment and enjoyment. Lauper’s distinctive voice and the song’s vibrant music video, featuring energetic dance moves and colorful visuals, helped establish it as an anthem of the 1980s. “Girls Just Want to Have Fun” remains a beloved classic and is often associated with the spirit of fun and independence.
8. “I Love Rock ‘n’ Roll” by Joan Jett & The Blackhearts
“I Love Rock ‘n’ Roll” by Joan Jett & The Blackhearts, released in 1981, is a powerful rock anthem known for its rebellious spirit and catchy riff. Written by Alan Merrill and Jake Hooker of the band The Arrows, the song was originally released by them in 1975. Joan Jett’s cover brought a gritty, energetic edge to the track, with her signature raw vocals and commanding guitar work. The song’s lyrics celebrate youthful defiance and the allure of rock ‘n’ roll, resonating with fans and becoming a major hit. It topped the charts and remains one of Jett’s most iconic songs.
9. “Sweet Child O’ Mine” by Guns N’ Roses
“Sweet Child O’ Mine” by Guns N’ Roses, released in 1987, is a classic rock anthem known for its iconic guitar riff and powerful vocals. Written by Axl Rose, Slash, Izzy Stradlin, Duff McKagan, and Steven Adler, the song was featured on their debut album, *Appetite for Destruction*. Its memorable opening guitar line, played by Slash, immediately grabbed attention and became a defining sound of the late 1980s rock scene. The song’s heartfelt lyrics, expressing deep affection and admiration, combined with its dynamic rock arrangement, contributed to its widespread popularity. “Sweet Child O’ Mine” remains one of the band’s most enduring and beloved hits.
10. “Wonderwall” by Oasis
“Wonderwall” by Oasis, released in 1995, is a quintessential Britpop anthem that has captivated audiences with its poignant lyrics and memorable melody. Written by Noel Gallagher, the song features a distinctive acoustic guitar riff and heartfelt vocals by lead singer Liam Gallagher. It was a major hit from the band’s second album, *(What’s the Story) Morning Glory?*, and became one of Oasis’s most recognizable tracks. The song’s introspective lyrics and sing-along chorus, combined with its emotional resonance, have made it a staple of 1990s music and a lasting favorite in both live performances and personal playlists.
11. “Billie Jean” by Michael Jackson
“Billie Jean” is a classic song by Michael Jackson, released in 1983 as a single from his groundbreaking album *Thriller*. Written by Jackson and produced by Quincy Jones and Michael Jackson, the song features a distinctive bassline, a compelling beat, and Jackson’s signature vocal style. “Billie Jean” tells the story of a woman who claims that the singer is the father of her child, a claim he denies. The song’s innovative music video, which featured Jackson’s iconic dance moves and the now-famous moonwalk, helped solidify Jackson’s status as a pop legend. “Billie Jean” is widely regarded as one of the greatest pop songs of all time, praised for its production, performance, and lasting impact on music and pop culture.
12. “Wannabe” by Spice Girls
“Wannabe” by the Spice Girls, released in 1996, is an energetic pop anthem that launched the British girl group to global stardom. Written by Melanie Brown, Melanie Chisholm, Geri Halliwell, Emma Bunton, and Victoria Beckham, along with producers Matt Rowe and Richard Stannard, the song features a catchy, upbeat melody and playful lyrics about friendship and fun. Its iconic opening line, “If you wanna be my lover,” and its infectious chorus embody the group’s “girl power” message. “Wannabe” became a defining track of the 1990s and remains a timeless pop classic celebrated for its exuberant spirit and danceable beat.
13. “Hey Jude” by The Beatles
“Hey Jude” is a celebrated song by The Beatles, released in 1968 as a single and later featured on the compilation album *The Beatles Again* (also known as *Hey Jude*). Written by Paul McCartney and credited to the songwriting partnership of Lennon/McCartney, the song was originally composed to comfort John Lennon’s son, Julian, during his parents’ divorce. It is known for its soothing melody, emotional depth, and expansive coda, where McCartney leads a sing-along with a gradually building arrangement. “Hey Jude” became one of The Beatles’ most successful singles, topping the charts for nine weeks in the U.S. and receiving widespread acclaim for its heartfelt message and memorable, uplifting chorus.
14. “No Scrubs” by TLC
“No Scrubs” is a hit song by American girl group TLC, released in 1999 as a single from their album *FanMail*. Written by Kandi Burruss, Tameka “Tiny” Cottle, and Kevin “She’kspere” Briggs, the song features a catchy melody and an empowering message. It addresses the issue of dating individuals who do not contribute positively to a relationship, referring to such individuals as “scrubs”—people who are seen as lacking ambition or drive. The song’s blend of R&B and hip-hop, along with its memorable hook and assertive lyrics, made it a chart-topping success. “No Scrubs” received widespread acclaim and remains one of TLC’s most iconic songs, celebrated for its feminist message and infectious groove.
15. “Uptown Funk” by Mark Ronson ft. Bruno Mars
“Uptown Funk” by Mark Ronson featuring Bruno Mars, released in 2014, is a vibrant and infectious pop-funk hit that dominated charts worldwide. Written by Mark Ronson, Bruno Mars, Jeff Bhasker, and Philip Lawrence, the song is known for its catchy groove, funky bassline, and energetic brass arrangements. Bruno Mars’ dynamic vocals and charismatic performance, combined with Ronson’s production, create a throwback sound that evokes the funk and pop styles of the 1980s. The song’s lively beat and memorable chorus made it a dance floor favorite and earned it multiple awards, including a Grammy for Record of the Year.
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Disco Savvy: 2000
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2000-2003 Disco
At the start of the decade of the 2000s, a substantial number of new disco ("neo-disco") songs were released, and a few of them became big hits. (Admittedly, sometimes the line between disco and house music gets blurred, and some of these songs can also be classified as "disco-house", and are so indicated.) The list that follows includes some original disco songs created and released during the early 2000s (where the lyrics and melodies are original), plus selected remakes, plus songs that sample other disco songs and have a disco flavor all their own (these are listed with reference to the elements that have been copied). Among the period's best disco productions are "Murder on the Dancefloor" by Sophie Ellis-Bextor, "Should I Let Him Go?" by The Company, "Get Down to the Music" by James Taylor Quartet, and "Mude o Baile" by BsB Disco Club.
Disco Music released during 2000:
"Never Been Kissed" by Kristine W. (Weitz), on the album Stronger
"So Good So Right" by Talisman featuring Oliver Cheatham - disco in English with some French rapping
"Should I Let Him Go?" by The Company, on the album The Company "All Around the World" by The Company, on the album The Company "You Turn My World Around" by The Company, on the album The Company "I'll Sing A Song For You" by The Company, on the album The Company "Ooh, C'mon" by The Company, on the album The Company - electro-disco "Boogie Machine" by The Company, on the album The Company - funky disco "In the Mix" by The Company, on the album The Company
"Carbonstar" by interCHEMISTRY, on the album interCHEMISTRY - Besonic EP
"Love Machine" by Boogie Fever Disco Band, on the album Boogie Fever Disco Band - electro-disco cover of the 1975 hit by the Miracles
"Car Wash" by Boogie Fever Disco Band, on the album Boogie Fever Disco Band - electro-disco cover of the 1976 Rose Royce hit
"Boogie Oogie Oogie" by Boogie Fever Disco Band, on the album Boogie Fever Disco Band - electro-disco cover of the 1978 hit by A Taste of Honey
"Get Down Tonight" by Boogie Fever Disco Band, on the album Boogie Fever Disco Band - electro-disco-pop cover of the 1975 hit by K.C. and the Sunshine Band
"I Will Love Again (David Morales Club Mix)" by Lara Fabian
"I Love to Love (Pasta Boys Main Mix)" by Jody Watley featuring Roy Ayers - disco-house; samples Sister Sledge's "Got to Love Somebody"
"Unlimited Love (Black Science Orchestra Re-Edit)" by Alan Parker - a reworking of the 1976 disco track
"If I Ever Feel Better" by Phoenix, on the album United - disco-pop "Turn Me On" by Atomic Kitten, on the album Right Now "Right Now" by Atomic Kitten, on the album Right Now - disco-pop; reached #1 Pop in the U.K. in August 2001
"Spinning Around" by Kylie Minogue, on the album Light Years - electro-disco; reached #1 Pop in the U.K. and Australia in June 2000, #2 on New Zealand's Recorded Music NZ chart, #4 Pop in Ireland
"Your Disco Needs You" by Kylie Minogue, on the album Light Years - disco in English, with a few words spoken in French; also released in other versions with those words translated into German, Spanish, and Japanese "So Now Goodbye" by Kylie Minogue, on the album Light Years - electro-disco-pop
"Unga hjärtan" by Orup, on the album Elva Hjärtan - electro-disco-pop in Swedish
"Jorden snurrar runt ändå" by Orup, on the album Elva Hjärtan - disco-pop in Swedish "Love Together" by Nona Reeves, on the album Destiny - disco in Japanese and English "Crying at the Discotheque" by Alcazar, on the album Casino - Hi-NRG-disco song that samples the 1980 song "Spacer" by Sheila and B. Devotion; reached #13 Pop in the U.K. in December 2001, #3 Pop in Germany in September 2001, #1 Pop in Brazil in July 2001
"Groovejet (If This Ain't Love)" by DJ Cristiano Spiller, sung by Sophie Ellis-Bextor, on the album The Mighty Miami - reached #1 Pop in the U.K. in August 2000 and #3 Dance in the USA in 2001; based on the 1976 Salsoul song "Love is You" by Carol Williams
"Lady (Hear Me Tonight)" by Modjo, on the album Modjo - disco-house song that takes guitar sounds from Chic's R&B song "Soup for One"; reached #37 Pop in Canada in November 2001, #1 Pop in the U.K. in September 2000, #1 Dance in the USA in January 2001
"Easy Love (Stay the Night)" by Lady - disco-house; samples Billy Ocean's 1981 tune "Stay the Night"
"Every Woman Needs Love (Full Intention Radio Mix)" by Stella Browne - disco-house; samples Norma Jean Wright's 1979 tune "High Society"
"I Never Knew" by Roger Sanchez featuring Cooly's Hot Box, on the album First Contact
"Now or Never" by Tom Novy featuring Lima, on the album My Definition - disco-house; samples Delegation's "You and I" "The Main Event/Fight" by Barbra Streisand, on the album Timeless: Live in Concert - reprise of her 1979 disco hit; recorded live in December 1999 in Nevada "Philadelphia Freedom" by Elton John, on the album One Night Only - The Greatest Hits Live at Madison Square Garden - electro-rock-disco remake of his 1975 hit; recorded live in October 2000 in New York
"Disco Santa (Santa Claus/N.O.E.L.)" by Holiday Express, on the album Holiday Express - Greatest Hits - disco song with its music and part of the lyrics covered from the Village People's "Macho Man" and "YMCA", but also with original lyrics
"Ces soirées-là" by Yannick, on the album C'est ça qu'on Aime - French electro-disco-pop with rap segments; the instrumentation is a remake of 1975's "December 1963 (Oh, What a Night)" by Frankie Valli and the Four Seasons, but the lyrics are totally different
"Dancin' Lady" by Mystique featuring Ralph Johnson - recorded during the original disco era, but first released in 2000 by Sequel Records and 2001 by ZOMBA Records GmbH on the re-release of the 1977 album Mystique
"Hot Butterfly" by David Lasley - mellow disco - produced by Gregg Diamond; this version with David Lasley's vocals was recorded soon after the 1978 Bionic Boogie version that featured Luther Vandross on vocals, but first released in 2000 on the album Back to Blue-Eyed Soul
"It's Happening With You" by k.d. lang, on the album Invincible Summer, is disco-influenced electro-dance-pop. "The Bottle" by Maysa Leak, on the album All My Life, is a jazzy house remake of Gil Scot-Heron's 1974 original. Another good jazzy house song from 2000 is "Never Felt Love" by Soundscape UK. Dawn Silva released a funk remake of "Disco to Go", a 1978 Brides of Funkenstein song. "On the Radio" by Martine McCutcheon, on the album Wishing, is a dance-pop remake of the 1979 Donna Summer disco original. The radio version of "I Will Love Again" by Lara Fabian is a house song, not disco. "Men Are Not Nice Guys" by Grand Popo Football Club is electro-dance. "Faded" by soulDecision is funk-infused dance-pop. Armand Van Helden's disco-house song "Full Moon" samples the 1980 Sylvia Striplin classic "Give Me Your Love". Madison Avenue's disco-house song "Don't Call Me Baby" samples the 1980 Pino D'angio' song "Ma Quale Idea". House of Glass and Kylie Minogue both released techno songs called "Disco Down" in 2000.
Disco Music released during 2001:
"Murder on the Dancefloor" by Sophie Ellis-Bextor, on the album Read My Lips - debuted at #2 Pop (its peak) in the U.K. on December 9, 2001 and reached #2 a second time on January 6, 2002 and reached #2 a third time in January 2024; reached #5 Pop in Canada in May 2002, #3 Pop in Australia in February 2002; #26 Dance in the USA in late 2002, #51 Pop (Billboard Hot 100) in the USA in February 2024 "Take Me Home" by Sophie Ellis-Bextor, on the album Read My Lips - amended disco-house cover of Cher's 1979 classic (some of the lyrics are different); reached #2 Pop in the U.K. in August 2001, #18 Pop in New Zealand in October 2001 "Love Foolosophy" by Jamiroquai, on the album A Funk Odyssey - reached #14 Pop and #1 Club in the U.K. in March 2002; reached #19 Pop in Australia in April 2002 "Main Vein" by Jamiroquai, on the album A Funk Odyssey
"Main Vein (Live at Knebworth)" by Jamiroquai - reprise recorded live in August 2001 in England, included on the Japanese 7-track single for "You Give Me Something" in 2001 as well as the 2002 Bonus CD version of "A Funk Odyssey" in Japan and Australia
"You Give Me Something" by Jamiroquai, on the album A Funk Odyssey - reached #16 Pop in the U.K. in November 2001, #33 Pop in Australia in January 2002; #2 Dance in the USA in 2002
"Little L" by Jamiroquai, on the album A Funk Odyssey - reached #5 Pop in the U.K. and #7 Pop in Canada in August 2001, #14 Pop in Australia in August 2001; debuted at #1 Dance in the USA in 2001; officially remixed in 2023 as "Little L (Dave Lee Reblend)" and "Little L (Dave Lee Disco Reblend)" in a more traditional disco style
"Feel So Good" by Jamiroquai, on the album A Funk Odyssey - electro-disco; uses a sample from "Get Up" by Vernon Burch
"I Don't Understand It" by Ultra Nate [Wyche], on the album Stranger Than Fiction - reached #25 Dance in the USA in early 2002
"Dear John" by Ultra Nate [Wyche], on the album Stranger Than Fiction - a segment samples "Dancing in Paradise" by El Coco
"Get It Up (The Feeling)" by Ultra Nate [Wyche], on the album Stranger Than Fiction - disco-house; reached #1 Dance in the USA in mid-2001
"They Dance!" by Barry Manilow, on the album Here at the Mayflower - electro-disco; reached #27 on the Radio & Records AC Chart in the USA in June 2002
"Can't Nobody Love Me Like You Do" by Fundación Tony Manero, on the album Looking For La Fiesta
"Supersexy Girl" by Fundación Tony Manero, on the album Looking For La Fiesta
"Yo Mum's a Beach" by Fundación Tony Manero, on the album Looking For La Fiesta
"Music (Woody's Main Mix)" by Disconnection featuring Sabrynaah Pope
"I'm Still A Simple Man" by Fantastic Plastic Machine, on the album Beautiful
"Todos Os Desejos" by Fantastic Plastic Machine, on the album Beautiful
"Almost Famous" by Alcazar, on the album Casino
"Breaking Free" by Alcazar, on the album Casino - electro-disco
"Sexual Guarantee" by Alcazar, on the album Casino - takes the bassline from Chic's "My Forbidden Lover"; reached #30 Pop in the U.K. in March 2002, #9 Pop in Italy in December 2001
"Paradise" by Alcazar, on the album Casino - samples the S.O.S. Band's "Take Your Time (Do It Right)"
"Photographs" by Jody Watley, on the album Midnight Lounge - electro-disco
"Gonna Get Over You (Full Flava Mix)" by Beverlei Brown, on the album Next To You - electro-disco remake of the 1981 France Joli original
"Gimme, Gimme, Gimme" by James Last, on the album James Last Plays ABBA - instrumental electro-disco remake of the 1979 ABBA song "Gimme! Gimme! Gimme! (A Man After Midnight)"
"Don't Call Me Baby" by the Prism Leisure singers, on the album Non-Stop Club + Dance - electro-disco cover of Madison Avenue's 2000 house track
"Murder on the Dancefloor" by the Prism Leisure singers, on the album Non-Stop Club + Dance - electro-disco cover of Sophie Ellis-Bextor's 2001 disco hit
"Lady (Hear Me Tonight)" by the Prism Leisure singers, on the album Non-Stop Club + Dance - disco-house cover of Modjo's 2000 hit
"Red Alert" by the Prism Leisure singers, on the album Non-Stop Club + Dance - disco-house-pop cover of Basement Jaxx's 1999 tune
"Sing It Back" by the Prism Leisure singers, on the album Non-Stop Club + Dance - electro-disco cover of Moloko's 1999 hit
"Convoy" by Reverend Right Time and the 1st Cuzins of Funk, on the album Super 8 Ball - modified cover of the 1976 C. W. McCall original
"2-B-Down" by Reverend Right Time and the 1st Cuzins of Funk, on the album Super 8 Ball - funky disco
"Astounded" by Bran Van 3000 featuring Curtis Mayfield, on the album Discosis - reached #35 Dance in the USA in mid-2001
"Sexual Revolution" by Macy Gray (a.k.a. Natalie McIntyre), on the album The Id - reached #4 Dance in the USA in early 2002
"Fatal" by Playgroup, on the album Playgroup
"Number One" by Playgroup, on the album Playgroup
"Straight Ahead" by Fused, on the album Audio
"XXX Audio" by Fused, on the album Audio
"Hey Girl" by Fused, on the album Audio - disco-pop
"Don't Stop Movin'" by S Club 7 - disco-pop; reached #1 Pop in the U.K. in May 2001 "Losin' Control" by Ray Dean, Les Vegas, and Steve Sidwell featuring Clinton Outten and Yvonne Jon Lewis, on the album Disco Anthology - electro-disco "Saturday Nite!" by Ray Dean, Les Vegas, and Steve Sidwell featuring Clinton Outten, on the album Disco Anthology "Disco Symphony" by Ray Dean, Les Vegas, and Steve Sidwell, on the album Disco Anthology "Hooked on Disco" by Ray Dean, Les Vegas, and Steve Sidwell, on the album Disco Anthology "Dancefloor Amour" by Ray Dean, Les Vegas, and Steve Sidwell, on the album Disco Anthology "Glitterball" by Ray Dean, Les Vegas, and Steve Sidwell, on the album Disco Anthology "Jumpin'" by Ray Dean, Les Vegas, and Steve Sidwell, on the album Disco Anthology "One for the Boys" by Ray Dean, Les Vegas, and Steve Sidwell, on the album Disco Anthology
"Da Ya Think I'm Sexy" by the Starsound Orchestra, on the album The Starsound Orchestra Plays the Hits Made Famous by Rod Stewart - electro-disco cover of the 1978 Rod Stewart hit
"No More Tears" by Modjo, on the album Modjo - rock-disco-house
"Don't Stop the Music" by Lionel Richie, on the album Renaissance - disco-house
"I Still Want You (Liquid People Vox Mix)" by Mange Le Funk - disco-house; melody based on "Don't You Want My Love" by Debbie Jacobs
"Shining Star" by Andreas Türck - disco-house; samples Delegation's "Put a Little Love on Me"
"Starlight" by the Supermen Lovers featuring Mani Hoffman - disco-house; samples "The Rock" by East Coast
"Real Deal" by Precinct 13 featuring Joy Malcolm - disco-house
"Poor Leno" by Roeyksopp, on the album Melody A.M. - disco-house; reached #5 Dance in the USA in late 2002
"Danger! High Voltage" by Electric Six a.k.a. The Wildbunch, on the album Fire - metal-disco; debuted at #2 Pop (its peak) in the U.K. in January 2003
"We Are Family" by Nile Rodgers and Friends - reached #32 Dance in the USA in early 2002; recorded in September 2001 by 195 singers and musicians, including many disco artists from the past, including Stephanie Mills, Luther Vandross, K.C. and the Sunshine Band, Diana Ross, and the 4 Sledge sisters who had sung the original back in 1978.
"It's Raining Men" by Brass Band Willebroek and Frans Violet, on the album Back to the Future - disco version of the 1982 electro-dance hit by the Weather Girls
"Latin Disco" by The Counts - latin-disco; recorded during the original disco era, but first released in 2001 by BGP (Beat Goes Pub.) on the compilation Alright! Black American Dance Music from the Disco Era and in 2002 by Nascente on the compilation Latin Disco
"Ready Room" a.k.a. "Ready Room Disco" by Hoyt Curtin, on the soundtrack album Battle of the Planets - disco for children; heard on television in 1978 but first released in 2001 by Super Tracks Music Group
"Hold Me Dancin'" by Margo Guryan - electro-disco; recorded in 1978 but first released in 2001 on the compilation album 25 Demos "Love Don't Cost A Thing (Full Intention Club Mix)" by Jennifer Lopez - disco-house
In addition to "Love Don't Cost A Thing", there were lots of other pop songs that were remixed in a disco-style this year to appeal to club audiences, including "Emotions" by Destiny's Child and Jessica Simpson's "Irresistible" (the latter one may have been "Eric Kupper's Club Mix"?)
"Disco Insert" by Tim "Love" Lee, "Disko Kings" by Ural 13 Diktators, and "Disco" by Alisha Chinai are electro-dance. "I Need Somebody" by Bardot, which reached the top 5 in Australia in December 2001, is a dance-pop song, not disco. "You Rock My World" by Michael Jackson is also pop rather than disco. "8-3-1" by Lisa Stansfield is electro-pop. "Anticipating" by Britney Spears on her album Britney is pop with strong disco influences. "Love at First Sight" by Kylie Minogue is techno; her "More More More", "Can't Get You Out of My Head", and "Dancefloor" are electro-dance. "Ready for the Good Times" by Shakira is disco-influenced pop. "Take Me to the Disco (Malibu Mix)" by Fantastic Plastic Machine has some disco-house sections and some electronica and other sections, but their 1999 "Legendary Disco All Stars Remix" of that track is the true disco version. No Doubt covered "Love to Love You Baby" on the 2001 Zoolander soundtrack in a somewhat electro-disco version. Janet Jackson's pop song "All For You" uses a guitar riff and other instrumentation from Change's "The Glow of Love". The bass from "The Glow of Love" is used on Alcazar's "Paris in the Rain". "Salsoul Nugget (If You Wanna)" by M and S presents The Girl Next Door samples Loleatta Holloway's 1977 disco track "Hit and Run".
Disco Music released during 2002:
"There's a Better Place" by Crazy P, on the album The Wicked is Music - electro-disco that partly samples Gene Wilder's song "Pure Imagination" from the 1971 movie Willy Wonka and the Chocolate Factory "You Started Something" by Crazy P, on the album The Wicked is Music - electro-disco "You Are We" by Crazy P, on the album The Wicked is Music - electro-disco "Feel the Beat" by S Club Juniors, on the album Together - electro-disco "One Step Closer" by S Club Juniors, on the album Together - disco-pop; reached #2 Pop in the UK in 2002, #5 Pop in Ireland in 2002
"United Soul" by Fundación Tony Manero, on the album Sweet Movimiento
"Sunday Disco Dawn" by Fundación Tony Manero, on the album Sweet Movimiento
"Taste of Bitter Love" by D'Influence featuring Romina Johnson, on the album D-Vas - cover of the 1980 Gladys Knight and the Pips original
"Paiste" by G-Litter, on the album G-Litter
"Let's Get Kocky" by Idi Amin and the Daleks
"Because of You (Album Version)" by Disco Montego, on the album Disco Montego
"I Can't Live Without Music (Club Mix)" and "I Can't Live Without Music (Energy Mix)" by Corinna May
"Step into the Music" by Dogma - electro-disco
"Bad Girls (Live at the Brits 2002)" by Jamiroquai featuring Anastacia - cover of the 1979 Donna Summer rock-disco classic; included with the "Corner of the Earth" single
"You and I (Live)" by Rick James, on the album Street Songs - Deluxe Edition - reprise of his 1978 disco-funk hit; recorded live in July 1981 in California
"Boogie Wonderland (Live)" by Earth, Wind and Fire, on the album Live in Rio a.k.a. Rio After Dark - reprise of their 1979 disco hit with the Emotions, recorded live in Rio de Janeiro, Brazil in 1980 "September (Live)" by Earth, Wind and Fire, on the album Live in Rio a.k.a. Rio After Dark - R&B-disco; reprise of their 1978 hit, recorded live in Rio de Janeiro, Brazil in 1980
"The Love I Lost" by Teddy Pendergrass, on the album From Teddy, With Love - electro-disco reprise of his 1973 disco hit with Harold Melvin and the Blue Notes; recorded live in February 2002 in California
"Bad Luck" by Teddy Pendergrass, on the album From Teddy, With Love - electro-disco reprise of his 1975 disco hit with Harold Melvin and the Blue Notes; recorded live in February 2002 in California
"Only You" by Teddy Pendergrass, on the album From Teddy, With Love - electro-disco reprise of his 1978 disco song; recorded live in February 2002 in California
"Do Me" by Teddy Pendergrass, on the album From Teddy, With Love - reprise of his 1979 disco song; recorded live in February 2002 in California
"Mude o Baile" by BsB Disco Club, on the album Mude o Baile - Brazilian-flavored Portuguese disco from Brazil
"Superpoderosa" by BsB Disco Club, on the album Mude o Baile - Portuguese disco from Brazil
"Bomba-relógio" by BsB Disco Club, on the album Mude o Baile - Portuguese disco from Brazil
"Desacelerar" by BsB Disco Club, on the album Mude o Baile - Portuguese disco from Brazil
"Chega Mais" by Banda Rod Hanna, on the album Discofesta - 70's Superhits - Portuguese electro-disco from Brazil, recorded live in December 1999; cover of the 1979 hit by Rita Lee
"Chega Mais" by Banda Rod Hanna, on the album 2070 - Portuguese electro-disco from Brazil; cover of the 1979 hit by Rita Lee, with sampling from Chic's "Le Freak"; not identical to their live rendition
"Mulata Bossa Nova" by Banda Rod Hanna, on the album Discofesta - 70's Superhits - Portuguese disco from Brazil, recorded live in December 1999; cover of the Emilinha Borba hit written by Rodrigo Laguna
"Dancin' Days" by Banda Rod Hanna, on the album Discofesta - 70's Superhits - Portuguese electro-disco from Brazil, recorded live in December 1999; cover of the 1978 hit by As Frenéticas
"Don't Stop 'Till You Get Enough" by Banda Rod Hanna, on the album Discofesta - 70's Superhits - electro-disco cover of the Michael Jackson hit, recorded live in December 1999
"We Are Family" by Banda Rod Hanna, on the album Discofesta - 70's Superhits - electro-disco cover of the Sister Sledge hit, recorded live in December 1999
"I Love the Nightlife" by Banda Rod Hanna, on the album Discofesta - 70's Superhits - electro-disco cover of Alicia Bridges's hit, recorded live in December 1999
"Can't Take My Eyes Off of You" by Banda Rod Hanna, on the album Discofesta - 70's Superhits - disco version of the 1967 Frankie Valli classic, recorded live in December 1999
"September" by Banda Rod Hanna, on the album Discofesta - 70's Superhits - electro-R&B-disco cover of the Earth, Wind and Fire classic, recorded live in December 1999
"I Will Survive" by Banda Rod Hanna, on the album Discofesta - 70's Superhits - electro-disco cover of Gloria Gaynor's hit, recorded live in December 1999
"I Will Survive" by Banda Rod Hanna, on the album 2070 - electro-disco cover of the Gloria Gaynor hit; not identical to their live rendition
"Kaikki Laivaan" by Jean S., on the album KesämieS - Finnish rock-disco version of "In the Navy" by the Village People
"Never Enough (Sir Piers and Ed Funk Club Remix)" by Boris Dlugorsch featuring Roisin Murphy, on the album After the Playboy Mansion
"The Love I Have for You (Full Intention Classic Mix)" by Dina Vass
"Got to Have Lovin'" by [Jean-Marc] Cerrone, on the album Hysteria - remake of Don Ray's 1978 classic "Got to Have Loving"
"Orchestral Manoeuvres" by Ray Mang, on the album Mangled - samples Constellation Orchestra's "Perfect Love Affair" from 1978
"It Feels Good" by Team Factor featuring Kenny Bobien
"Marathon Man" by the Supermen Lovers, on the album The Player
"Party'z Up" by the Supermen Lovers, on the album The Player
"Superflight" by the Supermen Lovers, on the album The Player
"Starter" by the Supermen Lovers, on the album The Player - electro-disco
"White Hands" by the Supermen Lovers, on the album The Player - electro-disco
"Rockin' Urgence" by the Supermen Lovers featuring Janice Leca, on the album The Player - electro-disco
"Family Business" by the Supermen Lovers featuring Sabrina Adnane, on the album The Player - electro-disco
"Material World" by the Supermen Lovers featuring Guillaume Atlan, Jérémy Jean-Michel, Mani Hoffman, and Smaïn Sghaïer, on the album The Player
"When I Get You Alone" by Robin Thicke, on the album Beautiful World - reached #29 Pop in the USA in November 2002; backed by the 1976 disco instrumental "A Fifth of Beethoven" by Walter Murphy
"Morning Breeze" by Next Evidence, on the album Thrills
"Morning Breeze (Dimitri From Paris Disco Blend)" by Next Evidence
"Madan (Exotic Disco Edit)" by Martin Solveig vs Salif Keita
"The Light" by Nujoy featuring Charlene Hines - electro-disco
"The Way I Feel (If You Touch)" by Solu featuring Ariah - electro-disco-soul
"Come Back to Me" by Cunnie Williams, on the album Night Time in Paris - disco-soul "Hey, Goldmember" by Beyonce Knowles - samples K.C. and the Sunshine Band's 1976 hit "(Shake, Shake, Shake) Shake Your Booty"; included on the Goldmember movie soundtrack
"Le Rock Summer" by Rinocerose, on the album Music Kills Me - rock-disco
"You See Trouble With Me" by Dancing Mood featuring Mariano Castro, on the album Dancing Mood Vol. 2 - reggae/ska-flavored electro-disco version of Barry White's 1976 hit "You See the Trouble With Me"
"Another One Bites the Dust" by the Starsound Orchestra, on the album The Starsound Orchestra Plays the Hits Made Famous by Queen - remake of the 1980 Queen rock-disco classic
"Don't Stop 'Til You Get Enough" by the Starsound Orchestra, on the album The Starsound Orchestra Plays the Hits Made Famous by Michael Jackson - electro-disco remake of the 1979 Michael Jackson original
"Gone Too Long" by Gloria Gaynor, on the album I Wish You Love - disco-house
"Rhythm of Life (King Britt Remix)" by Kindred the Family Soul, on the album Surrender to Love - disco-house
"Like A Butterfly (You Send Me)" by Masters At Work featuring Patti Austin, on the album Our Time is Coming - disco-house
"Backfired" by Masters At Work featuring India, on the album Our Time is Coming - disco-house
"Searchin' (CR Project Vocal Mix)" by Harrison Crump featuring Dajae (Karen Gordon) - disco-house
"The Prayer (Luke and Marc's Original Gospel Mix)" by Dance Freak - disco-house
"Round About Midnite" by Antenna - disco-house
"All I Want is You (Club Mix)" by Rockmelons featuring Jeremy - disco-house
"Plan for Summer" by Akita - disco-house
"Zomer op je radio / Summer on Your Radio" by Leona - disco-house in Dutch and English
"Breathe" by Blaze, on the album Spiritually Speaking - jazzy disco-house
"Like Fire Like Rain" by Sirens - disco-pop
"The Rhythm of Life (U.B.P. Reprise)" by the Keith Thompson Project - jazzy disco-house-fusion reworking of the 1993 garage house song "Bend a Little" by The Supremes - recorded during the original disco era, but first released in 2002 by Universal on the Supremes compilation '70s Anthology
"They Say It's Wonderful" by Ethel Merman - jazzy disco; recorded in 1979, but first released in 2002 by Fynsworth Alley and Varese Records on the reissue of The Ethel Merman Disco Album
"Never Knew Love (2002 Mix)" by Stella Browne - disco-house; samples Sister Sledge's "We Are Family" from 1978
"Full Moon (Rascal Extended Mix)" and "Full Moon (Rascal Dub)" and "Full Moon (Damien Mendis Remix)" by Brandy - R&B-disco; samples Chic's "I Want Your Love" from 1978
"Wish I Didn't Miss You (Hex Hector/Max Quayle Vibe Mix)" by Angie Stone - samples "Backstabbers" by the O'Jays
"Stole" by Kelly Rowland was remixed for club audiences in a disco style.
"Music Gets the Best of Me" by Sophie Ellis-Bextor, "Never Let It Go" by Afro-dite (#1 Pop in Sweden in March 2002), "Disco Girl" by Sakis, and "Rock the Disco" and "Take the Chance" by Aquagen are electronic dance, not disco. "Disco Disco" by Mabel is techno. "Disco Dust" by Groove Cartel, "Forever My Love" by Discobrothers featuring Irene Cara, "Disco Show" by Ottman Jones, and "Dance All Night" by BJ Caruana are disco-influenced house. "Rock Your Body" by Justin Timberlake is R&B. "Disease" by Matchbox Twenty is a rock song. Junior Senior released a dance-pop-rap hybrid song called "Move Your Feet" (#4 Pop in Denmark in June 2002) which has rotating sections, one of which has a disco beat and bass guitar but also electronic effects. "A Boogie Monster" by Shonen Knife is a new-wave electro-pop song. "Idiot Boyfriend" by Jimmy Fallon at only 101 BPM is a mid-tempo disco-flavored rock-dance-pop parody.
Disco Music released during 2003:
"Discovisor" by The Visors, on the album D.I.S.C.O. "The Playas" by The Visors, on the album D.I.S.C.O. "Celebrate" by The Visors, on the album D.I.S.C.O. - electro-disco "Get Down" by The Visors, on the album D.I.S.C.O. - electro-disco "Inferno" by The Visors, on the album D.I.S.C.O. - electro-disco "Satellite of Love" by The Visors, on the album D.I.S.C.O. - electro-disco "Goin' Uptown" by The Visors, on the album D.I.S.C.O. - R&B-disco "On the Road Again" by The Visors, on the album D.I.S.C.O. - funky electro-disco "Rio Baby" by The Visors, on the album D.I.S.C.O. - electro-rock-disco
"High" by Mark Ronson featuring Aya, on the album Here Comes the Fuzz
"Love Invincible" by Michael Franti and Spearhead, on the album Everyone Deserves Music - this disco version is not the same as the mellow acoustic version on Michael Franti's solo album Songs from the Front Porch
"Last Days of Disco" by Alcazar, on the album Alcazarized "Dancefloor Docusoap" by Alcazar, on the album Alcazarized - samples "I Want Your Love" by Chic
"Freakin' Disco" by The John Scofield Band, on the album Up All Night - jazzy disco
"Shuv HaDisco Kan" by HaDorbanim, on the album Kobi - Hebrew disco from Israel
"Yatsanu Lirkod" by HaDorbanim, on the album Kobi - Hebrew disco from Israel
"Or Kahol" by HaDorbanim, on the album Kobi - Hebrew disco from Israel
"Lo Frayerim" by Hadag Nakhash, on the album LaZuz - Hebrew disco with rap sections from Israel
"Megobrebtan Ertad" by David Khujadze a.k.a. Dato Khujadze, on the album I Don't Want To Hurt You! - Georgian electro-disco from the Republic of Georgia
"Tem Espaço Na Van" by Ed Motta, on the album Poptical - Portuguese electro-disco-soul from Brazil
"Get Down to the Music" by James Taylor Quartet (JTQ) featuring Yvonne Yanney - electro-disco, with brief spoken sections quoting the lyrics from "In the Bush" by Musique
"Get Down to the Floor (Can You Feel It?)" by James Taylor Quartet (JTQ) featuring Roy Ayers - electro-disco with rap sections
"Paris-Brooklyn" by Dimitri from Paris featuring Los Amigos Invisibles, on the album Cruising Attitude - electro-disco "Yeah (Crass Version)" by LCD Soundsystem - electro-rock-disco
"Lost in Music" by Sheila Ferguson, on the album Songs from Oh! What A Night - disco cover of the 1979 Sister Sledge classic
"Young Hearts (Run Free)" by Sheila Ferguson, on the album Songs from Oh! What A Night - disco cover of the 1976 Candi Staton hit
"I Will Survive" by Sheila Ferguson, on the album Songs from Oh! What A Night - electro-disco cover of the 1978 Gloria Gaynor classic
"Yes Sir, I Can Boogie" by Sophie Ellis-Bextor - electro-disco cover of the 1977 Baccara hit; included with the "I Won't Change You" single
"Night Fever" by TreeGees, on the album TreeGees Live - electro-disco cover of the 1977 Bee Gees hit
"Stayin' Alive" by TreeGees, on the album TreeGees Live - mellow electro-disco cover of the 1977 Bee Gees hit
"Somebody Like You" by Atomic Kitten, on the album Ladies Night - disco-pop
"Ladies Night" by Atomic Kitten, on the album Ladies Night - disco-funk remake of the 1979 Kool and the Gang song "Ladies' Night" "Love to the Limit" by S Club 8, on the album Sundown - electro-disco
"That's Your Problem Baby" by Jaguar, on the album Get the Funk Out - jazzy disco-funk
"Don't Know Malendro" by DJ Gregory
"Time Moves On (Harvey's Guitar Dubby)" by Crue-L Grand Orchestra - electro-disco
"Dimensions (I'm Happy)" by Mekkah featuring Stephen Granville - electro-disco
"I Love New York" by Dwight Trash - electro-disco rearrangement of Cameo's "New York"
"New York City" by A Touch of Class, on the album Touch the Sky - electro-disco-pop; samples Jigsaw's "Sky High"
"Blame it on the Boogie" by Jay-Kid - disco version of the 1978 Jacksons funk classic
"Un Poco Disco, Un Poco Latino" by Nick the Record - latin-disco
"(I Got) Somebody New (Original Mix)" by Georg Levin featuring Clara Hill - disco-house
"Bye Bye Superman (Track #4: Original Extended Mix, and Track #6: Radio Edit)" by Geyster - disco-house
"Super Lover (Rawsoul Orchestra Original Mix)" by Rawsoul Orchestra featuring Sybille - disco-house
"Feelin' Love (Soulsearcher Club Mix)" by Soulsearcher (featuring Donna Allen) - disco-house
"Back Together" by Hardsoul featuring Ron Carroll - disco-house
"This Means That (Bobby and Steve and James Ratcliff Remix)" by Kevin Saunderson presents The Reese Project featuring Paul Randolph - disco-house
"Disco is Disco" by Robo Tourists - disco-house
"Nice N Tight" a.k.a. "Nice and Tight" by Puzique - disco-house
"Gotta Get Away (Main Soul Mix)" by Church of Disco featuring Angie Brown - disco-house
"Never Again (Copyright Main Mix)" by Kathy Brown - disco-house
"Everything Needs Love (Audiowhores Piano Edit)" by Mondo Grosso featuring Boa (Shinichi Osawa) - disco-house
"Brother on the Run (Mousse's Club Mix)" by Mousse T. - funky disco-house remake of the 1973 funk classic by Johnny Pate
"Morning Sun (Dimitri From Paris's Disco Classic Re-Blend)" by Incognito
"It's Over Now (Masters at Work Remix)" by Manzel - jazzy electro-disco reworking of the classic jazz-funk tune
"Disco Santa" by Holiday Express, on the album Live - electro-disco reprise of their 2000 song "Disco Santa (Santa Claus/N.O.E.L.)", recorded live in Littleton, Colorado
"Medley Chic (Live): Le Freak / Chic Mystique / Spacer / Your Love is Good / Upside Down / All American Girls / We Are Family / Celebration" by Sheila, on the album Sheila en Concert à L'Olympia: Jamais Deux Sans Toi - includes electro-disco version of the 1992 Chic song "Chic Mystique" and funky electro-disco cover of the 1978 Chic hit "Le Freak" along with covers of Sister Sledge's disco songs "All American Girls" and "We Are Family" and Kool and the Gang's disco hit "Celebration" and Diana Ross's non-disco hit "Upside Down" as well as reprises of her own disco songs originally with B. Devotion "Spacer" and "Your Love is Good"; recorded live in 2002 in France
"Strong Enough" by Cher, on the album Live: The Farewell Tour - reprise of her 1998 disco hit; recorded live in November 2002 in Florida
"Take Me Home" by Cher, on the album Live: The Farewell Tour - reprise of her 1979 disco hit; recorded live in November 2002 in Florida
"Glow of Love" by Luther Vandross, on the album Radio City Music Hall 2003 - Live - electro-disco reprise of the 1980 disco hit he sang lead on for Change; recorded live in February 2003 in New York City "I Was Made for Lovin' You" by KISS with the Melbourne Symphony Ensemble, on the album KISS Symphony: Alive IV - reprise of their 1979 metal-disco hit; recorded live in February 2003 in Australia
"I Was Made for Lovin' You" by Julietkiss, on the compilation The Italians Kiss Better - cover of KISS's 1979 metal-disco hit
"Sweet Summertime Livin'" by Diana Ross - recorded in 1977-1978, but first released in 2003 by Motown Records on the album diana: Deluxe Edition
"I'm Coming Out (Original Chic Mix)" by Diana Ross - previously unreleased mix of the 1980 disco hit "I'm Coming Out", first released in 2003 by Motown Records on the album diana: Deluxe Edition as track 12 on disc 1; features different lead vocals than the 1980 version
"Give Up (Original Chic Mix)" by Diana Ross - previously unreleased extended mix of the 1980 disco song "Give Up", first released in 2003 by Motown Records on the album diana: Deluxe Edition as track 16 on disc 1
"Tenderness (Original Chic Mix)" by Diana Ross - previously unreleased mix of the 1980 disco-soul song "Tenderness", first released in 2003 by Motown Records on the album diana: Deluxe Edition as track 10 on disc 1
"Strength" by Carolyn Harding is a nice dance song that would have been classified as disco if it had a steady disco beat. "Treat Me Like a Lady" by Zoe Birkett and "Girl Like You" by Bertine Zetlitz are electronic dance. "Disco Queen" by Jestofunk is funk on the album version and house on the Full Intention Remix. "Bring Me the Disco King" by David Bowie is a slow jazzy piano song. "Moscow Disco" by Adjuster is techno. "Disco Dancer" by Star You Star Me is deep house. "Disco Cookies" by MRI is electro-dance. "Disco Love" by Vic Doirée is electro/synth-pop. "Disco Lady" by Baby Drew is rap. "Not Quite Disco" by Dimitri from Paris is jazzy house. "It's Disco" by Tamara Dey is disco-flavored house. "When I See You" by Macy Gray is funk/pop. "Get It Together" by Seal is up-tempo soul. The house remake of "Relight My Fire" by Ricky Martin featuring Loleatta Holloway was one of the summer dance hits of 2003. The Hindi-English song "It's the Time to Disco" from the soundtrack to the Indian film "Kal Ho Naa Ho" is electro-dance-pop. The dance track "Make No Mistake (...To the Disco)" by Southside Connection samples Main Ingredient's 1981 disco tune "Evening of Love".
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The Return of Real Strings to Dance Music
In the second era of disco music, while some songs included string-sounding keyboards accompanying guitar and bass, other songs featured the lovely sounds of real string instruments. Here are some examples of this return of pure disco:
The Company: The following string players performed on their songs "Should I Let Him Go?" and "You Turn My World Around": Lori Presthus on cello, Leslie Hirsch on viola, Aaron Meyer on violin, and Adam LaMotte on violin. They are members of the Portland Philharmonic in Oregon. Strings arrangement on the former by Bradley Swanson, and on the latter by Bryan Everett and Bradley Swanson. BsB Disco Club: Violinists Igor Macarini and Luiz Carlos and cellist Guto Guerra played on the band's disco songs "Mude o Baile" and "Superpoderosa". Sophie Ellis-Bextor: Sophie's song "Murder on the Dancefloor" includes strings by the Wired Strings, led by Rosie Wetter. The Wired Strings are a British-based female quartet. Ultra Nate: "I Don't Understand It" has strings arranged and conducted by Janson and Janson which were recorded in Stockholm, Sweden. "Dear John" has the participation of the Urban Soul Orchestra and excerpts from El Coco's "Dancing in Paradise". The orchestra's string players are Ivan Hussey and Adrian Bradbury on cellos, Jake Walker on viola, and a trio of violinists (Stephen Hussey, Richard George, Fiona McCapra). "New Kind of Medicine" has strings played by SPI Strings. Fantastic Plastic Machine: "Todos Os Desejos" features the violin-playing of Noriyo Obauashi, Hitoshi Konno, and Nagisa Kiriyama, with contractor Chieko Kinbara, and the viola-playing of Hirohito Furugawara, Manami Tokutaka, and Tamami Soma. "I'm Still A Simple Man" was recorded at Sigma Sound Studio in Philadelphia with some session players on strings who once were members of Salsoul and the Sound of Philadelphia, and Philadelphia violinist Emma Kummrow serving as the strings contractor. And their first disco song, "Take Me to the Disco (Legendary Disco All Stars Remix)", features the violin-playing of Mio Ukamura, Noriko Matsuda, Misa Katatsuji, Miho Shimokawa, Yuki Ito, and Mayumi Takebayashi. The Brand New Heavies: The string arrangements in "Spend Some Time" were provided by Aaron Zigman and Andrew Levy. Alcazar: The string arrangements in "Last Days of Disco" were provided by Jesper Nordenström. The string players were Stockholm Session Strings. Mark Ronson: For his disco track "High", guest starring Aya, he worked in Philadelphia with Larry Gold, who had done the string arrangements for the 1979 disco hit "Ain't No Stoppin' Us Now".
A Salute to Modern-Day Disco Drummers
Some disco songs use the technological "house beat", but others showcase the talent of real-life drummers. Here are some of those drummers:
Daniel Oliveira was the drummer on "Mude o Baile" by BsB Disco Club
Adam Deitch was the drummer on "Freakin' Disco" by John Scofield
Pasi Siitoinen was the drummer on "Paiste" by G-Litter
Lars was the drummer on "Straight Ahead" by Fused
Jan Kincaid was the drummer on "Spend Some Time" by the Brand New Heavies
Derrick McKenzie was the drummer on "Cosmic Girl" by Jamiroquai
Ahmir Thompson was the drummer on "High" by Mark Ronson featuring Aya
Some Disco Moments from the early 2000s
Numerous new, original disco songs were produced, such as "Murder on the Dancefloor" by Sophie Ellis-Bextor and "Little L" by Jamiroquai.
Disco-style remakes of disco classics were released, such as "Taste of Bitter Love" by D'Influence feat. Romina Johnson.
Disco classics like "Car Wash", "Night Fever", "We Are Family", "I'm Coming Out", "T.S.O.P.", and "Love to Love You Baby" appeared on American television commercials. For instance, the Bee Gees' "Night Fever" was heard on a Sprint ad and K.C. and the Sunshine Band's "Shake Your Booty" on a Fidelity ad.
An original electro-disco song with trumpets, bass, and keyboards and the lyrics "C'mon dance, dance with me tonight, you're out of sight" appeared on the "Mike Haspel" television commercial for Progressive Casualty Insurance Company, first aired in January 2003.
"Don't Stop 'Til You Get Enough" by Michael Jackson was heard in the film "Rush Hour 2" (2001) during a karaoke bar scene.
"Don't Leave Me This Way" by Thelma Houston and "The Hustle" by Van McCoy were heard in the 2001 movie "America So Beautiful", a film about a Persian in 1979 Los Angeles who wants to open a disco.
"I Will Survive" by Gloria Gaynor plays in a pivotal scene in the 2000 movie "The Replacements".
"Keep It Comin' Love" by K.C. and the Sunshine Band plays in a party scene in the 2001 movie "Blow".
"Macho Man" by the Village People plays in the 2002 movie "Big Trouble".
"Macho Man" by the Village People plays in the 2003 movie "Terminator 3: Rise of the Machines".
"Dance Across the Floor" by Jimmy "Bo" Horne plays in the 2002 movie "City of God".
"Bad Luck" by Harold Melvin and the Blue Notes appeared on the soundtrack to the 2000 comedic movie "Next Friday".
"Canned Heat" and "Cosmic Girl" by Jamiroquai appeared on the soundtrack to the 2000 movie "Center Stage".
"Danger! High Voltage" by the Electric Six and "Last Dance" by Donna Summer appeared on the soundtrack to the 2003 movie "Charlie's Angels: Full Throttle".
"Good Times" by Chic and "Get Down Tonight" by K.C. and the Sunshine Band appeared on the soundtrack to the 2003 movie "The In-Laws".
"Little L" by Jamiroquai can be heard in the film "The Sweetest Thing" (2002).
"Main Vein" by Jamiroquai was used as background music in an episode of the HBO cable television series "Sex and the City". "Doctor's Orders" by Carol Douglas was played during the show's nightclub scenes.
"Love is in the Air" was sung by John Paul Young at the Closing Ceremony of the 2000 Summer Olympics in Sydney, Australia.
"We Are Family" was sung by Donny and Marie Osmond at the Closing Ceremony of the 2002 Winter Olympics in Salt Lake City, Utah.
Disco artists like Thelma Houston, Donna Summer, Chic, K.C. and the Sunshine Band, and many others continued to perform their classics at concerts across the United States, many of them having returned to performing in the 1990s; meanwhile, artists like Patrick Juvet and the Gibson Brothers performed their classics in France.
At the World Disco Classic II in 2000, disco producer Vincent Montana, Jr. was presented with a Lifetime Achievement Award, and disco diva Loleatta Holloway sang her classics.
Gloria Gaynor sang her classic "I Will Survive" on the television program "Showtime at the Apollo" on November 2, 2002, and the show's host reminisced about how New York City was the cultural center of the world during the original disco era.
Anita Ward sang "Ring My Bell" at Times Square in New York City on New Year's Eve December 31, 2002 while 50,000 revelers shook bell bracelets.
ABC aired a two-hour prime-time television show called "The Disco Ball", featuring live performances by several disco artists, including Thelma Houston, K.C. and the Sunshine Band, Gloria Gaynor, Cheryl Lynn, the Trammps, the Village People, and Chic, on January 16, 2003.
The American TV game show "Family Feud" aired "Disco Fever Week" matches February 10-14, 2003 between the Village People and five disco divas: Freda Payne, Thelma Houston, Martha Wash of Two Tons O' Fun, Evelyn "Champagne" King, Janice-Marie Johnson of A Taste of Honey.
The American TV game show "Pyramid" aired "Disco Week" shows April 28-May 2, 2003 with special guests Thelma Houston, Gloria Gaynor, Maxine Nightingale, Evelyn "Champagne" King, and K.C. (of the Sunshine Band).
The talent-search TV show "American Idol" aired disco-themed shows on April 1 and 2, 2003, with individual performances of "Let's Groove", "Turn the Beat Around", "Knock on Wood", and "Celebration", and culminating in a group performance of EWF's classic "Boogie Wonderland". On November 15, 2003 the British equivalent "Pop Idol" broadcast its own disco-themed episode, though only two of the songs performed ("Young Hearts Run Free" and "Rock With You") are really disco.
On June 9, 2002, "Idol", the Polish equivalent of "American Idol", aired a "Disco Hits" themed show.
On February 11, 2003, "Idol Serbia-Montenegro and Macedonia" had contestants perform songs on the theme "Disco Night".
The 8th Bicknell International Film Festival held in Bicknell, Utah on July 25-26, 2003 was themed "Disco De-Lux: Fine Films from America's Worst Fashion Decade!" Films screened included "Thank God It's Friday" (USA, 1978), "Saturday Night Fever" (USA, 1977), and "That's The Way I Like It" (Singapore, 1998). The Jamboni Brothers provided live disco music at the closing-night party.
Great American Ball Park, home of the Cincinnati Reds team, hosted "Disco Night" on August 27, 2003, including a "Dugout Dance Off" contest.
MGA Entertainment produced a popular "Bratz Formal Funk Super-Stylin' Runway Disco" multi-element toy for children which has (among other things) a miniature disco with flashing floor lights. This toy won a "Top 10 Toys of the Year" award at the American International Toy Fair.
One of the twelve video games that comes on a disc with the Sony EyeToy device (released 2003) for PlayStation 2 is titled "Disco Stars". In this game, the player emulates a dancer named Qt and has to hit the lights in the correct order, while funky dance music is playing.
Roller disco on four-wheel skates is again popular, particularly in California.
The animated 1970s-themed television series "Funky Cops", first aired in the USA on Fox Box in 2003, has, among other things, disco dancing scenes and disco music.
The disco-pop song "Don't Stop Movin'" by S Club 7 was included on the Radio Disney Jams 6 compilation CD (2003).
A slightly modified excerpt from the song "Disco Mickey Mouse" is the theme to the 2003 VH1 television series "The Fabulous Life of..."
Disco hits continued to play on radio stations across the world.
Lots of new disco compilations were released.
Disco continued to be sampled in rap, R&B, and house tunes.
The British disco-themed musical "Oh! What A Night", starring Kid Creole, with a plot set in 1976 and renditions of such disco classics as "Ain't No Stoppin' Us Now", "I Will Survive", "Celebration", and "Young Hearts Run Free", continued its successful run across Europe in 2001-2004. The Australian version of 2004 starred Kathy Sledge of Sister Sledge.
A multimedia museum exhibit called "Disco: A Decade of Saturday Nights" was on display at the Experience Music Project (EMP) in Seattle, Washington from November 23, 2002 until September 2003. DiscoSavvy.com compiled the following expanded annual review features:
Disco 2003: The Year in Review Copyright Notice: While the raw facts provided in these lists and essays may be freely disseminated, the particular presentation of this information including the format and comments may not be redistributed without permission, excepting fair use quotes that credit the source. Original content is copyright ©2001-2024 K. A. Brook, all rights reserved.
Disco Music released before 2000:
1972-1974 Disco 1975 Disco 1976 Disco 1977 Disco 1978 Disco 1979 Disco 1980 Disco 1981 Disco 1982 Disco 1983-1989 Disco 1990-1999 Disco
Disco Music released after 2003:
2004-2006 Disco 2007-2009 Disco 2010-2019 Disco 2020+ Disco Our Disco Classification System Disco Savvy Homepage
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https://www.dailymail.co.uk/news/article-2539713/Blur-bassist-Alex-James-plans-bring-new-meaning-word-Britpop-launching-drinks-brand.html
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Blur bassist Alex James plans to launch new drinks band called Britpop
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[] |
[] |
[
"dailymail",
"news"
] | null |
[
"William Turvill",
"www.facebook.com"
] |
2014-01-15T08:47:55+00:00
|
The musician (pictured) appears set on releasing the beverages under a name associated with the rock movement his band started in the 1990s.
|
/favicon.ico?v=2
|
Mail Online
|
https://www.dailymail.co.uk/news/article-2539713/Blur-bassist-Alex-James-plans-bring-new-meaning-word-Britpop-launching-drinks-brand.html
|
Blur bassist Alex James plans to bring new meaning to the word Britpop by launching drinks brand
Alex James appears set on releasing the beverages under Britpop brand
Applied for trademark on drinks brand at the Intellectual Property Office
Musician already owns the trademark on a number of cheese names
Blur bassist Alex James is planning to launch a new drinks brand called Britpop.
The musician appears set on releasing the beverages under a name associated with the rock movement his band started in the 1990s.
The 45-year-old's application for the drinks brand trademark was published for consultation by the Intellectual Property Office last Friday.
Blur bassist Alex James has applied to trademark a drink called Britpop at the Intellectual Property Office
He would join a long line of musicians who have entered the drinks market, following in the footsteps of bands such as Iron Maiden and Madness.
It is not explicitly stated what kind of drink James is hoping to launch, and the beverage could be alcoholic or non-alcoholic.
The term Britpop was popularised in the 1990s to describe the British music scene dominated by Blur and rival band Oasis.
James is most famous for his work with Blur (pictured), but has in recent years gone into the cheese market
Although still primarily renowned for his musical accolades, in recent years James has entered the food market by launching a range of cheeses.
He owns a number of trademarks, including Goddess, Figgy Pudding and Little Wallop, and sells them under the range name, Alex James Presents.
He began selling cheeses after moving to a farmhouse in the Cotswolds and, in 2008, won a Best Goats' Cheese honour at the British Cheese Awards. Two year later, he was chosen to be a judge on the awards.
Despite this success, Asda stopped selling his range of cheeses in 2012 – just a year after taking them on.
In 2011, James brought together his two great loves by launching the Alex James Presents Harvest, a food and music festival held on his Oxfordshire farm.
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https://www.billboard.com/music/music-news/pulps-common-people-declared-top-of-the-britpops-6052251/
|
en
|
Pulp’s ‘Common People’ Declared Top Of The Britpops
|
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2014-04-14T10:38:29+00:00
|
The Jarvis Cocker-led group came out on top of the BBC Radio 6 Music poll ahead of songs by the Verve, Oasis and Blur.
|
en
|
Billboard
|
https://www.billboard.com/music/music-news/pulps-common-people-declared-top-of-the-britpops-6052251/
|
Pulp’s classic 1995 song “Common People” has been voted as the No. 1 anthem of the Britpop era.
The Jarvis Cocker-led group came out on top of the BBC Radio 6 Music poll ahead of songs by the Verve, Oasis, Blur, Suede, the Bluetones and Ash.
In its heyday, Pulp was everyone’s second-favorite Britpop band. If you were into Oasis, you couldn’t be into Blur. But everyone plugged into the scene was just fine with Pulp.
The Sheffield outfit’s frontman cut a suave, charismatic figure with a genuine talent as a wordsmith. But success didn’t come early on. After various line-up changes and middling commercial success, wide attention finally arrived with 1994’s “His N Hers,” the band’s fourth studio album which delivered the hits “Babies” and “Do You Remember the First Time?”
The follow-up, “Different Class,” proved to be the band’s career-defining album. “Different Class” reached No. 1 on the U.K. albums chart, won the 1996 Mercury Music Prize, and yielded the top 10 singles “Common People,”” Mis-Shapes/Sorted for E’s And Wizz,” “Something Changed” and “Disco 2000,” which appeared at No. 9 on the BBC poll.
“Common People,” with its elegant story-telling (“She came from Greece she had a thirst for knowledge, She studied sculpture at Saint Martin’s College, That’s where I, caught her eye”) and a video which featured Sadie Frost, actually missed out on the top spot first time around. The track peaked at No. 2 on the U.K. singles chart, pipped by Robson & Jerome’s cover of “Unchained Melody.”
More than 30,000 people voted on the poll, the culmination of a week-long celebration to mark 20 years since the birth of Britpop.
Trending on Billboard
BBC Radio 6 Music’s “Favorite Britpop Anthem” poll:
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https://www.neonscience.org/field-sites/nogp
|
en
|
Northern Great Plains Research Laboratory NEON
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https://www.neonscience.org/field-sites/nogp
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About Field Sites
Climate
North Dakota has continental climate characterized by vast variations in both seasonal and daily temperatures. Air flow throughout the region creates windy conditions. In the winter, arctic air masses create cold and dry conditions. Summer airflow from the Northern Pacific air masses bring warmer dry conditions, while occasional tropical air flow creates warm and wet conditions. This highly variably shift in air masses ultimately provides North Dakota with moderate precipitation annually of around 330-508 mm (13-20 in.). Average annual temperature ranges from 2.8-6.1°C (37-43°F), with winters often below -17.8°C (0°F) and summers above 32°C (90°F). The mean annual temperature in the vicinity is 5.9°C (42.6°F) and mean annual precipitation is 455 mm (18 in.). Preipitation varies from year to year, with more precipitation falling during the summer months when thunderstorm activity is the highest. Weather exhibits extreme variability, with periodic droughts, hailstorms, fluctuations in temperature, and frequent strong winds. The most severe storms can produce hail, tornadoes, or damaging straight-line winds. [5] [11] [14]
Geology
NOGP sits above the Oahe Formation, a geologic formation from the late Quaternary age consisting predominately of wind-blown silt. [3] [10]
Soils
Soils at NOGP are nearly all Mollisols, which is characteristic of prairie grasslands. They are part of the subgroup Typic Argiustolls and have surface horizons that are dark and mollic with a thickness of 18-89 cm (7-35 in.). A small area of a shallow entisol of the Cabba series also exists at the site. Parent materials are sedimentary sandstone, siltstone, mudstone, and shale. [9] [10]
Hydrology
NOGP has vast spanses of prairie potholes across its landscape. Prairie potholes are both seasonal and year-long depressional freshwater wetlands that fill with snowmelt and rain during spring and summer storms.[4]
Vegetation
The Great Plains region is dominated by native grasslands, tame grasses, legumes, and many species of wildflowers. Smooth Brome (Bromus inermis L.) and Kentucky blue grass (Poa pretensis L.) dominate the NOGP tower area along with various crop species planted depending on type of research being conducted in the field site. The five most common species within NOGP include Russian Olive (Elaeagnus angustifolia L.), Kentucky Bluegrass (Poa pratensis L.), Snowberry (Symphoricarpos occidentalis Hook.), Green Needlegrass (Nassella viridula (Trin.)), and Smooth Brome (Bromus inemis Leyss). [1]
Fauna
Some animals that call this region home include Bison (Bison bison), Red fox (Vulpes vulpes), Coyote (Canis latrans), American Badger (Taxidea taxus), and more. NEON collects data on four types of wildlife here: small mammals, birds, mosquitoes, and ground beetles. Common species collected at NOGP include the Thirteen-lined squirrel (Ictidomus tredecemlineatus), Deer Mouse (Peromyscus maniculatus), and many ground beetles such as Cyclotrachelus torvus. [1] [6] [7]
Past Land Management and Use
The Northern Great Plains Research Laboratory was established by Congress on August 8, 1912 to respond to the needs of farmers and ranchers of the Northern Plains. Research began in 1914 on vegetables, shrubs, ornamentals, berries, fruits, wheat, flax, forages, grazing management, windbreaks, and forestry. Research programs have changed significantly across the years; programs focused on evaluating trees and shrubs for windbreaks, developing methods to reclaim mine-land spoils, and examining the feasibility of dairy production, have been replaced with new long-term research. The prairie section at NOGP was historically grazed and hayed with no history of tillage; however, it has been undisturbed since 2005. The arable section at NOGP has been managed for annual grain production for over 50 years but has not been tilled since 1992. [2] [12] [13]
Current Land Management and Use
The Northern Great Plain Research Laboratory has been conducting agricultural studies for over a hundred years at the NOGP site. Their mission is “To develop adaptive and integrative practices for sustainable, crop, livestock and rangeland systems.” The Agricultural Research Service (ARS) manages the land, focusing on developing solutions to agricultural problems that affect millions of Americans. [8] [12]
NEON Site Establishment
NOGP plots were officially established in November 2015, with a last phase of development with the instrumentation tower in July of 2017. Sensor data started collection in July 2017. Sampling for Terrestrial Observations began in August 2016, making it one of the earlier sites to be sampled within NEON.
Additional Resources
[1] Terrestrial Observation System (TOS) Site Characterization Report: Domain 09. NEON.DOC.003893vB
[2] http://www.mandanhistory.org/arealandmarks/greatplainsexpermtstn.html
[3] Clayton, L., Moran, S.R., & Bickely, W.B. (1976) Stratigraphy, origin, and climactic implications of the late quaternary upland silt in North Dakota. North Dakota Geological Survey. https://www.dmr.nd.gov/ndgs/documents/Publication_List/pdf/MiscSeries/M…
[4] https://www.epa.gov/wetlands/prairie-potholes
[5] https://gf.nd.gov/wildlife/habitats/climate
[6] https://gf.nd.gov/gnf/education/habitats-of-nd/habitats-of-nd-prairie.p…
[7] https://bugguide.net/node/view/127442
[8] https://www.ars.usda.gov/research/programs-projects/?modeCode=30-64-05-…
[9] Heilig, Jeanne. 2017. NEON Site Level Plot Summary, Northern Great Plains (NOGP), November 2017. https://data.neonscience.org/documents/10179/2361410/NOGP_Soil_SiteSumm…
[10] U.S. Geological Survey, 2005, Mineral Resources Data System: U.S. Geological Survey, Reston, Virginia. https://mrdata.usgs.gov/mrds/
[11] https://statesummaries.ncics.org/chapter/nd/
[12] https://www.ars.usda.gov/plains-area/mandan-nd/ngprl/docs/about-us/
[13] Terrestrial Instrument System (TIS, FIU) Site Characterization Supporting Data: Domain 09. NEON.DOC.011055vB
|
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https://apps-afsc.fisheries.noaa.gov/REFM/REEM/LHWeb/LifeHistoryCitations.php
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Life History Citations
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https://www.cur.org/grinnell-colleges-professor-garrison-selected-as-2023-curah-awardee/
|
en
|
Grinnell College’s Professor Garrison Selected as 2023 CURAH Awardee
|
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2023-05-24T08:45:00+00:00
|
Dr. John Garrison, professor of English at Grinnell College in Iowa, has been selected as the 2023 Council on Undergraduate Research (CUR) – Arts and Humanities Faculty Mentor Awardee.
|
en
|
The Council on Undergraduate Research
|
https://www.cur.org/grinnell-colleges-professor-garrison-selected-as-2023-curah-awardee/
|
Dr. John Garrison, professor of English at Grinnell College in Iowa, has been selected as the 2023 Council on Undergraduate Research (CUR) – Arts and Humanities Faculty Mentor Awardee.
Garrison has mentored a considerable number of undergraduate research students both in his classroom and through independent research projects. Often incorporating on-campus activities with more hands-on, course-embedded research travel, Garrison finds it deeply rewarding to encourage students’ growth through mentorship and to enhance his own understanding of the world through co-exploration of research topics. He has mentored four fellows in the Mellon-Mays Undergraduate Program, has six publications with students, and continues to look for innovative ways to involve students in research. He actively encourages his students to share their own single-authored research from their mentored experience. Many have presented their findings at conferences such as those sponsored by the Kroc Institute for Peace and Justice, Midwest Institute for Sexuality and Gender Diversity, Midwest Modern Language Association, Shakespeare Association of America, University of Chicago, and the Utah Shakespeare Festival.
“I was so thrilled to receive news of the award. Encouraging undergraduates to engage in humanities research has long been a passion of mine, not only because it helps them build essential skills but also because it drives a deeper understanding of literary texts and, ultimately, of themselves. Particularly important to me has been co-publishing with students, which has allowed them to advocate for new approaches to researching questions in the humanities which they feel are especially intriguing or urgent. Receiving the award this year inspires me to think even more creatively and more inclusively as I meet future students,” said John Garrison, professor of English and this year’s award winner.
“Professor Garrison is a committed, creative, and highly successful mentor of undergraduate students who is a model for teacher-scholars and mentors. His unique approach of mentoring students to become advocates and teachers themselves showcases his commitment to research innovation in the humanities. His impactful mentorship and collaborative work with students have resulted in publications and awards. It is with great pleasure that we congratulate him on receiving the prestigious 2023 Arts and Humanities Faculty Mentor Award from CUR,” said Beronda Montgomery, vice president for academic affairs and dean of the College.
Lindsay Currie, CUR’s executive officer stated, “Dr. Garrison’s commitment to mentoring undergraduates with unique approaches to research in the humanities should be celebrated. We are excited to acknowledge his contributions to the field and the work he has done to inspire the next generation.”
The CUR-Arts and Humanities Faculty Mentor Award was established in 2018 through an endowed gift by 2012 CUR Fellow Joyce Kinkead (Utah State University) to nurture undergraduate research, scholarship, and creative inquiry in arts and humanities disciplines. Garrison was honored at the June 13, 2023, CUR Award Celebration. You can watch his acceptance speech here.
Founded in 1978, the Council on Undergraduate Research (CUR) focuses on providing high-quality and collaborative undergraduate research, scholarly, and creative activity. Among the many activities and networking opportunities that CUR provides, the organization also offers support for the professional growth of faculty and administrators through expert-designed institutes, conferences, and a wide-range of volunteer positions. The CUR community, made up of nearly 700 institutions and 13,000 individuals, continues to provide a platform for discussion and other resources related to mentoring, connecting, and creating relationships centered around undergraduate research. CUR’s advocacy efforts are also a large portion of its work as they strive to strengthen support for undergraduate research. Its continued growth in connections with representatives, private foundations, government agencies, and campuses world-wide provides value to its members and gives voice to undergraduate research. CUR is committed to inclusivity and diversity in all of its activities and our community.
CUR focuses on giving a voice to undergraduate research with learning through doing. It provides connections to a multitude of campuses and government agencies, all while promoting networking and professional growth to its community.
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https://www.armymwr.com/installation
|
en
|
My Installation
|
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Family and MWR Programs are delivered primarily through a local garrison or installation. Select your location:
|
en
|
/favicon.png
|
https://www.armymwr.com/installation
|
Family and MWR Locations
Pacific
Europe
Puerto Rico
U.S.
Pacific
U.S. Forces Japan
Site: MWR Torii Station, MWR Camp Zama , Garrison Homepage
U.S. Forces Korea
Site: MWR Korea, USAG Red Cloud MWR, USAG Yongsan MWR, USAG Humphreys Garrison Homepage
Facility: U.S. Military Temporary Lodging: Dragon Hill Lodge
Europe
Europe
Site: MWR, Army Lodging
Ansbach:
U.S. Army Garrison (USAG) Ansbach is located in the northern part of Bavaria, approximately 117 miles southeast of Frankfurt and 26 miles southwest of Nuernberg, Germany. Margrave's Palace, the Orangerie and Park and the Kasper-Hauser-Memorial are just a few of the many historical sights located here. It’s home to the 12th Combat Aviation Brigade (CAB), which prepares for full-spectrum combat aviation operations in support of the United States Army, the United States Army-Europe and other designated combined joint task force headquarters.
Site: MWR, Army Lodging, Garrison Homepage
Baumholder
Site: MWR, Army Lodging, Garrison Homepage
Bavaria:
United States Army Garrison (USAG) Bavaria is located in the beautiful Bavaria region of southern Germany. It encompasses and provides service to U.S. Army installations in Grafenwoehr (Tower Barracks), Vilseck (RoseBarracks), Hohenfels (Hohenfels Training Area) and Garmisch (Artillery Kasern and Sheridan Barracks). Tower and Rose Barracks directly support the 7th Army Joint Multinational Training Command, 2nd Cavalry Regiment, 15th Engineer Battalion, 44th Signal Battalion, 18th Combat Sustainment Support Battalion, 1st Squadron 91st Cavalry Regiment, 4th Battalion 319th Airborne Field Artillery Regiment and many other tenant units.
Site: MWR, Army Lodging, Garrison Homepage
Benelux:
U.S. Army Garrison (USAG) Benelux-Brussels is located on the Northeastern side of Brussels, about a five-minute drive from the North Atlantic Treaty Organization (NATO) headquarters, and one hour drive from Chievres Garrison, near SHAPE (Belgium) and the US Army Garrison-Shinnen (Netherlands). Brussels is known as the "Capital of Europe." USAG Benelux provides support to meet the special international and joint environment demands for military communities in The Netherlands, Belgium, Luxembourg, France, the United Kingdom and northern Germany.
Site: MWR, Army Lodging, Garrison Homepage
Brussels:
USAG Brussels is one of the essential military facilities operated by the United States of America in Europe. It is located in Brussels, in the capital of Belgium. It is a few minutes away from the NATO headquarters, therefore it is very important for the safety measures in the area. Its primary mission is to ensure an excellent lifestyle for the inhabitants, full support for the American operations in Belgium and premier support for the important visitors of the main city in Belgium.
USAG Brussels was initially established as NSA (NATO Support Activity). In order to serve all the objectives and services it was built for, USAG Brussels hosts a wide variety of troops and units. The most important one is the 39 Signal Battalion. Some other units include the Brussels American School, the Canadian Military Delegation or the Defense Contract Management Command. However, the list can successfully go on.
Site: MWR, Army Lodging, Garrison Homepage
Chievres:
USAG Benelux has an interesting and dual history. Originally designated as the 80th Ordnance Group, the organization was activated on 25 January 1945 at Luneville, France and then later that year inactivated at Ft. Benning, Georgia. It was again reactivated at Red River Arsenal, Texas in 1954. In 1966, it was redesignated as the 80th General Support Group when it moved to Vietnam.
After more than five years of distinguished service supporting 13 campaigns in Vietnam, the organization was inactivated in 1972. In 1984 the 80th Support Group [Area] was reactivated and relocated to Chievres, Belgium.
Site:MWR,Army Lodging, Garrison Homepage
Garmisch:
The USAG Bavaria installation in Garmisch includes Sheridan Barracks and Artillery Kaserne. USAG Bavaria Garmisch Community supports three mission partners: the George C. Marshall European Center for Security Studies at Sheridan Kaserne, the NATO School in nearby Oberammergau, and the Armed Forces Recreation Center. The garrison also supports numerous smaller units and facilities spread across Southern Bavaria.
Site: MWR, Army Lodging, Garrison Homepage
Grafenwoehr:
U.S. Army Garrison Bavaria is headquartered in Grafenwoehr. U.S. Army Garrison Grafenwoehr was redesignated as U.S. Army Garrison Bavaria in 2013. USAG Bavaria now overseas Army installations in Grafenwoehr, Vilseck, Hohenfels and Garmisch. The U.S. Army installation at Vilseck is 20 minutes away. USAG Bavaria encompasses and provides service to U.S. Army installations in Grafenwoehr (Tower Barracks), Vilseck (Rose Barracks), Hohenfels (Hohenfels Training Area) and Garmisch (Artillery Kasern and Sheridan Barracks). The installations at Grafenwoehr and Vilseck provide primary support to the Joint Multinational Training Command and the 2nd Cavalry Regiment.
Site: MWR, Army Lodging, Garrison Homepage
Hohenfels
The USAG Bavaria installation in Hohenfels consists of one installation. It is about an hour south of Grafenwoehr and Vilseck and about two and a half hours north of Garmisch. USAG Bavaria - Hohenfels includes the Hohenfels Training Area, which is 163 km2 large. It provides premier installation management support and services that enhance the readiness of joint and multinational forces, ensures the highest level of quality of life in a secure and sustainable environment, and enables Soldiers to soldier, Leaders to lead, and Families to grow. It supports two primary mission partners: The Joint Multinational Readiness Center and the 1st Battalion, 4th Infantry Regiment.
Site: MWR, Army Lodging, Garrison Homepage
Italy:
U.S. Army Garrison (USAG) Italy is in Vicenza, Italy, located on Caserma Carlo Ederle. It’s positioned at the foothills of the Dolomites in northern Italy, midway between Venice and Verona, within a three-hour drive to Florence, Milan and Bologna. An hour's drive north has snowboarding, skiing or sledding, and an hour’s drive to the east has beautiful beaches. U.S. Army Garrison Italy is the headquarters of U.S. Army Africa, America's premier Army team dedicated to achieving positive change in Africa.
Site: MWR, Garrison Homepage, Army Lodging
Facility: Casa Toscana Lodging
Kaiserslautern
Site: MWR, Army Lodging, Garrison Homepage
Rheinland-Pfalz:
U.S. Army Garrison (USAG) Baumholder, affectionately known as "The Rock" is set in the wooded hills of the Western Palatinate in the German federal state of Rheinland-Pfalz. USAG Baumholder plans and executes force protection operations, deployment support operations, garrison support operations and German-American relations to sustain Soldier, Civilian and Family wellbeing and readiness.
Site: MWR, Army Lodging, Garrison Homepage
Schinnen
Site: MWR, Army Lodging, Garrison Homepage
Stuttgart (Baden-Wurttemberg):
U.S. Army Garrison (USAG) Stuttgart is located in the southwest German city of Stuttgart, perhaps best known as the manufacturing site of Mercedes and Porsche cars. Stuttgart's location makes it convenient to drive or take a train to Switzerland, Austria, France, Italy, Luxembourg, Belgium or the Netherlands, which are all a day's drive or train ride away. USAG Stuttgart is home to both the United States European Command (EUCOM) and the United States African Command (AFRICOM)
Site: MWR, Army Lodging, Garrison Homepage
Wiesbaden:
U.S. Army Garrison (USAG) Wiesbaden is located in the states of Hessen and Rheinland Pfalz, in central Germany. The region is rich in history and cultural facilities. Wiesbaden is a 25-minute drive from the Frankfurt International Airport, and sits right next to the historical city of Mainz. The Wiesbaden military community hosts several tenant units, including: U.S. Army Europe Headquarters, 5th Signal Command, 66th Military Intelligence Group, 1st Air Support Operations Group, 1st Battalion, 214th Aviation Regiment, 485th Intelligence Squadron and the 7th Weather Squadron.
Site: MWR, Army Lodging, Garrison Homepage
Puerto Rico
Fort Buchanan:
Fort Buchanan is the only active U.S. Army installation in Puerto Rico located in the Metropolitan area of San Juan. It serves under direct control of the Installation Management Command, Atlantic Region. Its mission is "to synchronize, integrate, and deliver installation services and facilities in support of Senior Commanders in order to enable a ready and resilient Army."
On July 1, 1899, "The Porto Rico Regiment of Infantry, United States Army" was created. On July 1, 1901 Lieutenant Colonel James Anderson Buchanan commanded the regiment. He was later promoted to Colonel on July 21, 1902 and to Brigadier General in 1905. Buchanan served in Puerto Rico from 1898 to 1903. The military installation, Fort Buchanan, was named after Brigadier General James A. Buchanan, first commander of the Puerto Rico Regiment.
Site: MWR, IHG Army Hotel, Garrison Homepage
Alabama
Anniston Army Depot
Nestled in the foothills of the Appalachian Mountains in northeast Alabama, Anniston Army Depot is a U.S. Army maintenance center and munitions storage site occupying more than 25 square miles. Anniston Army Depot is a state-of-the-market maintenance facility, earning its reputation as "The Tank Rebuild Center of the World."
Site: MWR, IHG Army Hotel, Garrison Homepage
Fort Novosel:
Fort Novosel, Alabama is the Home of Army Aviation. The U.S. Army Aviation Center of Excellence trains, educates and develops Army Aviation professionals and integrates indispensable aviation capabilities across warfighting functions to support commanders and Soldiers on the ground. Excellent fishing, boating, automobile racing, dog racing, camping, historical attractions and the beaches of the Gulf of Mexico are no more than a two-hour drive away.
Site: MWR, IHG Army Hotel, Garrison Homepage
Redstone Arsenal
Located in the heart of the Tennessee Valley in Northern Alabama, Redstone Arsenal is home to 35,000 professionals committed to supporting our Nation with space operations and missile defense; logistics services and contracting support; intelligence and homeland defense activities; and some of the most innovative research, development, test and engineering resources in the world. The surrounding counties provide a variety of cultural opportunities, and the local geography of mountains, lakes and the Tennessee River support numerous outdoor activities.
Site: MWR, IHG Army Hotel, Garrison Homepage
Alaska
Fort Greely:
Located between two mountain ranges about 100 miles from Fairbanks and 350 miles from Anchorage, Fort Greely is part of the Delta Junction community in Interior Alaska. Just stepping out into your front yard can lead to an encounter with the local wildlife, such as moose or fox. Fort Greely supports the Alaska Air National Guard, whose key mission is security and operation of the Missile Defense Site.
Site: MWR, IHG Army Hotel, Garrison Homepage
Joint Base Elmendorf-Richardson:
Joint Base Elmendorf-Richardson (JBER), adjacent to Anchorage, is about 300 miles south of Fairbanks in south central Alaska, With snow-capped mountains, lakes, rivers and glaciers, the area abounds with wildlife. As the largest installation in Alaska, JBER is home of the Air Force's Headquarters, Alaskan Command (ALCOM); Alaskan NORAD Region (ANR); Eleventh Air Force (11 AF); and the 3rd Wing (3 WG), as well as the Army's U.S. Army Alaska (USARAK); the 4th Brigade Combat Team (Airborne), 25th Infantry Division (4-25th ABCT); and the 2d Engineer Brigade (2rd EngBde).
Site: MWR, IHG Army Hotel, Garrison Homepage
Fort Wainwright:
Co-located with Fairbanks, Alaska, Fort Wainwright provides virtually everything Families would enjoy in any other city in America. Fort Wainwright provides unique opportunities to be on the cutting edge of Army Transformation and to enjoy the incredible opportunities this state has to offer. It’s is the home of the United States Army Garrison and units of the United States Army Alaska (USARAK) including the 1st Stryker Brigade Combat Team, 25th Infantry Division, the USARAK Aviation Task Force and the Medical Department Activity-Alaska.
Site: MWR, IHG Army Hotel, Garrison Homepage
Facility: Seward Military Resort
Arizona
Fort Huachuca:
Fort Huachuca is located in Cochise County, in southeast Arizona, about 15 miles north of the border with Mexico. It’s home of the U.S. Army Intelligence Center and the U.S. Army Network Enterprise Technology Command (NETCOM)/9th Army Signal Command. Fort Huachuca is also the headquarters of Army Military Affiliate Radio System (MARS) and the Joint Interoperability Test Command (JITC) and the Electronic Proving Ground (EPG).
Site: MWR, IHG Army Hotel, Garrison Homepage
Yuma Proving Ground:
U.S. Army Yuma Proving Ground in Yuma, Arizona, is one of the geographically largest military installations in the western world and located in the far southwestern corner of the state. It ensures that the weapon systems and equipment issued to our Soldiers function safely and as intended -- all the time, without fail. Each day, numerous tests take place in the proving ground’s harsh, realistic environment on tanks, artillery, munitions of all types, parachutes, helicopters and much more.
Site: MWR, IHG Army Hotel, Garrison Homepage
Arkansas
Pine Bluff Arsenal:
The Pine Bluff Arsenal (PBA) is located in the Pine Bluff/White Hall area in southeast Arkansas, 35 miles southeast of Little Rock. It’s a small installation, but the local community truly supports our military. PBA’s core primary missions include: conventional ammunition, chemical biological defense, engineering and technical support, mobile and powered system support and base operations support to numerous tenant activities.
Site: MWR, IHG Army Hotel, Garrison Homepage
California
Fort Hunter Liggett:
The U.S. Army Garrison Fort Hunter Liggett is the largest U.S. Army Reserve Command post, with more than 165,000 acres. It is located in Monterey County, in the central coast of California, 150 miles south of San Francisco and 250 miles north of Los Angeles. Fort Hunter Liggett provides world-class training for combat support and combat service support units of the Army Reserve, and offers excellent training opportunities to all U.S. military components and those of allied nations.
Site: MWR, IHG Army Hotel, Garrison Homepage
Camp Parks
Parks Reserve Forces Training Area is a premier academic institution, military intelligence facility, and battlefield simulation center that supports military readiness for both the Army Reserve and the entire Joint Force. Additionally, Parks proactively plans for future military deployments and natural disasters by ensuring that the installation footprint and facilities are capable of housing, feeding, and caring for those who serve. Camp Parks is a sub-installation of Fort Hunter Liggett in Jolon, Calif.
Site: MWR, IHG Army Hotel, Garrison Homepage
Fort Irwin:
Fort Irwin is tucked into the High Mojave Desert’s hills and mountains. It’s located approximately 37 miles northeast of Barstow, California, midway between Las Vegas, Nevada and Los Angeles, California. Fort Irwin provides realistic joint and combined arms training focused on developing Soldiers, leaders and units of America's Army for success on the 21st century battlefield.
Site: MWR, IHG Army Hotel, Garrison Homepage
Presidio of Monterey:
The Presidio of Monterey is located in Monterey, California, about 117 miles south of San Francisco, on the Pacific coast. It’s home to the Defense Language Institute Foreign Language Center (DLIFLC). Regarded as one of the finest schools for foreign language instruction in the country, it provides foreign language education, training, evaluation and sustainment for DoD personnel.
Site: MWR, IHG Army Hotel, Garrison Homepage
Sierra Army Depot:
Sierra Army Depot is located on the northeast side of the Sierra Nevada Mountains and about one hour northwest of Reno, Nevada. It’s within a short driving distance to many recreational areas. Sierra Army Depot is home to a highly dedicated staff of expert and skilled machinists, craftsmen, equipment operators and support personnel that are vital to the current and future Army needs. It’s also the Center for Industrial Technical Excellence (CITE) for all Petroleum and Water Distribution Systems (PAWS).
Site: MWR, IHG Army Hotel, Garrison Homepage
Colorado
Fort Carson:
Fort Carson, “The Mountain Post,” is at the base of the Rocky Mountains, on the southwest side of Colorado Springs, Colorado. The unparalleled beauty and mild climate allow for a wide variety of outdoor activities. Fort Carson Families have easy access to the many cultural attractions of “The Springs” and the bright lights of nearby Denver. Fort Carson is home to the 2nd, 3rd and 4th Brigade Combat Teams of the 4th Infantry Division. The 43rd Area Support Group supports the major units on post.
Site: MWR, IHG Army Hotel, Garrison Homepage
Florida
U.S.A.G. Miami at Southcom:
United States Army Garrison-Miami is located in Miami-Dade County, Florida, three miles west of the Miami International Airport. Because the command is not on an installation, the command works with the local communities to ensure personnel have access to programs and services typically available on a military installation. The garrison provides quality installation support services, infrastructure and force protection to U.S. Southern Command, supporting tenant units, their service members, Families and civilians.
Site: MWR, IHG Army Hotel, Garrison Homepage
Facility: Shades of Green Resort at Walt Disney World
Georgia
Fort Eisenhower:
Fort Eisenhower is located just a few miles southwest of Augusta, Georgia. It’s also 138 miles from the charm of Charleston, South Carolina, 211 miles from the beaches and golf courses of Myrtle Beach, and 122 miles from the historic streets of Savannah. Fort Eisenhower is home of the U.S. Army Cyber Center of Excellence. It’s a large installation with multiple missions to provide base services and support across a wide spectrum of training, operational and Soldier sustainment needs.
Site: MWR, IHG Army Hotel, Garrison Homepage
Fort Moore:
Fort Moore is located in an area commonly known as the "Tri-Community,” which includes Columbus, Georgia; Fort Moore, Georgia; and Phenix City, Alabama. It’s about 115 miles southwest of Atlanta, Georgia. Columbus is Georgia's second-largest city. Fort Moore provides the nation with the world's best-trained Infantry and Armor Soldiers.
Site: MWR, IHG Army Hotel, Garrison Homepage
Fort Stewart/Hunter AAF:
Fort Stewart is located in Hinesville, a small coastal Georgia town in Liberty County, approximately 41 miles southwest of Savannah. Hunter Army Airfield is in Chatham County, approximately 37 miles from Fort Stewart, adjacent to the southwest side of Savannah. Fort Stewart and Hunter Army Airfield are the home of the 3rd Infantry Division, and combine to be the Army's Premier Power Projection Platform on the Atlantic Coast. It’s the largest, most effective and efficient armor training base east of the Mississippi River.
Site: MWR, IHG Army Hotel, Garrison Homepage
Hawaii
USAG Hawaii:
U.S. Army Garrison-Hawaii (USAG-HI) provides quality services, installation facilities, training and recreational centers to nearly 100,000 Soldiers, civilians and Family members stationed on the islands of Oahu and Hawaii. USAG-HI is headquartered at Wheeler Army Airfield, just 20 miles from the state capital of Honolulu. Hawaii's mild climate allows for year-round training and deployment operations, while its world-renowned beaches, breathtaking mountains and tropical splendor provide countless opportunities for Soldiers and their Families to make the most of their tour in paradise.
Site: MWR, IHG Army Hotel, Garrison Homepage
Facility: Hale Koa Hotel
Illinois
Rock Island Arsenal:
Rock Island Arsenal is located on a 946-acre island in the Mississippi River between Davenport, Iowa, and Rock Island, Illinois. It’s near an area known as the “Quad Cities.” Rock Island Arsenal is home to our nation's largest government-owned and -operated arsenal. It’s also home to more than 60 Federal and commercial tenant organizations including the headquarters of several U.S. Army Commands and Agencies; Air Force, Navy, Marine Corps and Coast Guard Liaison Offices; and a Naval Reserve and Marine Reserve Center.
Site: MWR, IHG Army Hotel, Garrison Homepage
Kansas
Fort Leavenworth:
Fort Leavenworth, Kansas, overlooks the Missouri River, on the border between Kansas and Missouri. It’s the oldest continuously active military reservation west of the Mississippi River. This historic post is noted for its campus-like setting, open green spaces and hometown character. Fort Leavenworth is home to U.S. Disciplinary barracks, Mission Command Battle Laboratory, Command and General Staff College and the Combined Arms Center.
Site: MWR, IHG Army Hotel, Garrison Homepage
Fort Riley:
Fort Riley is located in northeastern Kansas, one hour west of Topeka, the state capital. The two primary local towns are Junction City (mostly a military town) and Manhattan (home to Kansas State University). The area has a laid back, suburban lifestyle making it great for Families. Fort Riley is home to 1st Brigade, 1st Infantry Division (Mechanized); 2nd Brigade, 1st Infantry Division (Mechanized); Division Headquarters and Headquarters Battalion; 1st Combat Aviation Brigade; 1st Infantry Division Divarty; and 1st Infantry Division Sustainment Brigade.
Site: MWR, IHG Army Hotel, Garrison Homepage
Kentucky
Fort Campbell:
Strategically located on the Tennessee-Kentucky state line, Fort Campbell is between the towns of Hopkinsville, Kentucky and Clarksville, Tennessee, about 60 miles northwest of Nashville, Tennessee. The 106,700-acre installation has a unique capability to deploy mission-ready contingency forces by air, rail, highway and inland waterway. It’s home to the Screaming Eagles, of the 101st Airborne Division Air Assault.
Site: MWR, IHG Army Hotel, Garrison Homepage
Fort Knox:
Located 35 miles from Louisville, Fort Knox encompasses 109,000 acres in three Kentucky counties. Fort Knox is one of the most multifunctional installations in the Army. It uniquely boasts the sole responsibility for all Soldier career management, from swearing in to departing service. Its units include Army Cadet Command, Army Human Resources Command, Army Recruiting Command, the 19th Engineer Battalion the 3rd Expeditionary Sustainment Command, 4th Cavalry Brigade and 1st Army Division (East).
Site: MWR, IHG Army Hotel, Garrison Homepage
Louisiana
Fort Johnson:
Fort Johnson, Home of Heroes, sits about 45 miles from Alexandria, Louisiana and 70 miles from Lake Charles, Louisiana. Fort Johnson and Joint Readiness Training Center (JRTC) is home to the Combat Training Center, Operations Group; Power Projection/Units including the 4th Brigade/ 10th Mountain Division; 1st Maneuver Enhancement Brigade (MEB); 115th Combat Support Hospital (CSH); 5th Aviation Battalion; 162nd Infantry Brigade; and dedicated, competent MEDDAC and DENTAC professionals.
Site: MWR, IHG Army Hotel, Garrison Homepage
Maryland
Aberdeen Proving Ground:
Aberdeen Proving Ground (APG) is located just off Maryland's beautiful Chesapeake Bay, 23 miles northeast of Baltimore. The Aberdeen area features Family-oriented communities and leisure activities that complement the relaxed Chesapeake Bay Lifestyle. Aberdeen has excellent schools, an array of entertainment options and sports facilities. Aberdeen Proving Ground is a Center for Excellence for land combat systems, vehicles, Soldier systems and chemical and biological defense. It’s home to 11 major commands and supports more than 80 tenants and 20 satellite and 17 private activities.
Site: MWR, IHG Army Hotel, Garrison Homepage
Fort Detrick:
Fort Detrick is located in Frederick, Maryland, which is situated between Baltimore, Maryland, (46 miles) and Washington, D.C., (45 miles). Frederick County, Maryland adjoins Virginia, West Virginia and Pennsylvania. Fort Detrick is home to U.S. Army Medical Research and Materiel Command, Army Medical research Institute of Infectious Diseases and the National Cancer Institute.
Site: MWR, IHG Army Hotel, Garrison Homepage
Fort Meade:
Fort Meade is halfway between Baltimore, Maryland, and Washington, D.C., about 20 miles from the state capital of Annapolis. Fort Meade is home to a wide range of services with more than 116 partner organizations from the Army, Navy, Air Force, Marines and Coast Guard. It also houses the National Security Agency, U.S. Army Recruiting Command, Defense Information School, Defense Courier Service, U.S. Army Field Band, Warrior Transition Unit, U.S. Cyber Command and all-military services Cyber Command.
Site: MWR, IHG Army Hotel, Garrison Homepage
Massachusetts
U.S. Army Natick Soldier Systems Center:
Natick, Massachusetts, is a Boston suburb, approximately 18 miles from downtown. The Boston metropolitan area has plenty of sports and entertainment; Boston is home to the Red Sox, Patriots, Celtics and Bruins. It’s also home to the world-famous Boston Pops Orchestra and many Revolutionary War battlefields. The installation is the Army’s one-stop Soldier-support organization. It’s responsible for researching, developing, fielding and managing food, clothing, shelters, airdrop systems and Soldier support items.
Site: MWR, IHG Army Hotel, Garrison Homepage
Michigan
USAG Detroit Arsenal:
Detroit Arsenal is located in Macomb County, in Warren, Michigan, a manufacturing and residential community just north of Detroit and 20 miles north of the Selfridge Air National Guard Base (ANGB). The Detroit metropolitan area is steeped in auto industry history, Motown magic and wonderful Great Lakes adventures in summer and winter. Detroit Army Arsenal is home to the U.S. Army TACOM Life Cycle Management Command and the Tank Automotive Research, Development and Engineering Center (TARDEC).
Site: MWR, IHG Army Hotel, Garrison Homepage
Missouri
Fort Leonard Wood:
Fort Leonard Wood is located in the south central Missouri Ozark Mountains, about two hours west of St. Louis, Missouri and an hour east of Springfield, Missouri. Fort Leonard Wood is home of the U.S. Army Maneuver Support Center, where all chemical, engineer and military police Soldiers, as well as Marines, Airmen, Sailors, Coast Guardsmen and international students from allied nations receive training. The installation is also the home of the 3rd Chemical Brigade, where thousands of new recruits receive basic training every year.
Site: MWR, IHG Army Hotel, Garrison Homepage
New Jersey
Fort Dix
Site: IHG Army Hotel, Garrison Homepage
Picatinny Arsenal:
Picatinny Arsenal is nestled in the northern New Jersey Highlands in Northwest New Jersey, approximately 35 miles west of New York City. It’s a Joint Center of Excellence for Guns and Ammunition, providing products and services to all branches of the U.S. military. A team of more than 6,000 personnel includes Soldiers, Sailors, Airmen, Marines, U.S. Federal employees and contractors who lead research, development, acquisition and lifecycle management of advanced conventional weapon systems and ammunition.
Site: MWR, IHG Army Hotel, Garrison Homepage
New Mexico
White Sands Missile Range:
White Sands Missile Range (WSMR) is located in the Tularosa Basin of south-central New Mexico. The headquarters area is 20 miles east of Las Cruces, New Mexico, and 45 miles north of El Paso, Texas. White Sands Missile Range is the largest overland military test range in the United States, occupying some 3,200 square miles of southern New Mexico. Some of the world’s most advanced and sophisticated weapon systems are tested at the missile range each year. Its organizations are known collectively as “Team White Sands.”
Site: MWR, IHG Army Hotel, Garrison Homepage
New York
Fort Drum:
Located near Watertown, New York, Fort Drum is situated in one of the most unique and beautiful areas of the United States. It’s approximately 30 miles from Canada, with the Great Lakes to the west, the Adirondack Mountains to the east, and the St. Lawrence River and the Thousand Islands in between. Fort Drum is home to the 10th Mountain Division; two Brigade Combat Teams; and about 40 tenant organizations.
Site: MWR, IHG Army Hotel, Garrison Homepage
Fort Hamilton:
Fort Hamilton is the face of America’s Army in New York City. Located in the southwestern corner of Brooklyn, New York, it’s surrounded by the communities of Bay Ridge, Dyker Heights and Bensonhurst. Fort Hamilton is the only active-duty military installation in the New York City metropolitan area. It houses the U.S. Army NYC Recruiting Battalion; N.Y. Military Entrance Processing Station; and North Atlantic Division, U.S. Army Corps of Engineers.
Site: MWR, IHG Army Hotel, Garrison Homepage
West Point:
Located in the scenic Hudson River Valley of Orange County, only 50 miles from New York City, the U.S. Military Academy at West Point is a four-year academic institution and a nationally renowned historic site. It’s also America’s oldest continuously occupied military installation. The undergraduates, known as Cadets, are commissioned as officers in the U.S. Army upon graduation. As a military installation, West Point is a small, self-contained city.
Site: MWR, IHG Army Hotel, Garrison Homepage
Watervliet Arsenal:
Located along the Hudson River, just a few miles north of New York’s state capital of Albany, Watervliet Arsenal produces today’s most advanced, high-tech, high-powered weaponry for cannons, howitzers and mortars. The Watervliet Arsenal maintains a long heritage of being recognized as the premier manufacturer of the finest artillery in the world. It’s America’s sole manufacturing source for large-caliber cannons in production volume.
Site: MWR, IHG Army Hotel, Garrison Homepage
North Carolina
Fort Liberty:
Fort Liberty is located just west of Fayetteville, North Carolina, which is a "Community of History, Heroes and a Hometown Feeling." It also borders the towns of Spring Lake and Southern Pines in the south central part of North Carolina. Fort Liberty is the largest U.S. Army base by population. It’s home of the 82nd Airborne Division, Special Operations Command and the 1st Sustainment Command.
Site: MWR, IHG Army Hotel, Garrison Homepage
Ohio
Defense Supply Center Columbus:
Defense Supply Center Columbus is located in Columbus, Ohio, a thriving metropolitan area about halfway between Cincinnati and Cleveland. The Greater Columbus area offers the cosmopolitan advantages of a large city with the serenity of the countryside only minutes away. The Defense Supply Center Columbus is the Land and Maritime Supply Chain headquarters for the Defense Logistics Agency with over 3,000 employees in 51 locations around the world. It’s also host to 26 tenant organizations on the 530-acre site.
Site: MWR, IHG Army Hotel, Garrison Homepage
Oklahoma
Fort Sill:
Fort Sill is located in southwest Oklahoma, 90 miles southwest of Oklahoma City and adjacent to the city of Lawton, Oklahoma. It’s south of the Wichita Mountains Wildlife Refuge, 59,000 acres of grasslands providing a natural habitat for bison, deer and elk. As home to the Field Artillery Command, all field artillery Soldiers and Marines, as well as many international students from allied nations, receive training at Fort Sill.
Site: MWR, IHG Army Hotel, Garrison Homepage
McAlester Army Ammunition Plant:
Located 85 miles south of Tulsa and 120 miles southeast of Oklahoma City, McAlester is within easy driving distance to major metropolitan areas. McAlester and the surrounding area have become the regional center for commerce, retail trade, culture, recreation and heritage for Southeast Oklahoma. It’s home to the Defense Department's largest explosive storage facility
Site: MWR, IHG Army Hotel, Garrison Homepage
Pennsylvania
Carlisle Barracks:
Carlisle Barracks is adjacent to Carlisle, Pennsylvania, which is 18 miles west of Harrisburg and 27 miles north of Gettysburg. The U.S. Army War College produces graduates who are skilled critical thinkers and complex problem solvers in the global application of Landpower. For the Army, it also acts as a "Think Factory" for Commanders and Civilian Leaders at the strategic level worldwide and routinely engages in discourse and debate on ground forces' role in achieving national security objectives.
Site: MWR, IHG Army Hotel, Garrison Homepage
Letterkenny Army Depot:
Located in Chambersburg, Pennsylvania, Letterkenny Army Depot (LEAD) is joint base with Carlisle Barracks, it is about 30 miles northwest of Gettysburg, Pennsylvania. It’s a Center of Industrial and Technical Excellence (CITE) for Air Defense and Tactical Missile Ground Support Equipment, and home to a 28-acre radar test facility.
Site: MWR, IHG Army Hotel, Garriosn Homepage
Tobyhanna Army Depot:Tobyhanna Army Depot is located in the Pocono Mountains of northeastern Pennsylvania. The region is a short drive from New York City and Philadelphia and offers year-round outdoor recreation activities for the entire Family. The area boasts seven state parks, 18 waterfalls, 150 lakes, 170 river miles and the 70,000-acre Delaware Water Gap National Recreation Area. Tobyhanna Army Depot is a recognized leader in providing World-Class Logistics Support for Command, Control, Communications, Computers, Intelligence, Surveillance and Reconnaissance (C4ISR) Systems across the Department of Defense.
Site: MWR, IHG Army Hotel, Garrison Home Page
South Carolina
Fort Jackson:
Located near the state capital of Columbia, South Carolina, Fort Jackson is in the heart of the Midlands region of the state. Fort Jackson is the largest and most active Initial Entry Training Center in the U.S. Army. It’s home to the U.S. Army Training Center, NCO Academy, Soldier Support Institute, Army Chaplain School and Department of Defense Polygraph Institute.
Site: MWR, IHG Army Hotel, Garrison Homepage
Texas
Fort Bliss:
Located in El Paso, Fort Bliss is in the far western part of Texas, and extends into New Mexico. Nestled between the rugged Franklin Mountains and the historic Rio Grande, this border community combines the advantages of a major city with the charm of a modern western town. Fort Bliss is home to the 1st Armored Division. Covering more than one million acres, Fort Bliss is the largest FORSCOM installation in the Army, and home to MEDCOM, JTF-NORTH, TRADOC, USAR and other elements.
Site: MWR, IHG Army Hotel, Garrison Homepage
Fort Cavazos:
Fort Cavazos rests in the beautiful “Hill and Lake Country” of Central Texas between Killeen and Copperas Cove, about 70 miles north of the capital city of Austin. Fort Cavazos is nicknamed “The Great Place” because of the quality of life the post and area offers Soldiers and their Families. It’s home to the 1st Cavalry Division, and is the largest active duty armored post in the United States Armed Services.
Site: MWR, IHG Army Hotel, Garrison Homepage
Fort Sam Houston:
Joint Base San Antonio (JBSA) is in San Antonio, Texas, about 75 miles southwest of Austin. Encompassing JBSA are Fort Sam Houston, Lackland Air Force Base and Randolph Air Force Base; three separate installations. Often called “Military City USA,” San Antonio has one of the nation’s largest active and retired military populations. Joint Base San Antonio-Sam Houston is the home of military medicine, and its primary mission is medical training and support.
Site: MWR, IHG Army Hotel, Garrison Homepage
Red River Army Depot:
Red River Army Depot (RRAD) is located in an area commonly known as the “Four States Area.” It’s approximately 170 miles east of Dallas, Texas, 150 miles west of Little Rock, Arkansas, and 18 miles west of Texarkana, which spans both Texas and Arkansas. Both Oklahoma and Louisiana are within an hour's drive, and many RRAD employees commute from all four states. The depot's vast industrial complex has the capacity and capability to repair, rebuild and overhaul combat systems and tactical vehicles.
Site: MWR, IHG Army Hotel, Garrison Homepage
Utah
Dugway Proving Ground:
Covering about 1,300 square miles of the Great Basin Desert, Dugway Proving Ground is about 85 miles southwest of Salt Lake City, Utah. It’s a closed post in a remote location with no public access. It conducts chemical and biological defensive testing as well as environmental characterization and remediation technology testing. Dugway is also the Defense Department’s leader in testing battlefield smokes and obscurants, and reliability and survivability testing of all types of military equipment in a chemical or biological environment.
Site: MWR, IHG Army Hotel, Garrison Homepage
Tooele Army Depot:
Located in Tooele County, Utah, Tooele Army Depot is located on about 43,000 acres about 35 miles west of Salt Lake City. It’s the conventional ammunition hub for the Western Region.
Site: MWR, IHG Army Hotel, Garrison Homepage
Virginia
Fort Belvoir:
Fort Belvoir is located in Fairfax County in Northern Virginia, approximately 20 miles South of Washington, D.C. Fort Belvoir is the headquarters for the Defense Logistics Agency, Defense Contract Audit Agency, Defense Technical Information Center and the Defense Threat Reduction Agency, as well as agencies of the United States Department of Defense. Its mission is to provide logistical, intelligence and administrative support to a uniquely diverse mix of commands, activities and agencies.
Site: MWR, IHG Army Hotel, Garrison Homepage
Fort Gregg-Adams:
Fort Gregg- Adams is located three miles east of Petersburg, Virginia, about 116 miles from Washington, D.C., and 21 miles from Richmond, the Virginia capital. Fort Gregg-Adams is home to the U.S. Army Combined Arms Support Command, U.S. Army Quartermaster School, U.S. Army Transportation School, U.S. Army Ordnance School and Army Logistics University.
Site: MWR, IHG Army Hotel, Garrison Homepage
Fort Walker:
Fort Walker is located in Caroline County, Virginia, a largely rural area dotted with farms, woodlands and waters. It’s in the northeastern portion of Virginia, roughly midway between Richmond and the Washington, D.C. metropolitan area. Fort Walker is a training and maneuver center focused on providing realistic joint and combined arms. All branches of the Armed Forces train on Walker and the installation has also hosted training from foreign allies.
Site: MWR, IHG Army Hotel, Garrison Homepage
Joint Base Myer-Henderson Hall:
Located in Arlington, Virginia, adjacent to Washington, D.C., Joint Base Myer-Henderson Hall is home to the 3rd U.S. Infantry Regiment (The Old Guard), The United States Army Band "Pershing's Own" and Headquarters U.S. Army Garrison. The command includes Fort Myer (Army) and Henderson Hall (Marine Corps), which are located in Arlington, Virginia, and Fort Lesley J. McNair, which is located in Washington, D.C.
Site: MWR, IHG Army Hotel, Garrison Homepage
Washington
Joint Base Lewis McChord:
Joint Base Lewis-McChord (JBLM) is located in the beautiful Pacific Northwest on the Puget Sound, in western Washington. JBLM is near the city of Lakewood, 10 minutes from Tacoma, 35 minutes from Seattle and 20 minutes from Olympia, the state capital. From the mountains to the deep waters of Puget Sound, the local areas abound in natural beauty and outdoor recreation opportunities. Joint Base Lewis-McChord is a training and mobilization center for all services, and is the only Army power-projection platform west of the Rockies.
Site: MWR, IHG Army Hotel, Garrison Homepage
Wisconsin
Fort McCoy:
Located on approximately 60,000 acres between Tomah, Wisconsin and Sparta, Wisconsin, Fort McCoy is 110 miles northwest of Madison, Wisconsin. It houses the 88th Regional Support Command, SSG Todd R. Cornell NCO Academy, 181st Infantry Brigade, 86th Training Division, Regional Training Site-Maintenance, RTS-Medical, Civilian Personnel Advisory Center, USAR Pay Center, WING Challenge Academy, WI State Patrol Academy, ECS 67, MATES, WING Military Academy and various others entities.
Site: MWR, IHG Army Hotel, Garrison Homepage
Under the 2020 National Defense Authorization Act, Congress directed a Naming Commission to suggest new names for Department of Defense properties that commemorated the confederacy or anyone who voluntarily served in the Confederate States of America in the Civil War.
Nine Army installations were identified.
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Profiles of the corporate executive team for Baptist Memorial Health Care
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/-/media/project/baptist/baptist/baptistonline/united-states/baptistonline/images/favicon.ico
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https://www.baptistonline.org/about/leadership
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Jason Little
President and Chief Executive Officer
In June 2014, Jason Little became only the fifth person since 1912 to serve as Baptist Memorial Health Care Corporation's president and CEO. Since joining Baptist in 2002, Little has held a number of leadership positions, including administrator and CEO of three Baptist Memorial hospitals, vice president and head of metro-Memphis operations and executive vice president and chief operating officer.
Little received his bachelor's degree in health administration from the University of Tennessee at Knoxville and master's degrees in business administration and health care administration from the University of Alabama at Birmingham. Little was an operations administrator for the Mayo Clinic in Scottsdale, Arizona, before joining Baptist.
A recipient of the Early Career Healthcare Executive Award from the American College of Healthcare Executives, Little serves on the boards of the Tennessee Hospital Association, Memphis Regional Chamber of Commerce, Memphis Tomorrow, the New Memphis Institute and the Industry Council for the Federal Reserve Branch at St. Louis.
Chris Anderson
Executive Vice President and Chief Operating Officer
Chris Anderson was named chief operating officer for Baptist Memorial Health Care in 2023. Anderson has led operations for nine of Baptist Memorial hospitals in North and Central Mississippi since 2017 when he joined Baptist following the signing of a shared mission agreement between Baptist and Mississippi Baptist Health Systems. He was promoted to vice president of operations for Baptist’s metro market in April 2023. Prior to that, Anderson served as president/CEO of Mississippi Baptist Health Systems from 2014 to 2017. In total, he has served as a health system CEO for 19 years and worked in health care for more than 35 years.
Zach Chandler
Executive Vice President and Chief Strategy Officer
Zach Chandler serves as Baptist Memorial Health Care Corporation's executive vice president and chief strategy officer. After completing his Frank Groner administrative fellowship at Baptist, Chandler held several leadership roles within the organization, including serving as CEO and administrator at four Baptist Memorial hospitals. Before being promoted to his current role, he served as vice president and head of metro-Memphis operations, and, prior to that, vice president and head of regional operations. He holds a bachelor's degree in business administration from Baylor University and a master's degree in health administration from Washington University. In addition to his leadership roles at Baptist, he spent two years as president of Methodist Charlton Medical Center in Dallas. The American College of Healthcare Executives has honored Chandler with its Early Career Healthcare Executive Award.
Gregory M. Duckett
Executive Vice President and Chief Legal Officer
Since 1992, Greg Duckett has served as senior vice president and chief legal officer for Baptist Memorial Health Care Corporation, providing executive leadership, direction, guidance and assistance on legal and strategic matters related to Baptist and its subsidiaries and educating Baptist leadership on changes in the law. He is the secretary for the organization. He also oversees risk management, corporate compliance, privacy and security and government regulatory matters for Baptist. Duckett is deeply involved in the Memphis community, serving on the boards of the National Civil Rights Museum, the Tennessee Election Commission, the AutoZone Liberty Bowl Festival Association, and the Memphis River Parks Partnership. He recently was acknowledged by Becker’s Hospitals Review as one of the “50 African American Leaders in Healthcare to Know.” In addition to serving as a board member on the Federal Reserve Bank of St. Louis for six years, he also served on the board of directors for the American Health Lawyers Association from 2003 to 2009.
Kimberly Young
Executive Vice President and Chief Financial Officer
Kimberly Young has served in a financial role for Baptist Memorial Health Care for more than 33 years. She joined Baptist as an analyst before being promoted to director and then CFO of Baptist Memorial Hospital-Tipton, Baptist Memorial Hospital-DeSoto, Baptist Memorial Hospital-Collierville, Baptist Memorial Hospital for Women and Baptist Medical Group. She was promoted to executive vice president and chief financial officer in 2023. Young has served on the boards of the LG&W Federal Credit Union and the American Red Cross. She earned a Bachelor of Business Administration and a Master of Business Administration from the University of Memphis.
Nancy Averwater
Senior Vice President and Chief Human Resources Officer
As Senior Vice President and Chief Human Resources Officer, Nancy Averwater oversees Baptist Memorial Health Care’s human resources function, which includes recruiting, onboarding and retaining team members; establishing and maintaining a culture that revolves around empathy; and providing professional development. She also leads the Baptist Center for Career Development, which helps people accomplish their professional and career goals through career counseling, career pathing and upskilling so they may thrive and achieve their highest calling. Nancy began her Baptist career in 1993 as a PRN nurse working in the ICU. Since then, she has served as the administrator and CEO of several Baptist entities, including Baptist System Home Care & Hospice, Baptist Home Medical Equipment, Medical Alternatives Home Infusion Pharmacy, Baptist Minor Medical Centers and the CONCERN Employee Assistance Program. Among her many accomplishments was establishing the Memphis area’s first residential hospice and grief center while serving as Baptist Home Care & Hospice’s CEO and administrator. She also earned the Memphis Business Journal’s (MBJ) Health Care Heroes Award for Administrative Excellence and the MBJ Super Women in Business award, and she was named among the University of Memphis Loewenberg College of Nursing’s 50 leaders in 50 years for innovation in health care.
Dr. William (Bill) Cloud
Vice President and Chief Medical Officer
Dr. Bill Cloud was appointed vice president and chief medical officer of Baptist Memorial Health Care in 2024. He provides oversight of Baptist’s efforts to maximize patient safety, the system’s overall operational quality and medical staff affairs. Dr. Cloud has previously served as the chief medical and academic officer for Baptist Memorial Hospital-Memphis. He also served as the hospital’s chief quality and safety officer. At Baptist Memphis, Dr. Cloud led numerous initiatives to improve clinical outcomes and performance, the establishment of the anticoagulation stewardship committee, restructuring of the Quality and Risk Management departments, and leadership of the National Quality Scorecard Optimization work.
A general surgeon who worked in private practice for many years, Dr. Cloud attended medical school at the University of Virginia, completed an internship at the University of Mississippi and finished a general surgery residency–including serving as chief resident–at the University of Virginia. He also holds a Master of Academic Medicine from the Keck Medial School at the University of Southern California.
Ayoka Pond
Vice President and Chief Marketing and Communications Officer
Ayoka Pond serves as the vice president and chief marketing and communications officer for Baptist Memorial Health Care, one of the nation’s largest not-for-profit health care systems. She supervises and supports a team of communications professionals who provide internal communications, public relations, marketing, digital, social media and creative services to Baptist's 24 hospitals and dozens of entities and services. She also performs a number of executive communications functions.
Ayoka began her career at Baptist as an intern and was hired as a public relations specialist in May 1999. During her tenure, she and the marketing and communications team won three national Public Relations Society of America awards. She also earned Ragan Communications’ Top Women in Communications Award, the Memphis Advertising Federation Ad Woman of the Year and Public Relations Director of the Year awards, Memphis Business Journal’s Top 40 Under 40 award, and several other local and national public relations awards.
Keith Norman
Vice President and Chief Government Affairs and Community Relations Officer
As vice president of government affairs for Baptist Memorial Health Care, Keith Norman's primary responsibilities include establishing and maintaining relationships with government officials and strengthening Baptist's community outreach partnerships. He also is pastor of First Baptist Church—Broad, sits on the Memphis Shelby Crime Commission board of directors, serves on Christian Brothers University’s board of trustees and is a former commissioner of the Tennessee Bureau of Ethics and Campaign Finance. Norman is the immediate past president of Memphis’ NAACP chapter and serves on NAACP’s national board of trustees. A graduate of Morehouse College, Norman earned a doctorate degree from Memphis Theological Seminary in 2016 and published his dissertation, which outlines strategies for urban community development in Memphis, Tennessee. Norman is now pursuing a certification in diversity and inclusion management from the American Hospital Association’s Institute for Diversity and Health Equity and is a member of the American College of Healthcare Executives.
Mary Ellen Sumrall, MSN, RN, NEA-BC
VP and Chief Nursing Executive
Mary Ellen Sumrall is the chief nursing executive for Baptist Memorial Health Care. In January 2022, after an accomplished 30-plus-year career with Baptist, she was appointed to the dual role of chief nursing executive and chief nursing officer for the health care system’s flagship hospital, Baptist Memorial Hospital-Memphis where she served until November 2023. Sumrall joined Baptist in 1993 as an emergency department charge nurse at Baptist Memorial Hospital-Golden Triangle in Columbus, Mississippi, where she would eventually become director of emergency services and chief nursing officer. Sumrall was instrumental in a number of successful initiatives and accomplishments, including the establishment of the hospital’s first nurse residency program, numerous Hospital of the Year awards, and consecutive Leapfrog Patient Safety “A” ratings for Baptist Golden Triangle since 2012. Sumrall earned her nursing degree from the University of Mississippi and a master’s degree in nursing administration from Union University. She is a member of the American Organization of Nurse Executives.
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https://www.linkedin.com/company/u-s-army-garrison-aberdeen-proving-ground
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U.S. Army Garrison - Aberdeen Proving Ground
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U.S. Army Garrison - Aberdeen Proving Ground | 466 followers on LinkedIn. Our mission is to provide responsive installation services to our military and those who enable them. | Welcome to Aberdeen Proving Ground. Our workforce has more than 21,000 military, civilian and contractor employees who are responsible for numerous technical achievements in military intelligence, medical research, engineering, and computer technology. The installation covers about 72,500 acres.
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https://static.licdn.com/aero-v1/sc/h/al2o9zrvru7aqj8e1x2rzsrca
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https://www.linkedin.com/company/u-s-army-garrison-aberdeen-proving-ground
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Come work at Aberdeen Proving Ground! A general engineer position vacancy is open with the Directorate of Public Works, Business and Operations Division. Join our #CivilianStrong workforce, make a difference and help build the future of APG through through job specific tasks including: ⏺ Serving as senior Project Engineer (General Engineer) for the Business Operations and Integration Division, Directorate of Public Works (DPW). ⏺ Preparing and/or reviewing engineering designs. ⏺ Scheduling and/or monitoring difficult and complex engineering contracts. ⏺ Reviewing contract plans, specifications and work statements for adequacy from the construction point of view for new construction, extension, alterations, modification, repair and maintenance of facilities on the installation. ⏺ Conduct site investigations to determine constructability of proposed projects. See the full job posting details here: https://lnkd.in/eWsFFkYf. The application closes Tuesday, September 3, 2024.
Are you looking to enhance your skills while staying within Aberdeen Proving Ground? At APG, we invest in our people through offering various professional opportunities. The Directorate of Human Resources is hosting a 90-day Director of Human Resources developmental opportunity. The application is open until next Friday, August 23, 2024. Permanent DA Civilians assigned to IMCOM at least one year, GS13 or equivalent, may apply. Within the opportunity, you will: ⏺ Serve as the principal staff advisor to the Deputy Garrison Commander in the management of installation community support programs. ⏺ Lead a diverse team of human resources professionals. ⏺ Will assist the Deputy Garrison Manager in the management and execution of the Installation human resources and community support programs. ⏺ This opportunity will assist the Command in the timely delivery of personnel services and the processing of all military and civilian personnel actions. To apply, please complete the application form (endorsed by immediate supervisor, division chief, garrison commander and the director of your organization) and submit your resume. Application forms can be found and must be submitted via the IMCOM DAP Portal: https://lnkd.in/efMAkexn Opportunities and Apply.aspx?csf=1&web=1&e=pLW4fo. Please note, this link cannot be accessed on personal devices. #civilianstrong #wfofthefuture #beallyoucanbe #developingtheworkforce
Aberdeen Proving Ground MWR is hiring and invites you to apply at their upcoming hiring fair to join the network of a dedicated, energetic force of CYS professionals invested in the mission of the Army and the welfare of soldiers and their families. The U.S. Army is where your passion meets purpose. Turn your passion of working with children into making a difference in the lives of APG's soldiers and their families. Bring your positive attitude, all your required materials, and we hope to see you at the hiring fair! See more information on these jobs postings by visiting: https://lnkd.in/eHNiMnSn #workforceofthefuture #civilianstrong #apgmwr #developingleaders
The success of our full scale exercise this past April in part lies in the the power of community partnership with Harford County. We recently recognized individuals who worked with and provided support to our garrison teammates during the exercise. Thank you to Steve Horne, chairman within Aberdeen's Economic Development Commission, and president and owner of Horne Cement and Construction. Horne provided his expertise to assist both our Directorate of Public Works and Resource Management Office teams. Thank you to Phyillis Grover, director, and Stefani Spector, senior planner, of the Directorate of Planning and Community Development. Both worked with our Plans, Analysis and Integration Office to identifylocal organizations who could assist in emergency situations. Thank you to the Harford County community for assisting us! #wearegarrison #emergencyservices #crisisresponse
Do you want to join the highly motivated #civilianstrong network at Aberdeen Proving Ground, making an impact within the U.S. Army every single day? A Construction Control Representative (GS-12) position within the Directorate of Public Works, engineering services division, contract management branch is NOW open. Within the role you will be responsible for leading and managing projects involving installation infrastructure. High consideration will be given to Military Reserve, National Guard, and military spouse applicants. Apply here: https://lnkd.in/e_rmgviF. The deadline to apply is Tuesday, May 28. #weareapg #passionmeetspurpose #diversity #employment #garrisonlife #usarmy
"A crisis can jeopardise your strategy, damage your employees and customers, disrupt normal operations, and induce long-lasting reputational harm. But if your organisation establishes effective crisis preparation, you can mitigate potential risks — and even emerge stronger." - PwC U.S. Army Garrison - Aberdeen Proving Ground proved they are #crisisready with the ability to provide quick response to incidents that may impact the installation. Full-scale exercises like this one are necessary to test installation emergency response, and recovery systems and capabilities. Many lessons were learned through the exercise that will help #APG develop a more thorough approach to how we handle the initial impact of a crisis and speed up recovery. We thank our U.S. Army Installation Management Command-led evaluation team for their guidance, support and tactful feedback. We also give a huge shoutout to various partners for their support including organizations from the Harford County Government and the American Red Cross. #crisiscommunication #wearegarrison #emergencyservices #crisisresponse Omar Jones Robert L Edmonson II David Stainback U.S. Army DEVCOM 20th CBRNE Command U.S. Army Test and Evaluation Command (ATEC) U.S. Army DEVCOM Army Research Laboratory
What an amazing #EarthDay celebration we had. APG was privileged to have the Honorable Rachel Jacobson, Assistant Secretary of the Army for Installations, Energy and Environment visit and share with us the Army's new Chesapeake Bay Strategy. Apg has been successfully fulfilling the strategy through our enduring environmental efforts by providing a crucial habitat for native flora and fauna across more than 12,000 acres of wetlands, and by aggressively pursuing green solutions to build stable and resilient shorelines. Fun fact: APG is Maryland’s second largest landowner of forest, managing more than 18,000 acres. As a result, apg has been recognized with the arbor day foundation’s tree city award for the 19th year in a row. #TeamAPG's Earth Day event included interactive activities, handouts, games, and interactive displays featuring all four divisions of the APG Directorate of Public Works.
This week we are recognizing outstanding garrison all-star employee, Kim Ford, for her time and commitment to the Garrison and Aberdeen Proving Ground! Ford is with the Plans, Analysis and Integration Office. She is a Canelo Alvarez boxing fan🥊 and her professional slogan is, "whatever you do today, do it with as much confidence as a four-year old wearing a Batman 🦹 costume." (we couldn't agree more!). Ford exceeds in her work every single day and is ready to support the garrison anyway she can. Thank you for the hard work, Kim! With 16 years of service under her belt, leave Ford a big shout out 📢 in the comments! #allstar #wearegarrison #employeesfirst #apg
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https://madoken.jp/en/series/8974/
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WINDOW RESEARCH INSTITUTE
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A greenhouse for growing Muscat in Tsutaka, Kita Ward, Okayama Prefecture. For the cultivation of Mu...
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/wp/wp-content/uploads/fbrfg/apple-touch-icon.png
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WINDOW RESEARCH INSTITUTE
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https://madoken.jp/en/series/8974/
|
A greenhouse for growing Muscat in Tsutaka, Kita Ward, Okayama Prefecture. For the cultivation of Muscat, a temperature of approximately 20 °C and a substantial amount of ultraviolet light are desirable elements. Therefore, reflecting the ultraviolet rays entering from the glass roof of the greenhouse using reflective sheets placed on the ground promotes growth, such that the fruit of the Muscat becomes reddish-purple. Side windows and the skylight are opened, whereas temperature and humidity are controlled by incorporating outside air. The side windows have been modified such that nine consecutive sliding windows can be opened and closed simultaneously by connecting them with bars.
Hayashi Grape Labo
(Muscat/Tsutaka-cho, Okayama City, Okayama Prefecture)
This article is an excerpt from “Window Workology,” a joint research project concerning windows and the behaviors around them done in collaboration with Tokyo Institute of Technologyʼs Yoshiharu Tsukamoto Laboratory.
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https://en.wikipedia.org/wiki/The_Hastings_Center
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The Hastings Center
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2006-01-12T07:51:30+00:00
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/The_Hastings_Center
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Non-profit organization in the USA
The Hastings Center is an independent, nonpartisan bioethics research institute and think tank based in Garrison, New York.[2] It was instrumental in establishing the field of bioethics and is among the most prestigious bioethics and health policy institutes in the world.[3][4][5]
Its mission is to address ethical issues in health care, science, and technology.[6] Through its projects and publications and its public engagement, the center aims to influence the ideas of health policy-makers, regulators, health care professionals, lawyers, journalists, and students.[7]
The center is funded by grants, private donations and journal subscriptions.[8][9]
Founding
[edit]
The Hastings Center was founded in 1969 by Daniel Callahan[10] and Willard Gaylin, originally as the Institute of Society, Ethics, and the Life Sciences. It was first located in Hastings-on-Hudson, New York, and is now in Garrison, New York, on the former Woodlawn estate designed by Richard Upjohn.[11]
In the early years, the center identified four core issues as its domain: population control, including respect for procreative freedom; behavior control, which responded to early discoveries about the brain-behavior link and efforts to find ways to modify behaviors and prompted reassessment of what is "normal"; death and dying, including the ongoing controversy over defining death; and ethical issues in human genetics.[12] The Hastings Center continues to work on these issues and has expanded to other areas, including the human impact on nature, governance of emerging technologies such as CRISPR gene editing, and wise and compassionate health care.
Publications
[edit]
The Hastings Center publishes two journals, the Hastings Center Report,[13][14] and Ethics & Human Research (formerly IRB: Ethics & Human Research).[15][16] Each journal is published six times per year. Hastings Center Report, founded in 1970, features scholarship and commentary in bioethics. It also periodically features special reports, published as supplements, many of which grow out of the center's research projects. Ethics & Human Research aims to foster critical analysis of issues in science and health care that have implications for human biomedical and behavioral research.[citation needed]
Hastings Bioethics Forum publishes individual perspectives on current issues in bioethics.[17]
Bioethics Briefings[18] is a free online Hastings Center resource for students, journalists, and policymakers on bioethics issues of high public interest, such as abortion, brain injury, organ transplantation, physician-assisted death, and stem cell research. The chapters are written by leading ethicists and are nonpartisan, describing topics from a range of perspectives that are grounded in scientific facts.
Research
[edit]
The Hastings Center's projects, many of which are carried out by interdisciplinary research teams, focus on four areas: the human lifespan, health and health care, science and technology, and the environment.[19] Their scholarship addresses key themes pertaining to just health care for all people and the wise use of emerging technology.
Research projects consist of seminar-style meetings that bring together people with diverse views and expertise to address issues that pose dilemmas and challenges to society. Recent projects include The Ethical Implications of Social and Behavioral Genomics, which made recommendations for responsibly conducting and communicating controversial research on the genetic contributions to human social and behavioral characteristics; Public Deliberation on Gene Editing in the Wild, which explored initiatives being developed to use gene editing technologies to modify populations of insects and other wild organisms; Actionable Ethics Oversight of Human-Animal Chimera Research, which asks What does “humanization” mean, and how is it measured or detected?; and ongoing work on the new and complex needs of our aging society.[20]
New Hastings Center research focuses on the ethical implications of artificial intelligence in health care. Hastings Center president Vardit Ravitsky is a principal investigator on two Bridge2AI research projects funded by the National Institutes of Health. One project is looking at the use of AI to help diagnose and treat diseases such as cancer and depression by analyzing the sound of a patient’s voice. The other project seeks to improve understanding of the relationship between genetics and disease expression.
Hastings Center research strives to frame and explore issues that inform professional practice, public conversation, and policy. It has a longstanding commitment to public engagement.
The Robert S. Morison Library, located at the center's offices in Garrison, New York, serves as a resource for Hastings' scholars, fellows and visitors.[21]
Influence
[edit]
The Hastings Center is recognized as having established bioethics as a field of study.[22]
The Hastings Center's 1987 "Guidelines on the Termination of Life-Sustaining Treatment and the Care of the Dying" was foundational in setting the ethical and legal framework for U.S. medical decision-making.[23][24] It was cited in the 1990 Supreme Court ruling in Cruzan v. Director, Missouri Department of Health, which established patients' constitutional right to refuse life-sustaining treatment and affirmed that surrogates could make decisions for patients lacking that capacity. An updated, expanded edition, The Hastings Center Guidelines for Decisions on Life-Sustaining Treatment and Care Near the End of Life, was published in 2013.[25]
Recommendations from The Hastings Center's Undocumented Patients project in partnership with the New York Immigration Coalition[26] informed New York City Mayor Bill de Blasio's announcement in January 2019 that New York City would guarantee comprehensive health care for all New Yorkers, regardless of immigration status.[27]
Hastings Center research scholars are frequently called upon for policy advice by committees and agencies at both the federal and state levels.[22] Recent examples include Hastings Center president Vardit Ravitsky, who is serving on the National Academy of Medicine’s Leadership Consortium, the Health Care Artificial Intelligence Code of Conduct (AICC), The National Academies of Sciences, Engineering, and Medicine's Gene Drives on the Horizon report, which was produced by a committee that included Hastings Center research scholar Gregory Kaebnick,[28] and the National Academies Physician-Assisted Death workshop, whose planning committee included Hastings research scholar Nancy Berlinger.[29]
Early in the Covid-19 pandemic, The Hastings Center convened a national team of health care experts to produce three timely guidance documents for health care institutions to use when making difficult decisions about scarce resource allocation during the pandemic. The guidelines were used as references for health care organizations, lawyers, and journalists.
In addition to the journals, The Hastings Center publishes special reports several times a year. Time to Rebuild: Essays on Trust in Health Care and Science, is a Hastings Center special report that looks at trust and trustworthiness in science and health care. A Critical Moment in Bioethics: Reckoning with Anti-Black Racism through Intergenerational Dialogue, is a Hastings Center special report that calls on the field of bioethics to take the lead in efforts to remedy racial injustice and health inequities in the United States.
The Hastings Center has taken a lead in addressing racial injustice in the field of bioethics with two key educational programs, the Sadler Scholars, and the Summer Bioethics Program for Underrepresented Undergraduates. The Sadler Scholars are a select group of doctoral students with research interests in bioethics who are from racial or ethnic groups underrepresented in disciplines relevant to bioethics. The Summer Bioethics Program for Underrepresented Undergraduates is a paid, five-day online program for undergraduate students from groups that are underrepresented in bioethics.
Notable fellows, past and present
[edit]
Hastings Center fellows are elected for their contributions to informing scholarship or public understanding of the complex ethical issues in health, health care, and life sciences research.
Eli Y. Adashi, former Dean of Medicine and Biological Sciences at Brown University.
Anita L. Allen, Henry R. Silverman Professor of Law and professor of philosophy at the University of Pennsylvania Law School.
George Annas, Warren Distinguished Professor and Director of the Center for Health Law, Ethics & Human Rights at the Boston University School School of Medicine.
Dan W. Brock, Lee Professor Emeritus of Medical Ethics at Harvard Medical School, the former Director of the Center for Bioethics at Harvard Medical School.
Arthur Caplan, Mitty Professor of Bioethics at New York University Langone Medical Center.
Carl Elliott, Professor of Philosophy at the University of Minnesota and author.
Ezekiel Emanuel, Chair of the Department of Medical Ethics and Health Policy at the University of Pennsylvania, founding chair of the Department of Bioethics of the National Institutes of Health.
Atul Gawande, Pioneering public health researcher, CEO of Haven Healthcare, and Thier Professor of Surgery at Harvard Medical School.
Michele Bratcher Goodwin, Chancellor's Professor of Law and director of the Center for Biotechnology and Global Health Policy at the University of California, Irvine School of Law.
Amy Gutmann, eighth president of the University of Pennsylvania, former chair of the Presidential Commission for the Study of Bioethical Issues under President Barack Obama.
Patricia A. King, Professor of Law emeritus at Georgetown University Law Center and an adjunct professor in the School of Hygiene and Public Health at Johns Hopkins University.
Jonathan D. Moreno, U.S. member of the UNESCO International Bioethics Committee, David and Lyn Silfen University Professor and Professor of Medical Ethics at the University of Pennsylvania.
Alondra Nelson, former deputy assistant to President Joe Biden and principal deputy director for science and society of the White House Office of Science and Technology Policy.
Robert Truog, Frances Glessner Lee Professor of Medical Ethics, Anaesthesiology & Pediatrics and Director of the Center for Bioethics at Harvard Medical School.
Awards
[edit]
The Bioethics Founders' Award
The Hastings Center's Bioethics Founders' Award (formerly called the Henry Knowles Beecher Award) [30] recognizes people who have made a lifetime contribution to ethics and life sciences. A committee of Hastings Center Fellows convenes to nominate candidates for the award. Its inaugural recipient was Henry K. Beecher.
The Hastings Center Cunniff-Dixon Physician and Nursing Awards
The Hastings Center and the Cunniff-Dixon Foundation established The Hastings Center Cunniff-Dixon Physician and Nursing Awards, which recognize doctors and nurses who give exemplary care to patients nearing the end of life.[31]
References
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Find information for prospective students, enrolled students, open campus schedule and general information on ICU on the International Christian University Official Website
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ICU - INTERNATIONAL CHRISTIAN UNIVERSITY
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https://www.icu.ac.jp/en/about/campus/
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Facilities and Campus Map
ICU is located on a campus of roughly 620,000 square meters. Our classroom buildings and research facilities are surrounded by the Musashino woods, dotted with student dormitories and faculty housing. The western side of the campus adjoins the Tokyo Metropolitan Nogawa Park. With its rich natural surroundings, ICU is a great place to enjoy the changing seasons. The Ministry of the Environment (MOE) certified our campus as a Natural Symbiosis Site under the name of "ICU Mitaka Campus Woodland" in October 2023.
Download Campus Map
University Hall
The current University Hall building originally housed the Mitaka Research Institute of the Nakajima Aircraft Company before the war. A fourth floor (designed by W.M. Vories & Company) was added to the original structure in 1953, and the outer walls were refurbished in 2003.
The building houses classrooms of various sizes, as well as the University of California Tokyo Study Center and the Sacred Music Center.
Design: W.M. Vories & Company
Construction: Taisei Corporation
ICU Sacred Music Center
Established in 1977, the Sacred Music Center (SMC) took over the responsibilities of the Organ Committee that had managed and administered the Rieger Organ since its installation in the University Chapel in 1970. The SMC sponsors regular organ concerts, Christmas concerts and open lectures, and organizes private organ lessons for ICU students. The facilities at SMC also include two practice organs: the Arimasa Mori commemorative organ and the Noack organ.
ICU Sacred Music Center HP
Troyer Memorial Arts and Sciences Hall
Completed in 2022, this four-floored hall houses offices for natural sciences and facilities for experiments, five large classrooms mainly to be used by first- and second-year students but open to all students, five research institutes of humanities and social sciences, namely the Institute for Education and Research and Service, the Social Science Research Institute, Institute of Asian Cultural Studies, the Institute for the Study of Christianity and Culture, the Institute for Educational Research and Service, the Peace Research Institute, as well as the Health Care Office.
The Hub Central is located in the center of the building as a symbolic place to create connections among people and to promote cross-disciplinary education and research. The Quadrangle (courtyard), connected to the Hub Central, extends between the Troyer Memorial Arts and Science Hall, University Hall, Science Hall, and Integrated Learning Center. extends between the New Wing, Main Wing, Science Wing and Integrated Learning Center.
Design: Nihon Sekkei, Inc. and Kengo Kuma and Associates
MacLean Avenue
MacLean Avenue is a 600-meter-long avenue connecting ICU's main gate and the University Chapel. It is named after Reverend John A. MacLean (Former Minister of the Ginter Park Presbyterian Church in Richmond, VA, and Honorary Doctor of Philosophy), who contributed greatly to the establishment of ICU. Roughly 70 cherry trees line both sides of the avenue - more than 100 including those around the area - which were planted in prayer for peace and neighborly love.
Lawn Area
The lawn area in front of the University Hall is an oasis for students. Here they chat with friends, have a siesta, and sometimes even have classes under the blue sky.
Library
Since its opening in 1960, the Library has always been at the center of the university's academic information services. Its collection of more than 790 thousand volumes in Japanese, English and other languages covers a multitude of subjects in response to the needs the College of Liberal Arts and Graduate School. In 2000, the new Mildred Topp Othmer Library was opened. This was the first library in Japan which introduced an automated book storage and retrieval system.
On the ground floor of the Othmer Library, there is the study area and the Help Desk. The first floor houses the Center for Teaching and Learning, and it is where the center's office, the Writing Support Desk, the Group Learning Area, and Group Study Rooms are situated. The space beside the office is an area where students can meet with staff and student advisors called ICU Brothers and Sisters (IBS) to discuss matters related to academic planning.
The ICU Archives and Special Collections and the Learning Accessibility Services Office are located in the main Library.
Library HP
Education and Research Building
Completed in 1978, the Education and Research Building contains the faculty offices, as well as the Center for Gender Studies, the Graduate School Office and the Rotary Peace Center.
Design: Akira Inadomi
Construction: Takenaka Corporation
Education and Research Building II
Education and Research Building II was added in 1991. It houses faculty offices and Japanese Language Programs(JLP) .
Design:Shin Kenchiku Sekkei Jimusho
Construction: Taisei Corporation
Science Hall
Completed in 1967, Science Hall was the center of education and research in the field of natural sciences until AY2022. The experimental facilities will be transferred to the Troyer Memorial Arts & Science Hall from AY2023, and the hall is currently undergoing a major renovation.
Design: Akira Inadomi
Construction: Takenaka Corporation
Integrated Learning Center
The Integrated Learning Center was completed in 1981 as a university-wide common use facility. It houses regular classrooms, computer rooms, CALL(Computer Assisted Language Learning) classrooms, a Digital Media Lab designed for the creation of video and multimedia contents, a computer-users' help desk, psychology laboratories and faculty offices.
ICU Hachiro Yuasa Memorial Museum
The Museum opened in 1982 to commemorate Dr. Hachiro Yuasa, the founding president of ICU. Its main collection consists of Japanese folk art items donated by Dr. Yuasa, such as ceramics, textiles and woodwork, as well as archaeological materials excavated on campus, ranging from artifacts from the Palaeolithic through the JÅmon eras. In addition to the permanent exhibition, the museum also holds three special exhibitions and open lectures annually on specific themes. The Museum welcomes students to take courses related to the Curatorial Training Program conducted in the galleries, and invites all students as well as the general public to enjoy its exhibitions.
ICU Hachiro Yuasa Memorial Museum Website
Physical Education Center / Central Locker Building
There are two gymnasiums on campus. Physical Education Center A, which was completed in 2018, houses the main court , a studio , and seminar rooms in which physical education lectures can be conducted. Physical Education Center B, which was completed in 1972, houses rooms for ball games, martial arts, and weight training. Other physical education facilities include a swimming pool, which was completed at the same time as Physical Education Center A, and the Central Locker Building, which was completed in 2001 and houses locker rooms , shower rooms , offices for faculty in the Physical Education Program, etc. In addition, there are also roofed tennis courts , a baseball field, a soccer/rugby field, an archery range, etc.
Design supervision: Nihon Sekkei, Inc., Kengo Kuma and Associates (Physical Education Center A)
Design: Akira Inadomi (Physical Education Center), W. M. Vories & Company Architects Ichiryusha (Central Locker Building)
Construction: Maeda Corporation (Physical Education Center A), Takenaka Corporation (Physical Education Center B and Central Locker Building)
Sports Clubhouse
Completed in 1990, the Sports Clubhouse contains student sports clubrooms, locker and shower rooms.
Design and construction by Taisei Corporation
Diffendorfer Memorial Hall
East Wing
Completed in 1958, the Diffendorfer Memorial Hall East Wing is named in honor of Dr. Ralph E. Diffendorfer, who contributed greatly to the founding of ICU. The hall, with three stories above ground and one below, serves as a community center for faculty and students, housing an auditorium, student clubrooms and the Religious Center. The building was renovated in 2021.
Design: W.M. Vories & Company
Construction: Taisei Corporation
West Wing
The West Wing was completed in 2000. This building, with four stories above ground and one below, houses a soundproof music room in the basement, a lounge, a store, and a multi-purpose hall on the first floor, conference rooms on the second floor, and student clubrooms on the third and fourth floors.
Design: W.M.Vories & company architects Ichiryusha
Construction: Taisei Corporation
University Chapel
The ICU Chapel was constructed in 1954, and extensions were completed in 1960. The Chapel features a pipe organ built by Rieger Organs of Austria. Matriculation, Commencement and other ceremonies, as well as the Chapel Hour, are held in the Chapel. Sunday services of the ICU Church, which are independent from the university, are open to the local community.
University Chapel Website
Seabury Memorial Chapel
Named in honor of Ruth Isabel Seabury, who contributed greatly to the founding of ICU, the Chapel was completed in 1959. Ceremonies and meetings with a small number of participants are held in this Chapel.
Design: W.M. Vories & Company
Construction: Taisei Corporation
Alumni House
Completed in 2000, the Alumni House is a place for interaction between the university community and alumni. It houses the Alumni Association Office and the Alumni Lounge on the 2nd floor.
Design: Design: Raymond Architectural Design Office, Inc.
Construction: Iwamotogumi Co., Ltd.
Kiyoshi Togasaki Memorial Dialogue House / University Cafeteria
This multi-purpose building, completed in August 2010, combines the University Cafeteria, the International Conference room, Dormitory for Short-Term International Students and Dialogue House Residence for Visiting Researchers, as well as the offices listed below:
Service Learning Center
Counseling Center
Housing Office
Career Support Office
Basic design: GYA Architects Inc.
Building plans: Nikken Sekkei
Construction: Taisei Corporation
Administration Building
Completed in 1978, the Administration Building accommodates the President's Office and other administrative offices and meeting rooms, including the offices of General Affairs Division, Financial Affairs Division, Personnel Division, and the Student Services Division.
Design: Raymond Architectural Design Office, Inc.
Construction: Taisei Corporation and Takenaka Corporation
TaizansÅ
TaizansÅ has a history preceding ICU's foundation. It is comprised of six buildings designated as "Registered Tangible Cultural Properties" in 1999. The IchijÅjiki (ä¸ç³æ·), a one-mat room attached to one of the buildings, is associated with TakeshirÅ Matsuura (1818-1888) who pioneered expeditions in Hokkaido. Currently, permission is required to visit/view TaizansÅ for conservation reasons.
Student Dormitories
ICU has ten student dormitories on campus. Two new dormitories, Momi House and Maple House, were opened in April 2017, and presently 30% of our student body enjoys communal living in dormitories on campus.
Facilities in Other Locations
As well as ICU's main Mitaka campus, students are able to use the Sanbiso Retreat and Miki House near Karuizawa, Nagano Prefecture, and the Nasu Campus in Tochigi Prefecture during the summer for extra-curricular activities. (Nasu Campus is currently unavailable for use.)
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4101
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https://environhealthprevmed.biomedcentral.com/articles/10.1007/s12199-009-0086-9
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en
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The physiological effects of Shinrin-yoku (taking in the forest atmosphere or forest bathing): evidence from field experiments in 24 forests across Japan
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"Bum Jin"
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2009-05-02T00:00:00
|
This paper reviews previous research on the physiological effects of Shinrin-yoku (taking in the forest atmosphere or forest bathing), and presents new results from field experiments conducted in 24 forests across Japan. The term Shinrin-yoku was coined by the Japanese Ministry of Agriculture, Forestry, and Fisheries in 1982, and can be defined as making contact with and taking in the atmosphere of the forest. In order to clarify the physiological effects of Shinrin-yoku, we conducted field experiments in 24 forests across Japan. In each experiment, 12 subjects (280 total; ages 21.7 ± 1.5 year) walked in and viewed a forest or city area. On the first day, six subjects were sent to a forest area, and the others to a city area. On the second day, each group was sent to the other area as a cross-check. Salivary cortisol, blood pressure, pulse rate, and heart rate variability were used as indices. These indices were measured in the morning at the accommodation facility before breakfast and also both before and after the walking (for 16 ± 5 min) and viewing (for 14 ± 2 min). The R–R interval was also measured during the walking and viewing periods. The results show that forest environments promote lower concentrations of cortisol, lower pulse rate, lower blood pressure, greater parasympathetic nerve activity, and lower sympathetic nerve activity than do city environments. These results will contribute to the development of a research field dedicated to forest medicine, which may be used as a strategy for preventive medicine.
|
en
|
/static/img/favicons/bmc/apple-touch-icon-582ef1d0f5.png
|
BioMed Central
|
https://environhealthprevmed.biomedcentral.com/articles/10.1007/s12199-009-0086-9
|
This paper reviews previous research on the physiological effects of Shinrin-yoku (taking in the forest atmosphere or forest bathing), and presents new results from field experiments conducted in 24 forests across Japan. The term Shinrin-yoku was coined by the Japanese Ministry of Agriculture, Forestry, and Fisheries in 1982, and can be defined as making contact with and taking in the atmosphere of the forest. In order to clarify the physiological effects of Shinrin-yoku, we conducted field experiments in 24 forests across Japan. In each experiment, 12 subjects (280 total; ages 21.7 ± 1.5 year) walked in and viewed a forest or city area. On the first day, six subjects were sent to a forest area, and the others to a city area. On the second day, each group was sent to the other area as a cross-check. Salivary cortisol, blood pressure, pulse rate, and heart rate variability were used as indices. These indices were measured in the morning at the accommodation facility before breakfast and also both before and after the walking (for 16 ± 5 min) and viewing (for 14 ± 2 min). The R–R interval was also measured during the walking and viewing periods. The results show that forest environments promote lower concentrations of cortisol, lower pulse rate, lower blood pressure, greater parasympathetic nerve activity, and lower sympathetic nerve activity than do city environments. These results will contribute to the development of a research field dedicated to forest medicine, which may be used as a strategy for preventive medicine.
The growing interest in environmental stress has been accompanied by a rapid accumulation of evidence indicating that environment can elicit substantial stress in people living in urban environments [1]. Furthermore, it is broadly conceived that the natural environment can enhance human health [2]. There have been several questionnaire studies on the psychological effects of forest environments. A previous study found an enhancement of positive emotions among subjects who were shown pictures of natural environments [3–6]. Moreover, other studies have also found that forest environments improve the psychological wellbeing of people [7–12].
The term Shinrin-yoku (taking in the forest atmosphere or forest bathing) was coined by the Japanese Ministry of Agriculture, Forestry, and Fisheries in 1982. It can be defined as making contact with and taking in the atmosphere of the forest: a process intended to improve an individual’s state of mental and physical relaxation [13]. Shinrin-yoku is considered to be the most widespread activity associated with forest and human health.
Nowadays, there is considerable interest in stress control and relaxation. Further, the field of medical science has always favored evidence-based medicine (EBM); this emphasizes the importance of scientific evidence in medical practice. With improved measurement techniques, the relaxation effect induced by forest settings can be clarified in a field test by measuring the changes induced in physiological parameters such as salivary cortisol, pulse rate, blood pressure, and heart rate variability (HRV).
With this social background, the Association of Therapeutic Effects of Forests was established in Japan in 2004, with the purpose of conducting a Therapeutic Effects of Forests project in Japan. At the European level, similar efforts were made through COST Action E39 on forest and human health from 2004 to 2008 [14], and on the global level, the International Union of Forest Research Organizations (IUFRO) launched a new taskforce on forests and human health in Finland in 2007 with the purpose of fostering cross-disciplinary dialogue between the different researchers in this field, especially forestry and health professionals.
As part of this effort, the Japanese Society of Forest Medicine was established in 2007 under the Japanese Society for Hygiene, with the purpose of promoting research in the field of forest medicine, including the effects of forest bathing trips and the therapeutic effects of forests on human health. At the same time, several field studies on the physiological effects of the natural environment were carried out [13, 15–19].
In this paper, we review selected field studies performed on the physiological effects of Shinrin-yoku and a study dealing with the relationship between its psychological effects and physical environmental factors. In addition, we report new results from field experiments conducted in 24 forests across Japan.
Subjects and study sites
We conducted physiological experiments in 24 areas from 2005 to 2006 in Japan. In each experiment, 12 normal male university students (280 in total; ages 21.7 ± 1.5 years) participated as subjects; none reported a history of physical or psychiatric disorders. The study was performed under the regulations of the Institutional Ethical Committee of the Forestry and Forest Products Research Institute in Japan. On the day before the experiments, subjects were fully informed of the aims and procedures of the experiment and their informed consent was obtained.
Physiological measurements
Seven physiological parameters were analyzed in the present study (Table 1). For the measurement of salivary cortisol concentration, saliva was collected by holding two pieces of absorbent cotton in the mouth for 2 min and using a saliva collection tube (no. 51.1534, Sarstedt, Numbrecht, Germany). On collection, the tube was sealed with tape and immediately stored, refrigerated, and frozen; it was later analyzed for cortisol concentration (SRL, Inc., Japan). Heart rate variability (HRV) was analyzed for the periods between consecutive R waves in the electrocardiogram (R–R intervals) measured by a portable electrocardiograph (AC-301A, GMS Corporation). The power levels of the high-frequency (HF; 0.15–0.4 Hz) and low-frequency components (LF; 0.04–0.15 Hz) were calculated [20] every minute by the maximum-entropy method (Mem-Calc, GMS Ltd. [21]). The HF power is considered to reflect parasympathetic nervous activity [22]. Furthermore, the power ratios HF/LF and LF/(LF + HF) were determined to reflect the sympathetic nervous activity [23]. Systolic blood pressure, diastolic blood pressure, and pulse rate were measured by a digital blood pressure monitor using oscillometric methods (HEM1000, Omron, Japan) on the right upper arm.
Psychological measurements
The Profile of Mood States (POMS) was used to gauge the psychological response [24]. The POMS consists of 30 adjectives rated on a 0–4 scale that can be consolidated into the following six effective dimensions: T–A (tension and anxiety), D (depression and dejection), A–H (anger and hostility), F (fatigue), C (confusion), and V (vigor). Because of its responsiveness, the POMS have been widely used in the assessment of mood changes resulting from a variety of interventions. For the Japanese subjects, the Japanese edition of the POMS was used.
Physical environmental factors
In the physical experiment, the temperature and relative humidity, radiant heat, wind speed, predicted mean vote (PMV), and predicted percentage dissatisfied (PPD) were measured using a portable amenity meter (AM-101, Kyoto Electronics Manufacturing Co. Ltd., Japan) at each study site. In addition, atmospheric pressure (Kestrel 4000, Nielsen-Kellerman, Japan) was also measured at some locations. Relative illumination was calculated from photos of the sky captured by a digital camera (Coolpix 4500, Nikon, Japan) equipped with a fisheye lens (FC-E8, Nikon, Japan).
Experimental design
After being given an orientation to the experiment on the day before the first day of experimentation, the subjects visited and previewed the forest and city study sites. Next, test measurements of all the physiological indexes and subjective feelings were conducted at the accommodation facility. In order to control the background environmental conditions, identical, separate rooms were prepared as lodgings for each subject and identical meals were served during the experiments.
The subjects were randomly divided into two groups. On the first day of the experiments, six subjects were sent to a forest site, and the other six subjects to a city site. On the second day, the subjects were sent to the other type of site as a cross-check. The first measurement was taken in the early morning at the accommodations before breakfast. After the first measurement, subjects were sent to either a forest or city site. It took almost the same amount of time to reach both the forest and city sites from the accommodations. As shown in Fig. 1, upon arrival at the given site, the subjects were seated on chairs and viewed the landscape (for 14 ± 2 min). They also walked around the given site (for 16 ± 5 min). The second and third measurements were taken before and after this walking. The fourth and fifth measurements were taken before and after the viewing. These measurements were taken for one person at a time. In addition to these five measurements, the R–R interval was measured continuously during the walking and viewing exercises at the given site. The HRV was calculated once a minute using the R–R interval data. The exercise loads during the walking exercise in the forest and city sites were estimated with an activity monitor (AC-301A, GMS, Japan); there was no difference in exercise load between walking in a forest site and walking in a city site.
The consumption of alcohol and tobacco was prohibited and caffeine consumption was controlled.
We searched the major journals on medical science, physiological anthropology, and environmental science for reports on field studies on the physiological effects of Shinrin-yoku in Japan. Only articles presenting evidence of the relaxing effects related to Shinrin-yoku have been reviewed in this paper. Table 2 presents a summary of the reviewed papers.
An early study by Ohtsuka et al. [25] showed that blood glucose levels in diabetic patients decrease when they walk in a forest for 3 or 6 km, depending on their individual physical ability. By the middle of the decade in which the above-mentioned study was performed, research on the physiological effects of Shinrin-yoku began in earnest, using improved technologies for measuring physiological indicators. These studies used a wide range of physiological indices such as salivary cortisol, pulse rate, blood pressure, and HRV. Moreover, the experiments were designed with full consideration for cross-checks and control stimuli. The studies showed that viewing forest landscapes and walking in forest settings leads to lower concentrations of cortisol, lower pulse rate, lower blood pressure, enhanced HF component of the HRV, and lower LF/HF [or LF/(LF + HF)]. In particular, Park et al. [13] showed that forest environments can lower the absolute value of the total hemoglobin concentration (t-Hb), an index of cerebral activity, in the left prefrontal area of the brain. The absolute value of hemoglobin concentration had never previously been measured in the field.
Though these studies focused on short-span exposures to stimuli (approximately 15 min of viewing and approximately 15 min of walking), the results strongly supported that participating in Shinrin-yoku activity could effectively relax the human body.
Figure 2 shows the average cortisol concentration in the saliva. Salivary cortisol was significantly lower in the forest area (13.4% decrease after the viewing; 15.8% decrease after the walking). Moreover, the average pulse rate was significantly lower (Fig. 3) in the forest area (6.0% decrease after viewing; 3.9% decrease after walking). Figure 4 shows that the average systolic blood pressure was significantly lower in the forest setting (1.7% decrease after viewing; 1.9% decrease after walking). Figure 5 shows similar results for the average diastolic blood pressure (1.6% decrease after viewing; 2.1% decrease after walking). The average power of the HF components of the HRV, which is related to parasympathetic nervous activity, increases when we feel relaxed. This value was significantly enhanced in the forest settings (56.1% enhancement after viewing; 102.0% enhancement after walking; Fig. 6). The average LF/HF ratio of the HRV, which is related to sympathetic nervous activity, increases when we feel stress. This value decreased when the subjects were walking in or viewing a forest (18.0% decrease after viewing; 19.4% decrease after walking; Fig. 7).
Overall, the results show that viewing forest landscapes leads to lower concentrations of cortisol, lower pulse rate, lower blood pressure, enhanced HF components of HRV, and lower LF/HF. These results strongly support the findings of indoor research using heart rate and blood pressure on the effects of viewing a forest scene on recovery from stress [1, 26–28]. The effect of walking in a forest setting is the same as that of viewing a forest setting. This result corroborates Hartig et al.’s finding [27] that walking in a nature reserve initially fosters blood pressure changes that indicate greater stress reduction than that afforded by walking in city surroundings.
From the perspective of physiological anthropology, human beings have lived in the natural environment for most of the 5 million years of their existence. Therefore, their physiological functions are most suited to natural settings [29]. This is the reason why the natural environment can enhance relaxation. The results of the physiological experiments conducted in this study yield convincing answers explaining the relationship between the natural environment and the relaxation effects in a human being (e.g., decrease in blood pressure and pulse rates, inhibition of sympathetic nervous activity, enhancement of parasympathetic nervous activity, and decrease in cortisol concentration levels in human beings).
The endocrine stress system comprises two broad components with considerable central anatomic interconnection, namely, the sympathetic adrenal-medullary (SAM) axis and the hypothalamic-pituitary-adrenal (HPA) axis [30]. The SAM axis is involved in immediate sympathetic activation preparing an individual to deal with a stressor, resulting in changes such as increased heart rate (HR) and blood pressure (BP) [31]. Cortisol is released by the HPA axis in response to stress [32]. While subjects viewed forest landscapes or walked around forest environments, their pulse rate, blood pressure, and cortisol concentration decreased. This suggests that both the main components of the endocrine stress system reacted in response to Shinrin-yoku.
In particular, high cortisol levels can correspond to a low value of natural killer (NK) activity [33]. Further, cortisol concentration also holds great significance in terms of human immunological activity. Furthermore, the study of Li et al. [34–36] reported that forest surroundings could aid in the recovery of the human immune system, as determined from the perspective of NK activity.
For this reason, it can be suggested that not only forest environments but also other natural settings such as watersides or grasslands could promote relaxation in human beings. No evidence from field experiments conducted on other natural environments are available; however, Laumann et al. [28] have reported that, when subjects viewed natural environment through videos, including those of waterside scenes, they had a longer cardiac interbeat interval and lower heart rate, measured as the difference from the baseline, compared with subjects who viewed urban environment through videos.
All the indices were generally in excellent agreement with each other, implying that the forest environment possessed relaxing and stress-relieving effects. Our results also corroborate widely held beliefs that forest surroundings aid the physical relaxation of urban dwellers. In addition, these results suggest that physiological responses—pulse rate, blood pressure, salivary cortisol concentration, and HRV—can reflect the relaxing effects of forest environments.
The changes in the average POMS subscale scores after the viewing are presented in Fig. 8. Significant differences are seen between the changes resulting from viewing a forest landscape and those from viewing a city landscape. When subjects viewed a forest landscape, the POMS tension subscale score changed by –1.1 points, which is significantly lower than the change (3.5 points) after viewing a city landscape. The change in the POMS depression subscale score (–0.3 points) on viewing a forest landscape is also significantly lower than the score (0.1 points) on viewing a city landscape. There is a significant difference in the change in the POMS anger subscale score between viewing forest (–0.2 points) and city landscapes (1.0 points). The change in the POMS fatigue subscale score (–3.1 points) on viewing a forest landscape is significantly lower than the score (1.8 points) on viewing a city landscape. The change in the POMS confusion subscale score (–1.0 points) on viewing a forest landscape is also significantly lower than that (1.8 points) on viewing a city landscape. However, the change in the POMS vigor subscale score (1.9 points) on viewing a forest landscape is significantly higher than that (–1.9 points) on viewing a city landscape.
The changes in the average POMS subscale scores after walking are shown in Fig. 9. The results are the same as those for viewing. When walking, the changes in the average POMS subscales of tension (forest:–1.1 points, city: 3.2 points), depression (forest: –0.2 points, city: 0.8 points), anger (forest: –0.2 points, city: 0.8 points), fatigue (forest: –2.1 points, city: 1.3 points), and confusion (forest: –1.1 points, city: 1.1 points) are significantly different in the forest and city areas. And the change in the POMS vigor subscale score (4.2 points) on walking in forest settings is significantly higher than that (–0.2 points) on walking in city settings.
The POMS measurements show that forest environments can relieve human psychological tension, depression, anger, fatigue, and confusion, and moreover, that they can enhance human psychological vigor. Furthermore, from the viewpoint of attention restorative theory (ART) [37], these results strongly support that the forest is a good restorative environment for human beings.
Kasetani et al. [38] reported that a relationship exists between the POMS score and the physical environmental factors (Fig. 10). The POMS anger subscale score and relative illumination had a significant correlation coefficient (R = 0.66) in the forest areas. Moreover, the POMS fatigue subscale score and relative humidity had a significant correlation coefficient (R = 0.70). Finally, the POMS depression subscale score and atmospheric pressure had a significant correlation coefficient (R = 0.63).
When viewing a forest landscape, the low relative illumination reduces anger, and the low relative humidity lowers fatigue. Forests located at high elevations with low atmospheric pressure can reduce depression. We hope that these results can be used as basic guidelines in the design of therapeutic forest environments [39].
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https://socgen.ucla.edu/people/nanibaa-garrison-2/
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Nanibaa’ Garrison – The UCLA Institute for Society and Genetics
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Nanibaa’ Garrison (Navajo), Ph.D. is an Associate Professor at the University of California, Los Angeles. She has appointments in the Institute for Society and Genetics, the Institute for Precision Health, and the Division of General Internal Medicine & Health Services Research. She is a teaching faculty for the UCLA genetic counseling master’s program.
Dr. Garrison earned her Ph.D. in genetics at Stanford University, and completed a postdoctoral fellowship in bioethics at the Stanford Center for Biomedical Ethics and the Center for Integration of Research on Genetics & Ethics at Stanford University. Prior to coming to UCLA, Dr. Garrison was an Assistant Professor at Vanderbilt University, University of Washington and Seattle Children’s Research Institute.
Dr. Garrison is the recipient of an NIH K01 career development award to explore perspectives of tribal leaders, physicians, scientists, and policy makers on genetic research with tribes. Her research focuses on the ethical, social, and cultural implications of genetic and genomic research in Indigenous communities. Using community-based research approaches, she engages with tribal communities to develop policies and guidance for tribes.
Selected publications:
Garrison NA. Genomic Justice for Indigenous Americans: Impact of the Havasupai Case on Genetic Research. Science, Technology & Human Values. 2013 Mar; 38(2): 201-223. doi: 10.1177/0162243912470009.
Ormond KE, Mortlock DP, Scholes DT, Bombard Y, Brody LC, Faucett WA, Garrison NA, Hercher L, Isasi R, Middleton A, Musunuru K, Shriner D, Virani A, Young CE. ASHG Position Statement on Human Germline Genome Editing. American Journal of Human Genetics. 2017 Aug 3; 101(2): 167-176. PMID: 28777929.
Garrison NA. Genetic Ancestry Testing with Tribes: Ethics, Identity, and Health Implications. Daedalus: Journal of the American Academy of Arts & Sciences. Spring 2018; 147(2): 60-69.
Bardill JD, Bader AC, Garrison NA, Bolnick DA, Raff JA, Walker A, Malhi RS, and the Summer internship for INdigenous peoples in Genomics (SING) Consortium. Advancing the Ethics of Paleogenomics. Science. 2018 Apr;6387(360):384-385. PMID: 29700256.
Claw KG, Anderson MZ, Begay RL, Tsosie KS, Fox K, Garrison NA, and the Summer internship for INdigenous peoples in Genomics (SING) Consortium. A Framework for Enhancing Ethical Genomics Research with Indigenous Communities. Nature Communication. 2018 Jul; 9(1):2957. PMID: 30054469.
Garrison NA, Brothers KB, Goldenberg AJ, Lynch JA. Genomic Contextualism: Shifting the Rhetoric of Genetic Exceptionalism. American Journal of Bioethics. 2019 Jan;19(1):51-63. PMID: 30676903.
Bombard Y, Levy HP, Brothers KB, Fitzgerald-Butt S, Garrison NA, Jamal L, James CA, Jarvik GP, McCormick JB, Nelson TN, Ormond KE, Rehm HL, Richer J, Souzeau E, Vassy JL, Wagner JK. ASHG Position Statement on the Responsibility to Recontact Research Participants After Reinterpretation of Genetic & Genomic Research Results. American Journal of Human Genetics. 2019 Apr; 104:578-595. PMID: 30951675.
Non AL, León-Pérez GM, Glass H, Kelly E, Garrison NA. Stress across generations: A qualitative study of stress, coping, and caregiving among Mexican immigrant mothers. Ethnicity and Health. 2019 May; 24(4):378-394. PMID: 28669238.
Garrison NA, Hudson M, Ballantyne LL, Garba I, Martinez A, Taualii M, Arbour L, Caron NR, Rainie SC. Genomic research through an Indigenous lens: Understanding the expectations. Annual Review of Genomics and Human Genetics. 2019 Aug 31;20:495-517. PMID: 30892943
Armsby AJ, Bombard Y, Garrison NA, Halpern-Felsher BL, Ormond KE. Attitudes of Members of Genetics Professional Societies Toward Human Gene Editing. The CRISPR Journal. 2019 Oct;2(5):331-339. PMID: 31599688
Garrison NA, Barton KS, Porter KM, Mai T, Burke W, Carroll SR. Access and Management: Indigenous perspectives on Genomic Data Sharing. Ethnicity and Disease. 2019 Dec 12;29(Suppl 3):659-668. PMID: 31889771
Hudson M, Garrison NA, Sterling R, Caron NR, Fox K, Yracheta J, Anderson J, Wilcox P, Arbour L, Brown A, Taualii M, Kukutai T, Haring R, Te Aika B, Baynam GS, Dearden PK, Chagné D, Malhi RS, Garba I, Tiffin N, Bolnick D, Stott M, Rolleston AK, Ballantyne LL, Lovett R, David-Chavez D, Martinez A, Sporle A, Walter M, Reading J, Carroll SR. Rights, Interests, & Expectations: Indigenous perspectives on unrestricted access to genomic data. Nature Reviews Genetics. 2020 Apr 6. [Epub ahead of print]. PMID: 32251390
Book Chapters
Garrison NA. “Evolving Consent: Insights from Researchers and Participants in the Age of Broad Consent and Data Sharing.” Specimen Science: Ethics and Policy Implications. Editors: Lynch HF, Bierer B, Cohen IG, Rivera SM (Cambridge, Mass: The MIT Press, 2017), 185-200.
Garrison NA, Bardill JD. “The Ethics of Genetic Ancestry Testing.” A Companion to Anthropological Genetics. Editor: O’Rourke DH (Hoboken, NJ: John Wiley & Sons, 2019), 17-36.
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https://en.wikipedia.org/wiki/United_States_Naval_Research_Laboratory
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United States Naval Research Laboratory
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https://en.wikipedia.org/wiki/United_States_Naval_Research_Laboratory
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U.S. Navy research laboratory
The United States Naval Research Laboratory (NRL) is the corporate research laboratory for the United States Navy and the United States Marine Corps. It was founded in 1923 and conducts basic scientific research, applied research, technological development and prototyping. The laboratory's specialties include plasma physics, space physics, materials science, and tactical electronic warfare. NRL is one of the first US government scientific R&D laboratories, having opened in 1923 at the instigation of Thomas Edison, and is currently under the Office of Naval Research.[2]
As of 2016, NRL was a Navy Working Capital Fund activity, which means it is not a line-item in the US Federal Budget. Instead of direct funding from Congress, all costs, including overhead, were recovered through sponsor-funded research projects. NRL's research expenditures were approximately $1 billion per year.[3]
Research
[edit]
The Naval Research Laboratory conducts a wide variety of basic research and applied research relevant to the US Navy. NRL scientists and engineers author[when?] over 1200 openly published research papers in a wide range of conferences, symposia, and journals each year.
It has a history of scientific breakthroughs and technological achievements dating back to its foundation in 1923.[4] In some instances the laboratory's contributions to military technology have been declassified decades after those technologies have become widely adopted.
In 2011, NRL researchers published 1,398 unclassified scientific and technical articles, book chapters and conference proceedings.[5] In 2008, the NRL was ranked No. 3 among all U.S. institutions holding nanotechnology-related patents, behind IBM and the University of California.[6]
Current areas of research at NRL include, for example:[5]
Advanced radio, optical and infrared sensors
Autonomous systems
Computer science, cognitive science, and artificial intelligence
Communications Technology (e.g., radio, networking, optical transmission)
Directed energy technology
Electronic electro-optical device technology
Electronic warfare
Enhanced maintainability, reliability and survivability technology
Environmental effects on naval systems
Human-robot interaction
Imaging research and systems
Information Security
Marine geosciences
Materials
Meteorology
Ocean acoustics
Oceanography
Plasma physics
Space systems and technology
Surveillance and sensor technology
Undersea technology
In 2014, the NRL was researching: armor for munitions in transport, high-powered lasers, remote explosives detection, spintronics, the dynamics of explosive gas mixtures, electromagnetic railgun technology, detection of hidden nuclear materials, graphene devices, high-power extremely high frequency (35–220 GHz) amplifiers, acoustic lensing, information-rich orbital coastline mapping, arctic weather forecasting, global aerosol analysis & prediction, high-density plasmas, millisecond pulsars, broadband laser data links, virtual mission operation centers, battery technology, photonic crystals, carbon nanotube electronics, electronic sensors, mechanical nano-resonators, solid-state chemical sensors, organic opto-electronics, neural-electronic interfaces and self-assembling nanostructures.[5][7]
The laboratory includes a range of R&D facilities. 2014 additions included the NRL Nanoscience Institute's 5,000 sq ft (460 m2) Class 100 nanofabrication cleanroom;[8][9] quiet and ultra-quiet measurement labs;[10] and the Laboratory for Autonomous Systems Research (LASR).[11]
Notable accomplishments
[edit]
Space sciences
[edit]
The Naval Research Laboratory has a long history of spacecraft development. This includes the second, fifth and seventh American satellites in Earth orbit, the first solar-powered satellite, the first surveillance satellite, the first meteorological satellite and the first GPS satellite. Project Vanguard, the first American satellite program, tasked NRL with the design, construction and launch of an artificial satellite, which was accomplished in 1958. As of 2024 , Vanguard I and its upper launch stage are still in orbit, making them the longest-lived man-made satellites. Vanguard II was the first satellite to observe the Earth's cloud cover and therefore the first meteorological satellite. NRL's Galactic Radiation and Background I (GRAB I) was the first U.S. intelligence satellite, mapping out Soviet radar networks from space. The Global Positioning System (GPS) was invented at NRL and tested by NRL's Timation series of satellites. The first operational GPS satellite, Timation IV (NTS-II) was designed and constructed at NRL.[12]
NRL pioneered the study of the sun Ultraviolet and X-Ray spectrum and continues to contribute to the field with satellites like Coriolis launched in 2003. NRL is also responsible for the Tactical Satellite Program with spacecraft launched in 2006, 2009 and 2011.
The NRL designed the first satellite tracking system, Minitrack, which became the prototype for future satellite tracking networks. Prior to the success of surveillance satellites, the iconic parabolic antenna atop NRL's main headquarters in Washington, D.C. was part of Communication Moon Relay, a project that utilized signals bounced off the Moon both for long-distance communications research and surveillance of internal Soviet transmissions during the Cold War.
NRL's spacecraft development program continues today with the TacSat-4 experimental tactical reconnaissance and communication satellite. In addition to spacecraft design, NRL designs and operates spaceborne research instruments and experiments, such as the Strontium Iodide Radiation Instrumentation (SIRI) and RAM Angle and Magnetic field sensor (RAMS) aboard STPSat-5,[13] the Wide-field Imager for Solar PRobe (WISPR) aboard the Parker Solar Probe, and the Large Angle and Spectrometric Coronagraph Experiment (LASCO)[14] aboard the Solar and Heliospheric Observatory (SOHO). NASA's Fermi Gamma-ray Space Telescope (FGST) [formerly called Gamma-ray Large Area Space Telescope (GLAST)] was tested at NRL spacecraft testing facilities.[15] NRL scientists have most recently contributed leading research to the study of novas[16][17] and gamma ray bursts.[18][19][20][21]
Meteorology
[edit]
The Marine Meteorology Division (Naval Research Lab–Monterey, NRL–MRY), located in Monterey, California, contributes to weather forecasting in the United States and around the world by publishing imagery from 18 weather satellites. Satellite images of severe weather (e.g. hurricanes and cyclones) that are used for advanced warning often originate from NRL–MRY, as seen in 2017 during Hurricane Harvey.[22] NRL is also involved in weather forecasting models such as the Hurricane Weather Research and Forecasting model released in 2007.[23]
Materials science
[edit]
NRL has a long history of contributions to materials science, dating back to the use of Industrial radiography with gamma rays for the nondestructive inspection of metal casings and welds on Navy vessels beginning in the 1920s. Modern mechanical fracture mechanics were pioneered at NRL and were subsequently applied to solve fracture problems in Navy vessels, commercial aircraft and Polaris missiles. That knowledge is in widespread use today in applications ranging from design of nuclear reactors to aircraft, submarines and toxic material storage tanks.[4]
NRL developed the synthesis of high-purity GaAs crystals used in a myriad of modern high frequency transceivers including cellular phones, satellite communication systems, commercial and military radar systems including those aboard all US combat aircraft and ARM, Phoenix, AIM-9L and AMRAAM missiles. NRL's GaAs inventions were licensed by Rockwell, Westinghouse, Texas Instruments and Hughes Research.[24] High-purity GaAs is also used for high-efficiency solar cells like those aboard NASA's Spirit and Opportunity rovers currently on Mars.[25]
NRL discovered solar-wind hydrogen in Apollo lunar soil samples provided by a NASA-funded research mission.[26]
Fundamental aspects of stealth technology were developed at NRL, including the radar absorption mechanisms in ferrite-containing materials.[24] Metal bearing surface treatments using Cr ion implantation researched at NRL nearly tripled the service life of Navy turbine engine parts and was adopted for Army helicopter parts as well.[24] Fluorinated polyurethane coatings developed at NRL are used to line fuel storage tanks throughout the US Navy, reducing leakage and environmental and fuel contamination. The same polymer films are used in Los Angeles-class submarine radomes to repel water and enable radar operation soon after surfacing.[24]
Scientists at NRL frequently contribute theoretical and experimental research on novel materials,[27][28][29] particularly magnetic materials[30][31][32][33][34][35] and nanomaterials[36][37][38][39] and thermoplastic.[40]
Radar
[edit]
The first modern U.S. radar was invented and developed at NRL in Washington, DC in 1922. By 1939, NRL installed the first operational radar aboard the USS New York, in time for radar to contribute to naval victories of the Coral Sea, Midway and Guadalcanal. NRL then further developed over-the-horizon radar as well as radar data displays.[4] NRL's Radar Division[41] continues important research & development contributing to US Navy and US Department of Defense capabilities.
Tactical electronic warfare
[edit]
NRL's Tactical Electronic Warfare (TEW) Division[42] is responsible for research and development in support of the Navy's tactical electronic warfare requirements and missions. These include electronic warfare support measures, electronic countermeasures, and supporting counter-countermeasures, as well as studies, analyses, and simulations for determining and improving the performance of Electronic Warfare systems. NRL TEW includes aerial, surface, and ground EW within its scope. NRL is responsible for the identification, friend or foe (IFF) system and a number of other advances.
Information security
[edit]
The Information Technology Division[43] features an information security R&D group, which is where the IETF's IP Security (IPsec) protocols were originally developed. The Encapsulating Security Payload (ESP) protocol developed at NRL is widely used for virtual private network (VPN) connections worldwide. The projects developed by the laboratory often become mainstream applications without public awareness of the developer; an example in computer science is onion routing, the core principle of the anonymizing Tor software.
Nuclear research
[edit]
Nuclear power research was initiated at NRL as early as 1939,[4] six years before the first atomic bomb, for the purpose of powering submarines. Uranium enrichment methods sponsored by NRL over the course of World War II were adopted by the Manhattan Project[44] and guided the design of Oak Ridge National Laboratory's Uranium enrichment plant. NRL is currently developing laser focusing techniques aimed at inertial confinement fusion technology.[45]
Physical sciences
[edit]
The static discharger seen on trailing edges of virtually all modern aircraft was originally developed by NRL scientists during World War II. After the war, the laboratory developed modern synthetic lubricants[46][47] initially for use in the Navy's jet aircraft but subsequently adopted by the commercial jet industry.[4]
In the late 1960s, NRL researched low-temperature physics, achieving for the first time a temperature within one millionth of a degree of absolute zero in 1967. In 1985 two scientists at the laboratory, Herbert A. Hauptman and Jerome Karle, won the Nobel Prize for devising direct methods employing X-ray diffraction analysis in the determination of crystal structures.[48] Their methods form the basis for the computer packages used in pharmaceutical labs and research institutions worldwide for the analysis of more than 10,000 new substances each year.[49]
NRL has most recently published research on quantum computing,[50][51] quantum dots,[52] plasma shockwaves,[53] thermodynamics of liquids,[54] modeling of oil spills[55] and other topics.
NRL operates a small squadron of research aircraft termed Scientific Development Squadron (VXS) 1. Its missions include, for example, Rampant Lion, which used sophisticated airborne instrumentation (gravimeters, magnetometers and hyperspectral cameras) to collect precise 3D topography of two-thirds of Afghanistan and locate natural resources (underground gas and mineral deposits, vegetation types, etc.) there[56] and in Iraq and Colombia.[57]
Plasma science
[edit]
The Division of Plasma Physics conducts research and development into ionized matter. NRL currently holds the world record for most energetic rail gun projectile (33 MJ, 9.2 kWh)[58] and fastest man-made projectile (2.24 million mph, 3.60 million km/h).[59]
Artificial intelligence
[edit]
NRL established the Navy Center for Applied Research in Artificial Intelligence in 1981,[60] which conducts basic and applied research in artificial intelligence, cognitive science, autonomy, and human-centered computing. Among its achievements are advances in cognitive architectures, human-robot interaction, and machine learning.
Organization
[edit]
As of 2017, the laboratory was divided into four research directorates, one financial directorate, and one executive directorate. All the directorates are headquartered in Washington, D.C. Many directorates have other facilities elsewhere, primarily at either the Stennis Space Center in Bay St Louis, Mississippi or in Monterey, California.
Staff
[edit]
Most NRL staff are civilians in the civil service, with a relatively small number of Navy enlisted personnel or officers. Virtually all NRL staff are US citizens and are not dual-nationals. In addition, there are some support contractors that work on-site at NRL. As of 31 December 2015, across all NRL locations, NRL had 2540 civilian employees (i.e., not including civilian contractors).[3] On the same date, there were 35 military officers on-board NRL and 58 enlisted on-board NRL, most of whom are with NRL's VXS-1 Scientific Flight Detachment, which is located at the Patuxent River ('Pax River') Naval Air Station (NAS) in southern Maryland.[3]
NRL has special authority to use a Pay-Band pay system instead of using the traditional General Schedule (GS) pay system for its civilian employees.[61][62] This gives NRL more ability to pay employees based on performance and merit, rather than time-in-grade or some other seniority metric. There are several different pay-band groups at NRL, each being for different categories of civilian employees. As of 31 December 2015, NRL had 1615 civilian scientists/engineers in the NP pay system, 103 civilian technicians in the NR pay system, 383 civilian administrative specialists/professionals in the NO pay system, and 238 civilian administrative support staff in the NC pay system.[3]
NRL scientists & engineers typically are in the (NP) pay group in NRL's Pay Band system.[61] The NP-II pay band is equivalent to GS-5 Step 1 through GS-10 Step 10. The NP-III pay band is equivalent to GS-11 Step 1 through GS-13 Step 10. NRL's Pay Band IV corresponds to the GS-14 Step 1 to GS-15 Step 10 pay grades, inclusive, while NRL's Pay Band V can pay above GS-15 Step 10 and corresponds to the Senior Technologist (ST) pay grade elsewhere in the civil service.
For new graduates, someone with a Bachelor of Science degree typically is hired at a salary in the GS-7 range; someone with a Master of Science degree typically is hired at a salary in the GS-11 range; someone with a PhD typically is hired at a salary in the GS-12 range. NRL has the flexibility to offer partial student loan repayments for new hires.
According to the NRL Fact Book (2016), of NRL civilian full-time permanent employees, 870 had a doctorate, 417 had a master's, and 576 had a bachelor's as their highest degree.[3]
The laboratory also hosts post-doctoral researchers and was voted #15 in the Best Places to Work PostDocs 2013 survey.[63]
Research directorates
[edit]
The four research directorates within NRL were:[64]
The Systems Directorate (Code 5000) is responsible for performing a range of activities from basic research through engineering development to expand the operational capabilities of the US Navy. There are four research divisions: Radar, Information Technology, Optical Sciences, and Tactical Electronic Warfare.
The Materials Science and Component Technology Directorate (Code 6000) carries out a range of materials research with the aim of better understanding of the materials in order to develop improved and advanced materials for use by the US Navy. There are seven research divisions: Laboratory for the Structure of Matter, Chemistry, Material Science & Technology, Laboratory for Computational Physics and Fluid Dynamics, Plasma Physics, Electronics Science & Technology, and the Center for Biomolecular Science & Engineering.
The Ocean and Atmospheric Science and Technology Directorate (Code 7000) performs research in the fields of acoustics, remote sensing, oceanography, marine geosciences, marine meteorology, and space science.[65] There are six research divisions: Acoustics, Remote Sensing, Oceanography, Marine Geosciences, Marine Meteorology, and Space Science.
The Naval Center for Space Technology (Code 8000) is a focal point and integrator for NRL technologies used in space systems. It provides system engineering and technical assistance for development and acquisition of space systems. There are two research departments: Space Systems Development and Spacecraft Engineering.
Support directorates
[edit]
The two support directorates were:[64]
The Executive Directorate operations are directed by the Commander of the NRL, who typically is a US Navy Captain. Scientific Development Squadron ONE (VXS-1), located at Naval Air Station Patuxent River, Maryland, which provides airborne research facilities to NRL and other agencies of the US Government, is run out of the Executive Directorate.
The Business Operations Directorate provides program management for the business programs which support the scientific directorates of NRL. It provides contracting, financial management and supply expertise to the scientific projects.
Nanoscience Institute
[edit]
In April 2001, in a departure from traditional working relationships between NRL scientists, the Institute for Nanoscience was established to conduct multidisciplinary research in the fields of materials, electronics and biology. Scientists may be part of the Nanoscience Institute while still performing research for their respective divisions.[66]
Laboratory for Autonomous Systems Research
[edit]
Opened March 2012,[67] the Laboratory for Autonomous Systems Research (LASR) is a 50,000 square foot facility that supports basic and applied research in autonomous systems. The facility supports a wide range of interdisciplinary basic and applied research in autonomous systems to include research in autonomous systems, intelligent autonomy, human-autonomous system interaction and collaboration, sensor systems, power and energy systems, networking and communications, and platforms.[68]
LASR provides unique facilities and simulated environmental high bays (littoral, desert, tropical, and forest) and instrumented reconfigurable high bay spaces to support integration of science and technology components into research prototype systems.[69]
Locations
[edit]
The main campus of NRL is in Washington, D.C., near the southernmost part of the District. It is on the Potomac River and is immediately south of (but is not part of) Joint Base Anacostia-Bolling. This campus is immediately north of the Blue Plains site of the DC Water Authority. Exit 1 of northbound I-295 leads directly to Overlook Avenue and the NRL Main Gate. The U.S. Postal Service operates a post office on the NRL main campus.[70]
In addition, NRL operates several field sites and satellite facilities:[5][64][71]
NRL-South is located at NASA's Stennis Space Center in Bay St. Louis, Mississippi, and specializes in oceanography, marine geology, geophysics, geoacoustics, and geotechnology.
NRL-Monterey is located east of the Naval Postgraduate School in Monterey, California,[72] sharing a campus with the Fleet Numerical Meteorology and Oceanography Center[73] and the San Francisco Bay Area/Monterey local forecast office of the National Weather Service. NRL-Monterey is dedicated to meteorology and atmospheric research.
The Scientific Development Squadron (VXS) 1 is located at the Patuxent River Naval Air Station in Lexington Park, Maryland, and operates a wide range of research aircraft.[74]
The Chesapeake Bay Detachment (CBD) in Chesapeake Beach, Maryland is 168-acre site for research in radar, electronic warfare, optical devices, materials, communications, and fire research. This facility is often used in combination with the Multiple Research Site on Tilghman Island, Maryland just across the Chesapeake Bay.
The Midway Research Center in Quantico, Virginia, Free Space Antenna Range in Pomonkey, Maryland, and Blossom Point Satellite Tracking and Command Station in Blossom Point, Maryland are used by NRL's Naval Center for Space Technology.[75]
The Marine Corrosion Facility located on Fleming Key at Naval Air Station Key West in Florida is used by the Center for Corrosion Science & Engineering.
NRL operates several synchrotron radiation beamlines and the Extreme-Ultraviolet and X-Ray Calibration Facility at the National Synchrotron Light Source at the Brookhaven National Laboratory.[citation needed]
History
[edit]
Early history
[edit]
Artifacts found on the NRL campus, such as stone tools and ceramic shards, show that the site had been inhabited since the Late Archaic Period. Cecil Calvert, 2nd Baron Baltimore, granted the tract of land which includes the present NRL campus to William Middleton in 1663. It became part of the District of Columbia in 1791, and was purchased by Thomas Grafton Addison in 1795, who named the area Bellevue and built a mansion on the highlands to the east.
Zachariah Berry purchased the land in 1827, who rented it out for various purposes including a fishery at Blue Plains. The mansion was demolished during the Civil War to build Fort Greble. In 1873 the land was purchased by the federal government as the Bellevue Annex to the Naval Gun Factory, and several buildings were constructed including the Commandant's house, "Quarters A", which is still in use today.[76]
Foundation
[edit]
The Naval Research Laboratory came into existence from an idea that originated from Thomas Edison. In a May 1915 editorial piece in the New York Times Magazine, Edison wrote; "The Government should maintain a great research laboratory... In this could be developed...all the technique of military and naval progression without any vast expense."[77] This statement addressed concerns about World War I in the United States.[78]
Edison then agreed to serve as the head of the Naval Consulting Board that consisted of civilians who had achieved expertise. The focus of the Naval Consulting Board was as advisor to the U.S. Navy pertaining to science and technology. The board brought forward a plan to create a modern facility for the Navy. In 1916 Congress allocated $1.5 million for implementation. However, construction was delayed until 1920 because of the war and internal disagreements within the board.[78]
The U.S. Naval Research Laboratory, the first modern research institution created within the United States Navy, began operations at 1100 on 2 July 1923. The Laboratory's two original divisions – Radio and Sound – performed research in the fields of high-frequency radio and underwater sound propagation. They produced communications equipment, direction-finding devices, sonar sets, and the first practical radar equipment built in the United States. They performed basic research, participating in the discovery and early exploration of the ionosphere. The NRL gradually worked towards its goal of becoming a broadly based research facility. By the beginning of World War II, five new divisions had been added: Physical Optics, Chemistry, Metallurgy, Mechanics and Electricity, and Internal Communications.[78]
World War II years and growth
[edit]
Total employment at the NRL jumped from 396 in 1941 to 4400 in 1946, expenditures from $1.7 million to $13.7 million, the number of buildings from 23 to 67, and the number of projects from 200 to about 900. During World War II, scientific activities necessarily were concentrated almost entirely on applied research. Advances were made in radio, radar, and sonar. Countermeasures were devised. New lubricants were produced, as were antifouling paints, luminous identification tapes, and a marking dye to help locate survivors of disasters at sea. A thermal diffusion process was conceived and used to supply some of the U-235 isotope needed for one of the first atomic bombs. Also, many new devices that developed from booming wartime industry were type tested and then certified as reliable for the Fleet.[78]
After WWII
[edit]
As a result of the scientific accomplishments of the WWII, the United States emerged into the postwar era determined to consolidate its wartime gains in science and technology and to preserve the working relationship between its armed forces and the scientific community. While the Navy was establishing the Office of Naval Research (ONR) in 1946 as a liaison with and supporter of basic and applied scientific research, the Navy encouraged NRL to broaden its scope since it was the Navy Department's corporate research laboratory. NRL was placed under the administrative oversight of ONR after ONR was created. NRL's Commanding Officer reports to the Navy's Chief of Naval Research (CNR). The Chief of Naval Research leads the Office of Naval Research, which primarily is located in the Ballston area of Arlington, Virginia. The reorganization also caused a parallel shift of the Laboratory's emphasis to one of long-range basic and applied research in the full range of the physical sciences.[5]
However, rapid expansion during the war had left NRL improperly structured to address long-term Navy requirements. One major task – neither easily nor rapidly accomplished – was that of reshaping and coordinating research. This was achieved by transforming a group of largely autonomous scientific divisions into a unified institution with a clear mission and a fully coordinated research program. The first attempt at reorganization vested power in an executive committee composed of all the division superintendents. This committee was impracticably large, so in 1949, a civilian director of research was named and given full authority over the program. Positions for associate directors were added in 1954.[5]
Modern era
[edit]
In 1992, the previously separate Naval Oceanographic and Atmospheric Research Laboratory (NOARL), with centers in Bay St. Louis, Mississippi, and Monterey, California, was merged into NRL. Since then, NRL is also the lead Navy center for research in Oceanographic and Atmospheric Sciences, with special strengths in physical oceanography, marine geosciences, ocean acoustics, marine meteorology, and remote oceanic and atmospheric sensing.[78]
Centennial
[edit]
Commissioned July 2, 1923, as the Naval Experimental and Research Laboratory — later shortened to the Naval Research Laboratory (c.1926) — the laboratory began operations seven years after inventor Thomas Edison suggested that the Government establish "a great research laboratory."
Throughout the past century, NRL has changed the way the U.S. military fights, improved its capabilities, prevented technological surprise, transferred vital technology to industry, and tilted the world’s balance of power on at least three occasions; with the first U.S. radar, world’s first intelligence satellite, and first operational satellite of the Global Positioning System (GPS).[79]
July 2, 2023, the U.S. Naval Research Laboratory celebrates 100 years of service as the Navy's corporate laboratory with a rich history of performing advanced scientific research and making significant contributions to U.S. military forces on, under, and above the seas.[80]
Environmental contamination
[edit]
The Navy’s environmental investigations began in 1984. NRL was not listed on the National Priorities List as a Superfund and the Maryland Department of the Environment has regulatory oversight. Since the early 2010s, the Navy and MDE have coordinated their activities at NR. In 2017 groundwater investigation PFAS were present on-base in the shallow aquifer. As of 2022, there are 6 active IRP sites (Photo-processing Waste Discharge, fire testing area etc) and 3 active munition response sites at former small arms ranges with lead contamination in the Chesapeake Bay Detachment.[81] An online Restoration Advisory Board (RAB) meeting in May 2021 alarmed residents because of extremely high PFAS levels in the soil at the CBD's fire training facility.[82]
See also
[edit]
United States Marine Corps Warfighting Laboratory (MCWL)
Office of Naval Research (ONR)
Air Force Research Laboratory (AFRL)
United States Army Research, Development and Engineering Command (RDECOM)
Defense Advanced Research Projects Agency (DARPA)
Naval Research Laboratory Flyrt — Flying Radar Target
History of radar
Robert Morris Page — One of the main American radar scientists
Interactive Scenario Builder — 3-D modeling and simulation application for studying the radio frequency (RF) environment
NRLMSISE-00 — Model of the Earth's atmosphere from ground to space
SIMDIS — 3-D Analysis and Display Toolset
Clementine spacecraft
National Research Libraries Alliance
Fleet Electronic Warfare Center (FEWC)
National Oceanic and Atmospheric Administration (NOAA)
University-National Oceanographic Laboratory System (UNOLS)
List of auxiliaries of the United States Navy
TransApps – rapid development and fielding of secure mobile apps in the battlefield
References
[edit]
This article incorporates public domain material from the United States Navy
Sterling, Christopher H. (2008) Military Communications: From Ancient Times to the 21st Century ABC-CLIO ISBN 978-1851097326 p 326
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UCLA Brain Research Institute (BRI)
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Home
EMPOWERING COLLABORATIVE AND
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Member Publications
Joshua T Trachtenberg. Competition, inhibition, and critical periods of cortical plasticity. Curr. Opin. Neurobiol. 2015 44-8
Yang Qu, Andrew J Fuligni, Adriana Galvan, et al. Buffering effect of positive parent-child relationships on adolescent risk taking: A longitudinal neuroimaging investigation. Dev Cogn Neurosci 2015 26-34
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Andrew Charles, M.D.
Uncategorized In The News UCLA Health News Article UCLA Newsroom Link
Arpana Gupta, Ph.D.
Uncategorized In The News UCLA Health News Article UCLA Newsroom Link
Joint Seminars In Neuroscience
UP NEXT:
Coming Soon
Upcoming Events/Seminars
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The UCLA Brain Research Institute (BRI) is a catalyst for education, outreach, and research collaborations among current and future scientists, engineers and clinicians who seek to understand the healthy and diseased brain.
UCLA is rated the #1 Public University in the country.
What makes BRI exceptional?
Image of the Month
Image: The extrinsic and intrinsic cholinergic innervation in the inner submucosal plexus of the human sigmoid colon were double labeled with a rabbit anti-vesicular acetylcholine transporter antibody (red) and a novel mouse anti-human peripheral choline acetyltransferase antibody (green). The image was created by superimposing 150 Z-stack slices. By: Pu-Qing Yuan, Yvette Taché lab.
#1 Educational Program
UCLA is ranked the #1 public education program in the country by US News. Programs are diverse, affordable, and mission driven.
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The BRI provides multiple mechanisms to invigorate research programs and support collaborations bringing together investigators from complementary fields. These mechanisms include
Over 270 +
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Federal Funds UCLA Receives
Outreach That Impacts Our Communities
The BRI aims to extend scientific knowledge into the community and inspire elementary and secondary school students to explore a career in neuroscience
Over 40
Students per year do research with BRI.
Over 500
K-12 students per year visit UCLA Labs
Over 1000
K-12 Students Involved
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Colorado State University Employment Opportunities
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Jobs @ Colorado State
Posting not found.
Search Jobs (Postings)
To ensure the security of your data, you will be logged out due to inactivity in 3 minutes at
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https://www.mcwl.marines.mil/
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Marine Corps Warfighting Laboratory Home
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01
MCCDC Change of Command
Lieutenant General Eric E. Austin took command of Marine Corps Combat Development Command, relieving Lieutenant General Karsten S. Heckl.
02
MCWL WG Div Director retires.
Col. George C. Schreffler III, Director of the MCWL’s Wargaming Division, retired in a ceremony on July 26, 2024, after 30 years of distinguished...
04
Marine Corps Dedicates the General Robert B. Neller Center for Wargaming and Analysis
Assistant Commandant of the Marine Corps Gen. Christopher Mahoney congratulates retired Commandant of the Marine Corps Gen. Robert B. Neller after...
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https://www.stockholmresilience.org/research/planetary-boundaries.html
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Planetary boundaries
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[
"research",
"Stockholm Resilience Centre",
"transdisciplinary",
"adaptive governance",
"marine systems",
"freshwater",
"multilevel",
"institutions",
"globalization",
"networks",
"Baltic",
"geospatial"
] | null |
[] |
2012-09-19T00:00:00
|
Advances the understanding of complex social-ecological systems with new insights into ecosystem management practices and long-term sustainability
|
en
|
https://www.stockholmresilience.org/research/planetary-boundaries.html
|
In September 2023, a team of scientists quantified, for the first time, all nine processes that regulate the stability and resilience of the Earth system.
These nine planetary boundaries were first proposed by former centre director Johan Rockström and a group of 28 internationally renowned scientists in 2009.
Since then, their framework has been revised several times.
Now the latest update not only quantified all boundaries, it also concludes that six of the nine boundaries have been transgressed.
Crossing boundaries increases the risk of generating large-scale abrupt or irreversible environmental changes. Drastic changes will not necessarily happen overnight, but together the boundaries mark a critical threshold for increasing risks to people and the ecosystems we are part of.
Boundaries are interrelated processes within the complex biophysical Earth system. This means that a global focus on climate change alone is not sufficient for increased sustainability. Instead, understanding the interplay of boundaries, especially climate, and loss of biodiversity, is key in science and practice.
Since its first conceptualization, the planetary boundaries framework has generated enormous interest within science, policy, and practice.
Key publications
2023
All boundaries are finally assessed in the third major update to the framework which is published in Science Advances. Six boundaries are now transgressed and pressure is increasing on all boundary processes except ozone depletion.
New scientific evidence now enabled the team to quantify the boundary of Atmospheric Aerosol Loading, which according to the study is not transgressed yet despite rising pressures.
The team behind this paper used a new approach to assess Biosphere integrity and concluded that this boundary was transgressed during the late 19th century.
Read "Earth beyond six of nine Planetary Boundaries" here »
2022
In January 2022, 14 scientists concluded in the scientific journal Environmental Science and Technology that humanity has exceeded a planetary boundary related to environmental pollutants and other “novel entities” including plastics.
In April 2022, a reassessment of the planetary boundary for freshwater indicated that it has now been transgressed. This conclusion is due to the inclusion of “green water” – the water available to plants - into the boundary assessment for the first time.
The assessment, published in the journal Nature Reviews Earth & Environment, is based on evidence of widespread changes in soil moisture relative to mid-Holocene and pre-industrial conditions and green-water driven destabilization of ecological, atmospheric, and biogeochemical processes.
2017
Since 2017, Johan Rockström’s ERC Advanced Grant Earth Resilience in the Anthropocene funded a new phase in this work. Centre researchers including Sarah Cornell, Tiina Häyhä, Ingo Fetzer, Steve Lade, Andrea Downing, Jonathan Donges, and Avit Bhowmik have all been actively involved in advancing these frontier areas, and building collaborative research links among a growing international community of scientists.
2015
The second update of the whole framework was published in Science. It stated that society’s activities have pushed climate change, biodiversity loss, shifts in nutrient cycles (nitrogen and phosphorus), and land use beyond the boundaries into unprecedented territory.
Read "Planetary boundaries: Guiding human development on a changing planet" here »
2009
The orignial conceptualisation of the Planetary Boundaries was first published in Ecology & Society and late in Nature.
Ecology & Society: Planetary Boundaries: Exploring the Safe Operating Space for Humanity
Nature: A safe operating space for humanity
Policy and practice
2018
Operationalizing the concept of a safe operating space at the EU level – first steps and explorations. Stockholm Resilience Centre Technical Report, prepared in collaboration with Stockholm Environment Institute (SEI) and PBL Netherlands Environmental Assessment Agency. Stockholm Resilience Centre, Stockholm University, Sweden.
2017
Stockholm Resilience Centre became the scientific partner in a research project with the Ellen MacArthur Foundation and the Swedish clothing retailer H&M group, working to integrate the planetary boundaries framework and the circular economy concept.
2013-2016
A report to the Swedish Environmental Protection Agency Pdf, 901.8 kB. (Pdf, 901.8 kB) assessed Sweden’s responsibility, and a 2016 study for the European Environment Agency assessed the contribution to global boundaries both of activities within Europe’s territory and of effects of its citizens’ consumption. Increasingly, companies are asking for guidance on putting the planetary boundaries into business practice.
The World Business Council on Sustainable Development, a forum for 200 companies including some of the best-known brands in the world, used the planetary boundaries framework to shape their Action 2020 strategy. Since then, there has been further engagement with companies in financial investment, food, textiles, building, technology, and household goods sectors.
2011
Former UN Secretary-General Ban Ki-moon urged global society to “Help us defend the science that shows we are destabilising our climate and stretching planetary boundaries to a perilous degree.”
Centre researchers kept planetary boundaries in the forefront of policy-advisory processes leading up to the agreement of the global Sustainable Development Goals. Policy-makers working at national and European levels are also interested, catalysing a research network, PB-net.org, which links scientists involved in translating the global framework to operational decision-making scales.
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https://www.nrl.navy.mil/
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NRL
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NRL, ONR-Global TechSolutions Provide Marines Littoral Operations Tactical Decision Aid
By Nicholas E. M. Pasquini, U.S. Naval Research Laboratory Corporate Communications | Aug. 7, 2024
U.S. Naval Research Laboratory (NRL) and Office of Naval Research-Global (ONR-Global) TechSolutions recently showcased the NRL-developed LittoralLens imaging system during the Modern Day Marine Expo held at the Walter E. Washington Convention Center in Washington, D.C.
NRL Scientists Identify New Class of Semiconductor Nanocrystals
By Mary Hamisevicz, U.S. Naval Research Laboratory Corporate Communications | July 31, 2024
U.S. Naval Research Laboratory (NRL) scientists confirm the identification of a new class of semiconductor nanocrystals with bright ground-state excitons.
NRL Intern Discovers a New Pulsar Buried in a Mountain of Data
By Mary Hamisevicz, U.S. Naval Research Laboratory Corporate Communications | July 1, 2024
U.S. Naval Research Laboratory (NRL) Remote Sensing Division intern, Amaris McCarver, along with a team of astronomers, discovered the first millisecond pulsar in the stellar cluster Glimpse-CO1 and recently published findings in the Astrophysical Journal.
Winners of the 2024 Student CanSat Competition Announced
By Daniel Parry, Corporate Communications U.S. Naval Research Laboratory | July 1, 2024
Hosted by the U.S. Naval Research Laboratory (NRL), American Astronautical Society (AAS) and NASA, the 2024 student CanSat competition concludes with Team PWr Aerospace, Wroclaw University of Science and Technology, Poland, the victor.
NRL CCOR Launches on the GOES-U NOAA Satellite To Monitor Space Weather
By Emily Winget, U.S. Naval Research Laboratory Corporate Communications | June 26, 2024
The U.S. Naval Research Laboratory’s (NRL) Compact Coronagraph (CCOR) was launched June 25, on the National Oceanic and Atmospheric Administration (NOAA) Geostationary Operational Environmental Satellite-U (GOES-U) from NASA – Kennedy Space Center to detect and characterize coronal mass ejections (CMEs).
NRL Researchers Receive Navy’s Top Scientists and Engineers Award
By Emily Winget, Corporate Communications U.S. Naval Research Laboratory | June 14, 2024
U.S. Naval Research Laboratory scientists and engineers received the prestigious Department of Navy Dr. Delores M. Etter Top Scientists and Engineers of the Year Award, June 12, during an awards ceremony hosted at the Pentagon.
NRL Researchers Release “Putting AI in the Critical Loop” Book
By Nicholas E. M. Pasquini, U.S. Naval Research Laboratory Corporate Communications | May 30, 2024
The book, Putting AI in the Critical Loop: Assured Trust and Autonomy in Human-Machine Teams, is written by eminent researchers from across the world with an emphasis on technology, devices, systems, and know-how to acquire and move warfighting information while denying these capabilities to the adversary.
Forging Partnerships: NRL Hosts First Innovation Day for Industry
By Nicholas E. M. Pasquini, U.S. Naval Research Laboratory Corporate Communications | May 17, 2024
The U.S. Naval Research Laboratory (NRL) hosted its first Innovation Day for Industry, May 16, to inform industry and assess interest in a focused set of emerging technologies that are potentially ready for collaboration with industry partners, and advance system-level technologies at NRL-DC headquarters.
NRL Selected to Lead Critical Science Mission on Wildfires and Smoke
By Mary Hamisevicz, U.S. Naval Research Laboratory Corporate Communications | May 9, 2024
NLR meteorologist, David A. Peterson, Ph.D., has been selected by NASA to lead the PYRocumulonimbus (pyroCb) EXperiment (PYREX) -- a large airborne-based field campaign aimed at studying the role that pyroCb activity plays in the warming climate system and understanding its physical links to extreme wildfire behavior.
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https://www.zennoh.or.jp/english/about_zen-noh/global_network/asia.html
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Global Network
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[] |
[] |
[
"zen-nou",
"zennou",
"JA",
"agricultural cooperative associations",
"Global Network",
"Asia"
] | null |
[] | null |
ZEN-NOH business bases in Asia.
|
en
|
../../shared/images/favicon.ico
| null |
Asia
Main Office
Office address
JA Bldg., 1-3-1 Otemachi, Chiyoda-ku, Tokyo 100-6832
PDF
Prefectural Headquarters
Name Address Aomori Prefectural Headquarters 2-1-5 Higashiono, Aomori-shi, Aomori 030-0847 Iwate Prefectural Headquarters 1-2-1 Odori, Morioka-shi, Aomori 020-8605 Miyagi Prefectural Headquarters 1-2-16 Kamisugi, Aoba-ku, Sendai-shi, Miyagi 980-0011 Akita Prefectural Headquarters 2-10-16 Yabase Minami, Akita-shi, Akita 010-8558 Yamagata Prefectural Headquarters 3-1-16 Nanukamachi, Yamagata-shi, Yamagata 990-0042 Fukushima Prefectural Headquarters 1-1 Aza Sanmaiosa, Iizakamachi Hirano, Fukushima-shi, Fukushima 960-0296 Ibaraki Prefectural Headquarters 1950-1 Aza Takayama, Shimohaji, Ibarakimachi, Higashiibaraki-gun, Ibaraki 311-3155 Tochigi Prefectural Headquarters 9-25 Hiraidekogyo Danchi, Utsunomiya-shi, Tochigi 321-0905 Gunma Prefectural Headquarters 1310 Kamesatomachi, Maebashi-shi, Gunma 379-2147 Saitama Prefectural Headquarters 3-12-9 Takasago, Urawa-ku, Saitama-shi, Saitama 330-8562 Chiba Prefectural Headquarters 3-2-6 Shinchiba Chuo-ku, Chiba-shi, Chiba 260-0031 Tokyo Municipal Headquarters 3-5-24 Shibazakicho, Tachikawa-shi, Tokyo 190-0023 Kanagawa Prefectural Headquarters 3-3 Yaezakicho, Hiratsuka-shi, Kanagawa 254-0811 Yamanashi Prefectural Headquarters 1-1-20 Iida, Kofu-shi, Yamanashi 400-8530 Nagano Prefectural Headquarters 1177-3 Kitaishidocho, Oaza Minaminagano, Nagano-shi, Nagano 380-8614 Niigata Prefectural Headquarters 2310-15 Yamada, Nishi-ku, Niigata-shi, Niigata 950-1193 Toyama Prefectural Headquarters 2-21 Shinsogawa, Toyama-shi, Toyama 930-8535 Ishikawa Prefectural Headquarters 1-220 Kobu, Kanazawa-shi, Ishikawa 920-0383 Gifu Prefectural Headquarters 4-13-1 Usaminami, Gifu-shi, Gifu 500-8367 Mie Prefectural Headquarters 1-960 Sakaemachi, Tsu-shi, Mie 514-0004 Shiga Prefectural Headquarters 4-3-38 Kyomachi, Otsu-shi, Shiga 520-0044 Kyoto Prefectural Headquarters 1-15 Mibu Higashitakadacho, Nakagyo-ku, Kyoto-shi, Kyoto 604-8845 Osaka Prefectural Headquarters 3-3-7 Koraibashi, Chuo-ku, Osaka-shi, Osaka 541-0043 Hyogo Prefectural Headquarters 1 Kaigandori, Chuo-ku, Kobe-shi, Hyogo 650-8666 Tottori Prefectural Headquarters 724 Suehiro Onsensho, Tottori-shi, Tottori 680-8502 Okayama Prefectural Headquarters 9-18-201 Togiyacho, Kita-ku, Okayama-shi, Okayama 700-0826 Hiroshima Prefectural Headquarters 2ï¼14ï¼12 Omachihigashi, Asaminami-ku, Hiroshima-shi, Hiroshima 731-0124 Tokushima Prefectural Headquarters 5-12 Kitasako Ichibancho, Tokushima-shi, Tokushima 770-8537 Ehime Prefectural Headquarters 2-3 Minamihoribatacho, Matsuyama-shi, Ehime 790-0006 Fukuoka Prefectural Headquarters 4-5-23 Tenjin, Chuo-ku, Fukuoka-shi, Fukuoka 810-0001 Nagasaki Prefectural Headquarters 1-20 Dejimamachi, Nagasaki-shi, Nagasaki 850-0862 Oita Prefectural Headquarters 1220 Furugo, Oita-shi, Oita 870-8635
Overseas offices
ZEN-NOH Beijing Representative Office
Location
China
Address
Room 703, Beijing Fortune Building No.5 Dong Sanhuan Beilu Chaoyang District, Beijing 100004, China
(100004 ä¸å½å京å¸æé½åºæ±ä¸ç°åè·¯5å· å京çºå±å¤§å»703室)
Tel
+86-10-6590-8531
ZEN-NOH Singapore Representative Office
Location
Singapore
Address
160 Robinson Road, SBF Center #15-05, Singapore 068914
Tel
+65-6202-9570
ZEN-NOH Hong Kong Office
Location
Hong Kong
Address
Unit 2309-10, 23/F, Millennium City 5 - BEA Tower,418 Kwun Tong Road, Kwun Tong, Kowloon, Hong Kong
Tel
+852-2973-9000
Fax
+852-2623-9192
ZEN-NOH Taiwan Office
Location
Taiwan
Address
No.2, Dehui St., Zhongshan Dist., Taipei City 104, Taiwan (R.O.C.) 104030
Tel
+886-2-2592-2606
Subsidiaries
ZEN-NOH International Corporation
Location
Japan
Address
7th floor Hagoromo Building, 1-2-10, Uchikanda, Chiyoda-ku, Tokyo, 101-0047, Japan
Tel
+81-03-6271-8420
ZEN-NOH International Asia Pte. Limited
Location
Singapore
Address
160 Robinson Road, SBF Center#15-05, Singapore 068914
Tel
+65-6202-9570
ZEN-NOH International Hong Kong Limited.
Location
Hong Kong
Address
Unit 2309-10, 23/F, Millennium City 5 - BEA Tower, 418 Kwun Tong Road, Kwun Tong, Kowloon, Hong Kong
Tel
+852-2973-9000
ZEN-NOH International Hong Kong Food Limited
Location
Hong Kong
Address
Unit 814, Vanta Industrial Centre, 21-33 Tai Lin Pai Road, Kwai Chung, Kwai Tsing District, New Territories, Hong Kong
Tel
+852-3147-0118
Fax
+852-2606-4880
Taiwan ZEN-NOH International Corporation
Location
Taiwan
Address
No.2, Dehui St., Zhongshan Dist., Taipei City 104, Taiwan (R.O.C.) 104030
Tel
+886-2-2592-2606
ZEN-NOH SHANGHAI CO., LTD
Location
China
Address
200120
27th.Floor, Hang Seng Bank Tower,1000 Lujiazui Ring Road, Pudong New Area, Shanghai, China
Tel
+86-21-6841-1177
ZEN-NOH ACA PTE. LTD.
Location
Singapore
Address
6 Temasek Boulevard #20-02 Suntec Tower 4 Singapore 038986
Tel
+65-6916-0810
Fax
+65-6916-0811
JA ZEN-NOH MEAT FOODSï¼HONG KONGï¼LIMITED
Location
Hong Kong
Address
Unit 804, 8th Floor, Wing on Plaza,62 Mody Road, Tsim Sha Tsui, Kowloon, Hong Kong
Tel
+852-2807-0103
Fax
+852-2807-0107
ZEN-NOH Green Resources Thailand CO., LTD.
Location
Thailand
Address
Maneeya Center Bldg., 518ï¼5 Ploenchit Road,ãBangkok 10330, THAILAND
Tel
+66-2-254-8657
Restaurant
Japanese Wagyu Yakiniku Pure 1(Causeway Bay Store)
Location
Hong Kong
Address
15F, Henry House, 42 Yun Ping Road, Causeway Bay, HK
Tel
+852-2807-0103
URL
http://www.jazmf.co.jp/shop/shop-hongkong.html
Japanese Wagyu Yakiniku Pure 2(Tsim Sha Tsui Store)
Location
Hong Kong
Address
Shop 3, 1F, Hilton Towers, 96 Granville Road, Tsim Sha Tsui East, Kowloon City, HK
Tel
+852-2723-3868
|
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https://selinc.com/engineering-services/garrison/
|
en
|
Garrison Microgrids
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
With hardened computing, dedicated communications, and a modular design, SEL microgrid control systems provide cybersecurity and reliability.
|
en
|
selinc.com
| null |
The powerMAX Power Management and Control System uses hardened computing and communications, including adaptive relaying and cybersecurity, to provide high-performance control and reliability.
Our control algorithms and demand response operate quickly and accurately to preserve the balance between load and generation, maintain system stability and, most importantly, make sure the base is operating at all times.
Unlike many other microgrid control systems, powerMAX is modular and scalable; you can purchase and build your system in blocks over time as funding permits.
Key Benefits
Seamless and automatic islanding from and reconnection to the bulk power grid as needed.
Elimination of single points of failure by sharing the load between generators.
Enhanced cybersecurity with software-defined networking (SDN).
MIL-STD-TMS compliance and full interoperability with other power system components.
Microgrids have low inertia compared to the larger macrogrid. The powerMAX system is ideal because the SEL Real-Time Automation Controller (RTAC) makes automated control decisions at near-relay speeds, allowing the system to maintain the balance between generation and load in response to fast-developing adverse conditions.
If a generator or communications are lost, the system automatically reroutes power. If generation doesn’t meet the load requirements, powerMAX prioritizes loads and minimizes load shedding to maintain power.
For military installations that use backup diesel generation, powerMAX can parallel existing diesel generators. The benefits of paralleling include wet-stacking correction and fuel savings, which increase resiliency and prolong mission capability.
Additionally, the powerMAX control system doesn’t rely on proximity to any given generation source or load; it can be located anywhere within the base, allowing for a more strategic base layout.
Flexible Integration and Retrofits
SEL’s TMS-MIL-STD-compliant microgrid is unique in that it works with all makes and models of generators, inverters, and loads. You can easily retrofit existing commercial off-the-shelf and tactical microgrid system (TMS) generators in the field with an SEL control system. If a generation device communicates, we can connect, control, and parallel it.
SEL microgrid systems use a defense-in-depth approach to guarantee information assurance and secure operation. We apply cybersecurity in a layered approach that maximizes reliability and minimizes the intrusiveness of controls on existing critical processes.
In addition to physical security, SEL implements four digital zones of defense in our systems.
The cybersecurity structure in SEL microgrid controls ensures resilient power to critical facilities and protects not only against malicious attacks, but also against internal errors, with the ability to control user access to different information throughout the system.
In 2017, SEL powerMAX was recognized as the top-performing control system at a microgrid symposium hosted by the Massachusetts Clean Energy Center and the MIT Lincoln Laboratory.
Later that year, a powerMAX microgrid control system won a rigorous, 21-week procurement competition held by the U.S. Department of Energy’s National Renewable Energy Laboratory (NREL).
SEL outperformed the competition by achieving economical operation and superior stability under a wide array of difficult operating conditions. A powerMAX microgrid control system is now installed at the NREL Energy Systems Integration Facility, where it is used to test emerging microgrid technologies.
|
|||||
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dbpedia
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2
| 41 |
https://ntkj-japan.com/about/
|
en
|
Fresnel lens manufacturer
|
[
"https://ntkj-japan.com/wp-content/themes/ntkj_2021/assets/images/common/logo.svg",
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] |
[] |
[] |
[
""
] | null |
[] | null |
Off-the-shelf and custom Fresnel, lenticular, sheet prism, linear Fresnel, fly's-eye and aspheric lenses. From prototypes to mass production.
|
en
|
https://ntkj-japan.com/wp-content/themes/ntkj_2021/assets/images/favicon.ico
|
NTKJ Co., Ltd. | Fresnel lens manufacturer
|
https://www.ntkj-japan.com
|
NTKJ Headquarters
2-16-10 Hasune, Itabashi-ku, Tokyo 174-0046
Directions from Narita Airport: Take the Keisei Line to Nippori Station. At Nippori Station, change to the Yamanote Line and get off at Sugamo Station. From Sugamo Station, take the Mita Subway Line to Hasune Station.
Directions from Haneda Airport: Take the Keikyu Line (this will eventually become the Asakusa Line) and get off at Mita Station. Then, take the Mita Subway Line to Hasune Station.
Kumagaya Factory
138-6 Miizugahara, Kumagaya-shi, Saitama 360-0844
Directions from Narita Airport: Take the Keisei Line to Keisei Ueno Station. Walk to Ueno Station, and catch the Takasaki Line to Kagohara Station.
Directions from Haneda Airport: Take the Keikyu Line to Shinagawa Station. At Shinagawa Station, take the Tokaido/Takasaki Line to Kagohara Station.
|
||||
4101
|
dbpedia
|
1
| 55 |
https://www.buckinstitute.org/lab/tracy-lab/
|
en
|
Tracy lab
|
[
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[] |
[] |
[
""
] | null |
[] |
2018-06-05T16:15:22-07:00
|
Investigating the mechanisms that promote memory loss in Alzheimer’s disease and other age-related dementias.
|
en
|
BUCK
|
https://www.buckinstitute.org/lab/tracy-lab/
|
Lab focus
Synapses are specialized structures that are critical for the transmission of information between neurons in the brain. Fine-tuning of the electrochemical activity at synapses underlies cognitive processes. In Alzheimer’s disease, memory loss coincides with synapse deterioration. The Tracy lab is investigating the molecular events that lead to synapse dysfunction and cognitive decline in Alzheimer’s disease and frontotemporal dementia. We think that synapses are particularly vulnerable to toxicity early in the progression of dementia before neurons begin to die. Tau, a microtubule-associated protein, accumulates in the brain and becomes toxic to neurons in Alzheimer’s disease and frontotemporal dementia. We are exploring how tau-mediated toxicity contributes to the emergence of synapse pathophysiology in these diseases. We are using mouse models and human induced pluripotent stem cell (iPSC)–derived neurons to dissect the mechanisms that trigger synapse and neuronal dysfunction during pathogenesis. Our long-term goal is to establish a foundation for new treatment strategies to restore synapse function and cognition at the early stages of disease progression before neurons are lost.
Why it matters
Millions of people are suffering from progressively debilitating dementia as they age, and the number of people diagnosed with Alzheimer’s disease is steadily rising. To advance our understanding of the mechanisms that promote cognitive decline in Alzheimer’s disease and frontotemporal dementia, it will be critical to discover the events that lead to synapse dysfunction and deterioration. This research may uncover new approaches for therapeutic intervention early in disease progression to promote the healthy aging of the brain.
|
|||||
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| 77 |
https://www.defense.gov/News/Contracts/Contract/Article/3806586/
|
en
|
Contracts For June 13, 2024
|
[
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] |
[] |
[] |
[
""
] | null |
[] | null |
Today's Defense Department contracts valued at $7.5 million or more are now live on Defense.gov.
|
en
|
/Portals/1/favicon.ico?ver=wSJzjXOlssZVvf5cay20vA%3d%3d
|
U.S. Department of Defense
|
https://www.defense.gov/https%3A%2F%2Fwww.defense.gov%2FNews%2FContracts%2FContract%2FArticle%2F3806586%2F%2F
|
AIR FORCE
Blue Origin Florida LLC, Merritt Island, Florida (FA8811-24-D-B002); Space Exploration Technologies Corp., Hawthorne, California (FA8811-24-D-B003); and United Launch Services LLC, Centennial, Colorado (FA8811-24-D-B001), have been awarded a multiple-award, firm-fixed-price, indefinite-delivery/indefinite-quantity contract with a maximum cumulative ceiling of $5,600,000,000 for the National Security Space (NSS) Launch Phase 3 Lane 1 launch services procurement. The contract is for launch services delivering NSS payloads into their intended orbits. The location of performance will be determined at the task order level. The contract will include a five-year ordering period, which will go through June 2029, with an option for an additional ordering period of five years. This award is the result of a competitive acquisition, and seven offers were received. Fiscal 2024 space procurement funds in the amount of $8,000,000 (the cumulative amount for the minimum guarantee) are being obligated at the time of award. Space Systems Command, Assured Access to Space, Los Angeles Air Force Base, El Segundo, California, is the contracting activity.
BAE Systems Space & Missions Systems Inc., Fairborn, Ohio, was awarded a $30,000,000 indefinite-delivery/indefinite-quantity contract with cost-plus-fixed-fee task orders for research and development. This contract is to explore new and emerging concepts related to development, integration, assessment, evaluation and demonstration of cyber security, open system architecture, novel avionics and sensor technologies, and multi-domain technologies focusing on the electric warfare piece of the avionics. Work will be performed in Wright-Patterson Air Force base, Ohio, and is expected to be completed June 13, 2031. This contract was a competitive acquisition, and five offers were received. Fiscal 2024 research, development, test, and evaluation funds in the amount of $60,000 are being obligated at time of award. The Air Force Research Laboratory, Wright-Patterson AFB, Ohio, is the contracting activity (FA2377-24-D-B002, FA2377-24-F-B002).
Raytheon Missiles and Defense, Tucson, Arizona, has been awarded a $12,559,475 add work modification (P00022) to previously awarded contract FA8650-20-C-9310 to assess the military and operational utility and technical feasibility of a unique system-of-systems capability. The systems will be integrated through Raytheon software interfaces to allow for the cueing, tracking, and firing of effectors. This additional work modification is for the acquisition of the GhostEye MR additional development and experimentation and is focused on further development and test with the GhostEye radar system. The modification brings the total cumulative face value of the contract to $50,171,196. Work will be performed in Tucson, Arizona, and is expected to be completed by Dec. 31, 2025. Fiscal 2024 research, development, test, and evaluation funds in the amount of $8,000,000 are being obligated time of award. The Air Force Research Laboratory, Wright-Patterson Air Force Base, Ohio, is the contracting activity.
Fiber Materials Inc., Biddeford, Maine, was awarded an $8,863,615 cost-plus-fixed-fee contract for composites for high-speeds by Integrated Computational Materials Engineering. This contract provides for development, demonstration, validation, and transition of a cohesive set of computational modeling tools to enable more rapid design, manufacturing, prototyping, and qualification of advanced high-temperature composite material systems for use in modernized thermal protection systems. Work will be performed at Biddeford, Maine, and is expected to be completed by June 11, 2027. This contract was a competitive acquisition, and one offer was received. Fiscal 2023 research, development, test, and evaluation funds in the amount of $8,863,615 are being obligated at time of award. The Air Force Research Laboratory, Wright-Patterson Air Force Base, Ohio, is the contracting activity (FA2394-24-C-B013).
NAVY
Clark Construction Group – California LP, Irvine, California (N62473-24-D-5229); Gilbane Federal, Concord, California (N62473-24-D-5230); Harper Construction Co. Inc., San Diego, California (N62473-24-D-5231); Hensel Phelps Construction Co., Irvine, California (N62473-24-D-5232); R.A. Burch Construction Co. Inc.,* Ramona, California (N62473-24-D-5233); RQ Construction LLC, Carlsbad, California (N62473-24-D-5234); Tutor Perini Corp., Sylmar, California (N62473-24-D-5235); and Walsh Federal LLC, Chicago, Illinois (N62473-24-D-5236), are awarded a combined $3,000,000,000 firm-fixed-price, indefinite-delivery/indefinite-quantity multiple award construction contract for new construction and repair and renovation of commercial and institutional facilities at various government installations across the Naval Facilities Engineering Systems Command (NAVFAC) Southwest area of responsibility. Work will be performed in the states of California (90%), Arizona (6%), Nevada (1%), Utah (1%), Colorado (1%), and New Mexico (1%), and is expected to be completed by June 2029. Fiscal 2024 operation and maintenance (Navy) funding in the amount of $40,000 will be obligated at the time of award and will expire at the end of the current fiscal year. Each awardee will be awarded $5,000 at contract award. This contract was competitively procured via the Sam.gov Contract Opportunities website, with 16 offers received. NAVFAC Southwest, San Diego, California, is the contracting activity.
Northrop Grumman Systems Corp., Mission Systems Sector, Linthicum Heights, Maryland, was awarded a $244,692,240 firm-fixed-price modification to previously awarded contract N00024-20-C-5519 to exercise an option for production of Surface Electronic Warfare Improvement Program Block 3 electronic attack hemisphere systems and ancillary hardware equipment. Work will be performed in Baltimore, Maryland (52%); Tampa, Florida (8%); Andover, Massachusetts (5%); Chelmsford, Massachusetts (5%); San Diego, California (3%); Saginaw, Michigan (2%); Rolling Meadows, Illinois (2%); Los Angeles, California (2%); Stafford Springs, Connecticut (2%); Woodridge, Illinois (1%); Passaic, New Jersey (1%); Minneapolis, Minnesota (1%); Glendale, Arizona (1%); Elk Grove Village, Illinois (1%); White Marsh, Maryland (1%); Tucson, Arizona (1%); Woburn, Massachusetts (1%); Washington, North Carolina (1%); Richardson, Texas (1%); El Cajon, California (1%); Hiawatha, Iowa (1%); Littleton, California (1%); Glendale, California (1%); Rochester, New York (1%); and miscellaneous locations - each less than 1% (4%), and is expected to be completed by April 2027. Fiscal 2024 shipbuilding and conversion (Navy) funds in the amount of $124,541,031 (51%); and fiscal 2024 other procurement (Navy) funds in the amount of $120,151,209 (49%), will be obligated at time of award and will not expire at the end of the current fiscal year. Naval Sea Systems Command, Washington, D.C., is the contracting activity. (Awarded on June 11, 2024)
Bluewater Management Group LLC, Chesapeake, Virginia, is awarded an indefinite-delivery, requirements, firm-fixed-price contract with a cumulative total value, if all options are exercised, of $51,368,908 to provide lodging and transportation services to civil service mariners assigned to Military Sealift Command, Norfolk, Virginia, from the contractor hotels to Naval Base Norfolk. The contract value for the base period is $8,931,438. The contract contains four one-year options and one six-month option and will be performed in Norfolk, Virginia; Chesapeake, Virginia; and Virginia Beach, Virginia, beginning June 16, 2024, and will conclude on Dec. 15, 2024, if all options are exercised. This contract was a competitive small business set aside with proposals solicited via the Government Point of Entry website; three timely proposals were received. Military Sealift Command, Norfolk, Virginia, is the contracting activity.
Affordable Engineering Services Inc.,* San Diego, California, is awarded a $40,567,744 cost-plus-fixed-fee, cost reimbursable, indefinite-delivery/indefinite-quantity contract. This contract provides augmented production support services to provide maintenance on industrial plant and facilities support equipment as well as provide tool control and support services for the Fleet Readiness Center Southwest. Work will be performed in San Diego, California (95%); Camp Pendleton, California (2.5%); and Miramar, California (2.5%), and is expected to be completed in June 2029. No funds will be obligated at the time of award; funds will be obligated on individual orders as they are issued. This contract was competitively procured via an electronic request for proposal; two offers were received. Commander, Fleet Readiness Center, Patuxent River, Maryland, is the contracting activity (N6852024D0004).
PAE Government Services Inc., Arlington, Virginia, is awarded a $33,101,924, firm-fixed-price, indefinite-delivery/indefinite-quantity modification to previously awarded contract N40084-21-D-0060 for base operation support services at Marine Corps Air Station Iwakuni, Japan. This award brings the total cumulative value of the contract to $123,142,096. Work will be performed at Iwakuni City, Yamaguchi Prefecture, Japan, and is expected to be completed by June 2025. Fiscal 2024 operations and maintenance (Marine Corps), fiscal 2024 operations and maintenance (Navy), fiscal 2024 operations and maintenance (Defense Agencies), and fiscal 2024 Department of Defense (DOD) working capital funds in the amount of $18,189,947, for recurring work will be obligated on individual task orders and will expire at the end of the current fiscal year. No funds will be obligated at time of award. Naval Facilities Engineering Systems Command Far East, Iwakuni, Japan, is the contracting activity.
Northrop Grumman Systems Corp., San Diego, California, is awarded a $9,536,612 modification (P00009) to a firm-fixed-price order (N0001921F0806) to a previously awarded basic ordering agreement. This modification is for the procurement of last-time buys, material required for the continuance of the MQ-4C Triton Unmanned Aircraft System production and sustainment efforts for the Navy and Royal Australian Air Force (RAAF). Work will be performed in Longueuil, Quebec, Canada (35.32%); Chantilly, Virginia (24.23%); San Diego, California (14.48%); Sterling, Virginia (12%); San Jose, California (7.08%); Pine Brook, New Jersey (2.49%); Farnborough, Hampshire, England (1.9%); and various locations within of the continental U.S. (2.46%), and is expected to be completed in March 2028. Fiscal 2024 aircraft procurement (Navy) funds in the amount of $782,271; fiscal 2023 aircraft procurement (Navy) funds in the amount of $5,347,956; fiscal 2022 aircraft procurement (Navy) funds in the amount of $1,089,357; and RAAF funds in the amount of $2,317,028, will be obligated at the time of award, $1,089,357 of which will expire at the end of the current fiscal year. Naval Air Systems Command, Patuxent River, Maryland, is the contracting activity.
ARMY
US Ordnance,* McCarran, Nevada, was awarded a $40,000,000 modification (P00003) to contract W15QKN-22-D-0013 for the MK19 Grenade Machine Gun. Work locations and funding will be determined with each order, with an estimated completion date of April 7, 2026. Army Contracting Command, Newark, New Jersey, is the contracting activity.
Native American Services Corp.,* Kellogg, Idaho, was awarded a $37,500,000 firm-fixed-price contract for a broad range of real property repair and construction at Fort Novosel. Bids were solicited via the internet with two received. Work locations and funding will be determined with each order, with an estimated completion date of June 12, 2029. Army Field Directorate Office, Fort Sam Houston, Texas, is the contracting activity (W5168W-24-D-0007).
Norfolk Dredging Co., Chesapeake, Virginia, was awarded a $36,978,060 firm-fixed-price contract for maintenance dredging. Bids were solicited via the internet with three received. Work will be performed in Fire Island, New York, with an estimated completion date of Nov. 9, 2024. Fiscal 2024 military construction, Army funds in the amount of $36,978,060 were obligated at the time of the award. U.S. Army Corps of Engineers, New York, New York, is the contracting activity (W912DS-24-C-0014).
*Small business
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Key attributes of successful research institutes
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"Frank Bradke",
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"Sarah A. Teichmann"
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2023-09-28T00:00:00
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Science does not take place in a vacuum: The physical and social workplace has a profound influence on scientific discoveries. Everyone at a research institute can contribute to its scientific output and productivity, from faculty research groups to facilities ...
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https://www.ncbi.nlm.nih.gov/pmc/articles/PMC10479891/
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Research institute organization and culture
The philosophy behind most research institutes is to free up scientists’ time to focus on research, with little or no teaching and the provision of internal funding. Many institutes do run world-class postgraduate training programs in affiliation with universities, but the focus tends to be on training through research projects rather than theoretical lectures. Research institutes often encourage interdisciplinarity and collaboration, and many form a structure to promote the intersection of disciplines such as biology with technologies and methods rooted in physics, chemistry, or computer science, for example. Research institutes have been remarkably successful, as demonstrated by their major contributions to ground-breaking discoveries such as the classification of developmental patterning genes [1], the determination of high-resolution biomolecular structures using cryo-EM [2,3], and the discovery of the structure of the ribosome [4,5], to name just 3 examples.
Research institutes occupy a specific niche in the larger research ecosystem. Their success can be measured by scientific contributions in the form of novel ideas, publication output, and grant funding. Furthermore, success is assessed not by shareholders but primarily by other scientists, both in a broad community sense and in terms of advisory boards, funding bodies, and so on. Other measures of success include the satisfaction levels of staff and trainees, their career development to go on to contribute to society in research or other venues, and commercial impact, for example. Selected examples of research institutes, their histories and characteristics can be found in Box 1.
Box 1. Research institutes and their characteristics
The success of the research institute model is exemplified by biomedical research institutes. One prominent example is the Laboratory of Molecular Biology (LMB) in Cambridge, United Kingdom, which was established by the Medical Research Council in 1947 and was the PhD training ground and dozen-year long workplace for one of us (SAT). The LMB boasts 12 Nobel Prizes and revolutionary breakthroughs such as key contributions to the discovery of the DNA double helix structure. Similarly famous is the European Molecular Biology Laboratory (EMBL), whose successful PhD program was the training ground for another one of us (FB) and boasts 3 Nobel Prizes. This intergovernmental research organization was founded 1974 and provides amazing opportunities to group leaders to perform ground-breaking research through generous core funding in a completely free, blue skies research environment. As an example of a more recently established institute, the Howard Hughes Medical Institute (HHMI) Janelia Research Campus in Virginia, United States of America was opened in 2006 and has an interdisciplinary approach ranging from mechanistic cognitive neuroscience through to the new “4D cell physiology” program. Its philosophy is to create a culture of collaboration with freedom to pursue research.
Many institutes have a dominant scientific and/or technological culture, be it structural biology (the LMB), genomics (the Wellcome Sanger Institute in Hinxton, UK), or neuroscience (HHMI Janelia Research Campus or the German Center for Neurodegenerative Diseases (DZNE) in Bonn, Germany). In addition, a “founding myth” and research culture, often related to the original leadership, is often woven into the institutes’ identity. For example, John Sulston propagated an open science and open data spirit at the Wellcome Sanger Institute, with a strong emphasis on team science, whereas Paul Nurse has built the Francis Crick Institute in London, UK into an environment supporting both basic and translational research and fostering the collaboration across both areas. The LMB identity is often associated with decades-long dedication to a single large scientific challenge, exemplified by Max Perutz’s solution of the structure of hemoglobin; additionally, Perutz’s manner of interacting with LMB colleagues in an informal, open, and nonhierarchical way feeds through to the institute’s culture today.
An important question that has grown in importance in recent years is how research institutes can promote a positive research culture. To us, research culture includes how staff and trainees interact with each other across the institute, what the institute defines as valuable and important, and what its definitions of success are (e.g., discoveries, papers, grants, spin-offs, training the next generation). It is influenced in both top-down and bottom-up ways: Leadership can set the tone and the values of the institute, while younger researchers, if well-integrated and listened to, can influence the institute’s direction and give the institute energy and excitement. It is also not just about people: Positive research culture can be incubated by the physical structure of the institute, in venues for social eating, sports, and after-work socializing, for example, as well as by regular events such as retreats to promote team building and coherence. The bottom line is that research culture is not just an added benefit for an institute: it can either nurture or impede the creativity of individual scientists, and as this creativity drives scientific discoveries, institutions are increasingly taking it seriously (see [6,7] for insightful discussion).
Thus a key question is how to incubate an inspirational research culture where productivity, ambition, and high-quality science are encouraged in a balanced, supportive, and inclusive way. While scientific output is generally perceived as the result of work by bench research scientists alone, there are multiple structures within a research institute involved in research delivery, and thus everyone in an institute is part of the research mission and should be recognized for their contributions. What are the ingredients required to craft a successful, collaborative, supportive, and thriving research environment? Below, we outline some key interacting components, which are summarized in .
Table 1
Organizational componentKey ingredientsFunding review process• Individual principal investigator-based review or collective (e.g., departmental) reviews depending on the institute
• Review process designed to promote collaboration and interdisciplinarity
• A carefully appointed scientific advisory board
• A transparent and clear processAdministration and corporate services• Proactive service mindset, customer-friendly
• Fast turnaround and agility
• Transparency in performance
• Buy in to the institute’s vision
• Clear two-way communication channelsCore facilities• Proactive and transparent user data distribution
• Rapid training
• Equipment shared across the institute
• Fair governance
• Commitment to career pathways, acknowledgement in papersTechnology transfer and innovation teams• Management of intellectual property, external partnerships, and patents
• Legal and business counsel
• Promotion of entrepreneurship in researchersTraining• Train scientists at all levels across the institute
• Research methods and cutting edge techniques
• Holistic skills: communication, research management, leadership, etc.Faculty recruitment• Transparency
• Internal or external recruitment processes (and measures that counterbalance any potential negative consequences)
• Attractive packages
• Long-term versus short-term considerations
• Distribution of experienceInstitute culture• Transparency in operations and management/governance, recruitment, packages, salary, space, and platform access
• Promote collaboration and creativity by fostering an open research culture (e.g., open seminars with unpublished work, retreats, funding mechanisms that promote collaboration)
• Provide training at all levels: scientific as well as communication and leadership
• Enable people to call out bad behavior (e.g., bullying, scientific fraud), with clear escalation routes and consequences, even for highest levels of management
• Culture of allowing mistakes
• Build diversity in the workforce at all levels based on merit
• Supporting needs of diverse groups (parents, religious groups, individuals with disabilities, etc.) in order to build truly inclusive environment
• Senior leadership buy-in to demonstrate commitment from the top
Considerations for a successful research institute
While there is not a single recipe for an ideal institute, every aspect of the “village” can influence the progression of the next generation of scientists and the discoveries they produce. Core facilities, a supportive administration and research groups form the golden triangle of a well-run institute ( ). Within the golden triangle, research institutes need to consider the following concepts to maximize their success (explored in detail in the following sections):
Listen, inside and out. Institutes need feedback mechanisms, both internal and external, to continuously evolve and optimize their organization and science.
Enable scientists to focus on the science. Institutes benefit from effective, proactive, and communicative underpinning administration with a deep understanding of research culture, to free up scientists to focus on their science.
Promote “plug and play” research. Effective and agile facilities and operational infrastructure, with state-of-the-art of the equipment, can be tremendously enabling for research.
Build a holistic research environment. The institute needs a supportive research culture that empowers scientists to develop and realize their potential and promotes creativity.
While institutes are run in different ways and have different purposes, consideration of these key ingredients will help them to thrive.
Listen, inside and outside: Effective feedback mechanisms
Effective feedback mechanisms help research institutes assess how well their progress is aligning with their goals. Perhaps the most important source of feedback to the leadership is from staff working within the institute, who will have direct knowledge about how well the institute is running on a day-to-day level. Open channels of communication for staff are thus vital: this could be to their direct line managers or as regular (and optionally anonymous) surveys. These can then feedback into internal assessments on a more formal level; for example, annual reviews can showcase not only scientific achievements but also policies regarding staff wellbeing that have been enacted following feedback.
One of the key external sources of feedback comes from funding reviews and assessments, which can focus more on the achievements of individual research groups (such as at the LMB or at the Max-Planck Society institutes in Germany) or on entire departments or programs (such as at the Wellcome Sanger Institute or at the Helmholtz Association institutes in Germany). The kind of assessment regime chosen may influence the science that happens in the institute. More individual-based reviews have the benefit that responsibility lies very clearly with an individual principal investigator (PI), but intra-institute collaborations are not specifically incentivized. Of course, individual groups can independently reach out to potential collaborators, but the institute leadership needs to closely monitor how such interactions and scientific collaborations develop. The leadership might also influence collaboration by implementing a PhD and postdoc program for training in the latest techniques in the different research areas or provide a venue for cross-pollination of different ideas to stimulate intellectual creativity and innovation. Crossing disciplines does come with risks as well as opportunities [8], especially if the groups do not speak a common language, and again leadership can step in in these situations, providing opportunities as well as monitoring the effectiveness of interactions (occasional joint review meetings with members of leaderships of across disciplines may help to facilitate this).
By contrast, the more collective-based review of entire departments or programs may incentivize intra-institute collaboration. This facilitates and expedites delivery of large research programs with a single common goal, as epitomized by the concerted contribution from the Sanger Institute to the Human Genome Project [9] and the Human Cell Atlas [10], and the Rhineland-Study at the DZNE [11]. To make sure that individuals from different fields will be motivated to interact with each other around the shared project in such collective programs, leadership needs to provide opportunities for interactions and ways of monitoring their effectiveness. Large projects with relatively well-articulated goals can catalyze development of technologies and provide data sets that individual laboratories can build on in the future (advances in genome sequencing during the Human Genome Project is a clear example of this).
Regardless of whether a research institute adopts individual or group evaluation, it is crucial to have a transparent and clear process that is communicated upfront to all parties within the institute and to the evaluation committee. The process should be proportional and efficient, as limited in time as possible, and occur with as little possible disruption to the research at the institute. In addition, a separate, carefully appointed standing scientific advisory board that engages in constructive feedback can provide vital and complementary comments. Such advisory boards ideally contain 1 or 2 members with long-term knowledge of the institute’s history and culture, who truly know the organization. Their sustained input can be vital, especially for new institutes still finding their feet. Finally, it is worth considering widening the net in terms of guidance and feedback to include wider society (for an example, see Box 2). We see engagement with wider society as a two-way dialog, with both parties benefitting [12].
Box 2. Examples of successful practices by research institutes
Expand feedback
The Centre for Genomic Regulation in Barcelona, Spain engages citizens and stakeholders to guide and co-create its long-term research strategy.
Support core facilities
EMBL’s ARISE program of fellowships supports training of highly educated research infrastructure scientists. Researchers who want to stay in science but not on the tenure track are provided with an opportunity to learn the skills necessary to develop and maintain infrastructure, and core facilities will benefit from hiring well-trained staff.
Cross-Europe initiative Core for Life brings together core facilities managers to together define best practices, provide training, validate and share technologies, and advocate for the importance of funding for core facilities.
Boost technology transfer
Yeda commercializes the intellectual property generated by scientists at the Weizmann Institute in Rehovot, Israel.
The Vlaams Instituut voor Biotechnologie (VIB) Innovation & Business team (Ghent, Belgium) bridges the institute’s science and industry by establishing patents, intellectual property licenses, industry collaborations, and spin-off companies.
The Tri-Institutional Therapeutics Discovery Institute in New York, USA helps researchers from 3 biomedical centers translate their discoveries to preclinical studies.
Expand trainee experience
Many organizations, such as EMBL, provide PhD training programs across departments/sites, increasing exposure to multiple disciplines.
Improve equity, diversity, and inclusion
The Instituto Gulbenkian de Ciência in Lisbon, Portugal runs the António Coutinho Science Awards, which provide fellowships and research funding to citizens of Portuguese Speaking African Countries (PALOP) or descendants of those from PALOP countries.
The Wellcome Sanger Institute recently launched the three-year postdoctoral Excellence Fellowships, which are aimed at people from Black heritage backgrounds.
The Athena Swan charter can help institutions achieve gender equality objectives and provide structures for self-assessment.
The Wellcome Sanger Institute has a Behavioral Competency Framework (BCF) that all employees sign up to and which defines the behaviors expected and encouraged in the entire institute.
International graduate programs such as Taiwanese International Graduate Program foster diversity by recruiting PhD students from across the world.
Network across institutes
EU-LIFE is an alliance of leading life sciences research centers from 15 European countries, which forms a strong advocacy voice to influence policy, share best practices, and inspire open and ethical science.
Let scientists focus on the science with a proactive and communicative administration
While all scientists love discussing their new discoveries and next experiments, and some also like to spend time developing longer term scientific strategies, very few are passionate about administrative organizational strategy. This may be a mistake given the importance of an efficient administration for the smooth running and success of a research institute [13]. While institutes rightly seek excellence in faculty recruitment, they should also invest effort into recruiting and training excellent administrators.
The administrative apparatus needs to balance the desire of scientific leaders for unconstrained freedom with the necessity of managing budgets and applying business principles and governance in often publicly funded, not-for-profit organizations with liabilities and legal obligations. Finding the balance between these 2 objectives is challenging. For administration to operate harmoniously with research groups, dedication to the research culture of the institute and a proactive approach to enable science are foundational. Administrative staff need to understand that speed and flexibility can make all the difference in science. Every employee joining the administration should be made aware of the scientific research process in the institute. What are the results, discoveries, and outputs of scientific research? Why does timeliness matter? Administrative staff should understand the importance of rapid and nimble responses when providing scientists with working instruments, tailored contracts, and efficient and understandable guidelines. Supportive administrative staff will proactively provide information and co-develop (with researchers) streamlined processes and standard operating procedures to help the scientists achieve their research goals while complying with rules and regulations.
A bottom-up, proactive administration culture can be usefully complemented by a top-down organizational strategy. The administrative leadership needs to clearly articulate the vision and overarching goal of rapid and nimble research support, empowering proactive and creative problem solving by all administrative staff members. A key element of this is the level of tolerance with respects to mistakes. Getting the balance right between agility, speed, and risk aversion is important for administrative teams.
To help achieve this mindset and culture, a “liaison” system between administrative team heads and faculty members can be remarkably effective. Each administrative department can have research group leaders who act as contact points, resulting in a bidirectional dialog and exchange of information. Similarly, when faculty members understand the mechanisms and constraints of administration, they can recognize when and how to request changes effectively—communication is vital.
To develop a proactive administration who are aligned with the research aims and culture of the institute, administrative staff must feel welcomed and valued. However, administrators commonly feel their skills are underappreciated [14]. Thus, it is key to communicate with respect and to publicly acknowledge and support the vital work that administrators do.
It is impossible to overemphasize the importance of communication to an institute. Internal communication has a key role in its day-to-day functioning: top-down, it allows all staff to stay informed of the long-term goals and strategies of the institute; bottom-up, it allows leadership to stay abreast of the research advances and practical concerns of the workforce; and sideways, across the institute, researchers greatly benefit from knowing what their neighbors are doing (this can help foster collaborations). Smooth and positive communication across roles enables a committed and effective research culture to flourish.
External communications, on the other hand, ensure that discoveries are not confined to the pages of scientific journals. As many institutes are publicly funded, they have a duty to convey their discoveries to the public in relatable and exciting ways. Thus, a well-supported communications office can be a great help to any institute. Communication professionals can act as the bridge between scientists and the media, help write press releases and create audiovisual output, and train scientists in how to tell their research stories. External communication also has a key role in defining an institute’s success and promise to potential funders. In certain regions, philanthropic donations can make up a significant portion of an institute’s income, and therefore, many institutes have dedicated philanthropy departments to manage and promote this activity. Here, a key aspect is donor engagement: the institute needs to communicate the impact of donations, which may be in the form of events, lay reports, or lab tours, for example.
Facilitate “plug and play” research with facilities and operational infrastructure
Core facilities, comprising technical instrumentation, methods, and the expertise of highly trained staff, enable faculty teams to focus on new areas of scientific development while benefitting from services such as next-generation sequencing, microscopy, bioinformatics, and research software engineering. Core facility teams often implement cutting-edge methodologies for the benefit of the whole institute [15], and shared core facilities can offer efficiencies and economies of scale. Indeed, core facilities can act as “force multipliers” for various essential aspects of the institute, from recruitment and retention to grants and knowledge production [16].
To develop the broad expertise needed to optimally exploit new technologies, community and collaboration are key. For example, faculty teams and core facility staff can work closely together to develop, optimize, and scale-up a new technique or methodology. Just as we discussed with regards to administration, it is crucial to get core facility staff on board with the vision of the institution and to publicly acknowledge their work, such as via authorship and/or acknowledgements in papers and talks, and in events or awards. Two examples of endeavors to support core facility staff are outlined in Box 2.
The governance of core facilities is an important consideration: researchers must be ensured fair access, and a balance must be struck between adopting cutting-edge techniques and maintaining a high level of robustness and reliability in results and data delivery. A steering committee structure can maintain oversight of the facility, and a transparent online system can monitor services provided and usage statistics, turnaround times, and key performance indicators. Depending on the research focus of the institute, some facilities can grow to be exceptionally large and need a more defined structure and management. For example, research institutes that deal with large genomic data packages and huge sample sizes require specific adopted management schemes (for an informative case study, see [17]).
Build a holistic environment to empower individuals to develop and realize their potential
Research institutes are not merely spaces where science is done. Rather, they can proactively accelerate research advances and enhance the day-to-day lives and career prospects of the researchers within. This can be in more structural/formal respects (such as recruitment, technology transfer, and training) and also in social/cultural dimensions that generate a positive environment where ideas and creativity thrive.
Recruitment
Research is fundamentally about the people involved, so recruiting talented staff that contribute to the institute aims and culture is vital. Hiring decisions have far-reaching implications for the institute in terms of both science and culture, and this applies across the board for anyone hired in any capacity. Institutes deal differently with recruitment, ranging from an internally driven process (e.g., Wellcome Sanger Institute) to a largely external assessment (e.g., EMBL, where hiring committee members are drawn from across the international European Molecular Biology Organization membership). Each have their benefits and risks.
In internally driven recruitment, the institute and its leadership are in complete control of individual promotions, recruitment, science, and personnel strategy. The vision and strategy of the leadership team is executed in a top-down manner, with the advantage that decisions can be made quickly. At the same time, unchallenged views on strategy and personnel selection may allow bias and nepotism to creep into the process. To counterbalance this, human resources departments have a key role in ensuring well-managed recruitment campaigns, and the external scientific review process provides further checks and balances. External assessment has the advantage of objectivity and potentially avoiding personal issues and local politics. Recruitment by hiring committees with eminent external members may help increase trust in a system. Potential disadvantages include the risk of “parachuting” someone in who does not understand the research areas and organizational context of the current faculty and also a risk of consensus decisions that promote orthodoxy in hiring. There may not be a single ideal way of conducting recruitment in a given research institute—what is key is an awareness of the pitfalls of both approaches and taking steps to counterbalance them.
Once hired, scientists rightly want to be fairly renumerated for their efforts. While an attractive package is a nonnegotiable factor in decisions about where to work, extra perks such as on-campus childcare or residential accommodation can make a huge difference to the lives of scientists. Differences in pay within the institute need to be well justified based on experience and delivery. Maintaining fairness and transparency is crucial in order to avoid pay and resource gaps that are not justified based on scientific productivity, such as the gender pay gap (for a recent survey of this gap in the UK, see [18]). Finally, the option of dual hires (where spouses are hired to the same institution) can be a huge incentive for a candidate to accept an offer, particularly if they are coming from a different country.
A key question is whether to hire new PIs on tenure-track or no-tenure models. The dynamically changing workforce that no-tenure models can generate might avoid intellectual stagnation and help the leadership adapt to new challenges with new hiring. At the same time, new PIs may be put off by the lack of long-term security and be more attracted to tenure-track models. To counteract this, research institutes can extend time periods of fixed-term contracts and offer more generous core funding. In our experience, a good distribution of experience contributes to a stimulating research environment: junior group leaders bring energy, dynamism, and a fresh, sometimes revolutionary perspective, while senior group leaders contribute mentorship, experience, stability, and strategic perspectives. A healthy balance of faculty members with different levels of experience, without a concentration of only junior or only senior group leaders, may thus be a common aim.
The number of faculty is also a key consideration. There is no “ideal” institute size because more or less staff may be required depending on the research questions and funding environment. While smaller institutes may appear to provide a more convivial atmosphere, the social “tone” of an institute of any size can be influenced by leadership style and work culture, as discussed below. Related to institute size is group size. While some institutes restrict group size (e.g., the Francis Crick Institute and the LMB), others have no explicit limit. Small groups can have effective communication and teamwork, and their leanness can give a greater focus on a particular problem, whereas large groups are able to be interdisciplinary, with critical mass in 2 or more areas, and provide the benefits of research done at scale. Indeed, research as a whole flourishes with a diverse range of group sizes, with large groups expanding and building up research, and small groups starting new areas of inquiry [19].
Whatever the size, institutes work best when grouped around either a technology (e.g., the Structural Studies Division at the LMB) or around a biological topic (e.g., neurodegeneration at the DZNE). This leads to the question of how to manage the extent of interdisciplinarity within an institute. Focus on a single discipline might inhibit creativity, while too much interdisciplinarity might lead to a lack of overlap between research groups, with no benefit from synergies. The best space might therefore be somewhere in between [6].
Individuals are what make any institute run—science is really about people and their day-to-day interactions. This means that recruitment can make a huge difference to the “feel” of an institute. When hiring new faculty members, scientific capability is of course key, but not the only aspect. How well will this personality merge with the existing faculty? Alternatively, are they too similar, so would the institute benefit from disruption of the status quo? Do they fully buy in to the research culture and vision that the institute is striving for? Individuals with energy and drive can further energize others, provide inspiration for students and postdocs and, in turn, make the institute an attractive place to work for future hires. Identifying such individuals can thus be key, particularly in the early stages of an institute’s life.
The appointment of a new director is one of the most influential recruitment decisions, as they act as a figurehead for the institute, externally and internally. The new appointee might take the institute in an entirely new research direction or aim to develop a new kind of research culture: the appointment itself is a statement of the future vision of the institute. What counts as an ideal candidate will of course depend on an institute’s priorities. Is scientific excellence paramount or administrative experience? As discussed above, the decision between hiring from inside or outside will also have great implications. While an insider may understand the institute’s unwritten rules and be able to quickly identify key issues, an outsider may bring a fresher view, with novel ideas and management qualities. Personal style is crucial here, but overall leadership (of any organization) is fundamentally about serving the mission and the people in the institute. Directors who are exceptional in this regard have often been founders or early directors of institutes (e.g., Janet Thornton, an early director of the EMBL–European Bioinformatics Institute), perhaps because they feel so closely intertwined with the institutes’ identity and people.
Technology transfer and training
Once staff are in place, there are various ways that research institutes can build a supportive and inspirational research environment. As hubs of innovation, institutes generate novel ideas and inventions, and to ensure that these findings are protected and taken forwards for the benefit of society, a technology transfer system can manage intellectual property and the process of licensing and commercialization. Innovation and business development teams can also educate researchers to promote an entrepreneurial attitude, and institutes in turn must make space for, recognize, and reward activities such as the founding of start-up companies. This could be via reward and incentives through sharing of royalties from patents or the use of employment contracts with a percentage of time given over to entrepreneurial activity. Examples of successful technology transfer are shown in Box 2.
In addition to helping scientists achieve impactful discoveries, forward-looking institutes will train scientists at all levels in the key skills required for the scientific workplace, but also in communication, research management, and leadership. Scientific training will allow researchers to stay up to date with cutting-edge methodologies. To prepare students and postdocs for life as an independent investigator (if this is the path they choose), research institutes can provide access to training in writing papers and grants, project and lab management, and science communication/public engagement. PhD programs that provide training across departments and sites can be extremely useful and stimulating, exposing students to various techniques and scientific perspectives early on in their training that are often exploited in subsequent thesis work and later careers. An institute’s success may be measured in large part by the impact of its trainees on society, and a well-supported training and outreach program can be invaluable to this.
The mentorship of younger scientists by more senior staff in the institute can be crucial to their career success. As well as providing career guidance, compassionate mentors outside of the host lab can help to tackle research misconduct in its many forms. Young researchers should have trust in the wider system and know that they can raise concerns without having to challenge their supervisor directly: a supportive mentoring network can provide this.
Building an inclusive environment
One of the beauties of working in science is encountering people from different cultural backgrounds, and research institutes should aim to integrate different personalities and characteristics, fostering diversity, and viewing it as a strength. An inclusive environment brings out the best in scientists and science [20,21], and different ways of thinking contribute to greater creativity. Thus, diversity in scientific approaches is more likely to be found among a group of diverse individuals, and a successful research culture takes equality, diversity, and inclusion seriously. As we have argued with respect to gender equality [22], this must be built in at the policy level so that the system is organized to incentivize good behavior. We are also encouraged by the efforts of funders in this regard, such as Wellcome [23] and HHMI [24]. Going forwards, research institutes need to further develop and promote inclusive policies encompassing areas such as equality of opportunity, parental leave policies, protection from bullying and harassment, and sustainability. There should be public, high-level buy-in for these policies and dedicated funding streams.
There have been numerous recent examples of research institutes implementing policies to promote equality, diversity, and inclusion in locally relevant ways (Box 2). Ensuring diversity on management and advisory boards is another aspect that needs to be developed to achieve a greater diversity in the workforce at all levels in the long term.
The majority of discussions about diversity of science (inevitably including those covered in this piece) are centered around helping institutions in Western nations increase diversity. The risk is that this is less relevant for other institutes, particularly those in nations where English is not commonly spoken. For such institutes, a bigger problem may be to attract top science talent from the global marketplace. A highly funded institute in a wealthy nation may appear “more diverse” because it has the luxury of attracting global talent, and the definition of what constitutes “diverse” will differ from country to country. While we do not explore these issues further here, we hope this article spurs responses from colleagues around the world, who might share their local experiences for research institute success. Discussions with colleagues based in Taiwan show how institutes there have established international PhD programs (Box 2) and targeted recruitment of faculty and guest professorships to access the global talent pool.
Wherever the institute, a positive research culture can be helped by a clearly articulated code of conduct (Box 2). Such frameworks should be developed with the staff of the institute, should be open to change over time, and be flexible enough to accommodate the various cultural backgrounds and personalities that necessarily make up a modern research institute. Rather than being a restrictive straight jacket or homogenizing tool, they should be a way of recognizing and fostering behaviors that contribute to a positive research culture without suppressing personal authenticity and freedom of speech. Indeed, there are many different types of people that can be accommodated and contribute to a team. Exciting research often occurs on the fringes: There is a risk that research institutes stifle those with unorthodox views who may not appear to conform to standard expectations of behavior or research direction, yet bring unique strengths and perspectives to the table. The challenge for leadership is how to accommodate researchers with potentially difficult characteristics within a broadly inclusive and tolerant environment.
Finally, a positive research culture must have staff wellbeing at the core: just as an institute must ensure staff safety via a dedicated health and safety program, staff mental health should also be high on the radar of institute leadership. There are various ways in which mental health can be supported (for a recent perspective, see [25]).
Meeting today’s and tomorrow’s challenges
Research institutes today have to meet a host of new, often interlinked, challenges that stand in the way of their ability to transform society with scientific innovation. A first challenge is simply to get the necessary funding to carry out research. Many institutes have found their funding curtailed in recent years (e.g., due to austerity programs that reduce government spending on research or inflationary pressures). To help counter this, prominent institutes can act as vocal advocates for science funding. A well-run communications department and publicly vocal and compelling director will undoubtedly help in this regard. Institutes can and should be in the public conversation, helping to counter disinformation and increase public trust in science, which ideally will feed back to politicians allocating budgets. Elsewhere in the world, research funding has been a persistent issue that will likely continue into the future. While philanthropy or global funding sources are potential solutions, another option is to expand international collaborations between institutes (taking inspiration from EU-LIFE, see Box 2). In this way, people, skills, and knowledge would move between countries in a way that strengthens local capacities. Is the time ripe for a United Nations of Research Institutes?
The COVID-19 pandemic was a global challenge that changed the way all research institutes worked. While the short-term effects were seismic—institutes shut for months at a time during lockdowns, freezing whole programs of research—there were also more lasting impacts, notably the naturalization of hybrid or remote working. This brings its own challenge: how can we foster team cohesion when interactions are mainly virtual? Online conferences are often less interactive than in-person ones, leading to fewer of the chance meetings that seed many of the innovations of the future (for discussion, see [26]). The risk is that the same might occur within research institutes, if the corridors and cafeterias are not filled with the sounds of scientists discussing their latest data. On the other hand, the virtualization of science can increase inclusivity, both at local and global levels (e.g., those with caring duties can work from home, while cutting-edge science can be shared virtually worldwide to expand knowledge transfer). Overall, for an institute, maintaining a strong identity and research culture may always rely on people meeting in person, but harnessing new virtual technologies to increase remote interactions (e.g., in virtual reality) can also complement this. A great challenge in the future therefore is how to maintain the physical–virtual balance.
A global challenge that will only increase in coming years is the climate crisis. Many scientists are increasingly uncomfortable with flying for work (for discussion, see [27]). Institutes can also have a role here, for example, in mandating the number of international trips expected from faculty as part of wider carbon reduction or net zero policies. A slew of climate-related societal challenges will inevitably impact research institutes, including food shortages, changes in migration patterns, acute health impacts, and physical impacts on infrastructure such as flooding. The institute’s operational leadership will need to keep these impacts on the horizon to guide their choices. Just as important will be the psychological effects of a changing world on the people working within the institute: climate anxiety may, at least in part, be mitigated by strong and open climate policies at the institute level.
A final challenge—and opportunity—is the increasing inclusion of artificial intelligence (AI) into an institute’s work and culture. While it is still difficult to envision how AI will affect our approaches, we expect that we are at the beginning of a major change. For example, the newly developed ways to analyze data and literature using AI may provide transformative insights for research and research culture. We expect AI to change how we develop novel scientific ideas and concepts. Institute leadership needs to closely follow the challenges and opportunities that arise through this transformative technology, and importantly, involve all staff in conversations about how best to move forward.
Overall, a research institute has to balance a multitude of factors. It needs to support scientists to flourish and forge a career, while simultaneously adopting an overarching research strategy that relies on good team workers, efficient project/research managers, and good leaders of people. Holistic, collaborative, and responsive approaches are vital to create scientific villages that foster the next generation of scientists and continue to produce world-changing discoveries.
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https://medicine.yale.edu/lab/khoshnood/
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Humanitarian Research Lab
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2024-08-13T00:00:00
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The Humanitarian Research Lab (HRL) is a group of faculty and students who are dedicated to researching and addressing humanitarian crises throughout the world.
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en
|
Humanitarian Research Lab
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https://medicine.yale.edu/lab/khoshnood/
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The Humanitarian Research Lab (HRL) is a group of faculty and students who are dedicated to researching and addressing humanitarian crises throughout the world. HRL seeks to compile resources from across the university centered on humanitarian research, including funding opportunities, courses, research projects, and student internship opportunities for both faculty and students. We encourage students and faculty to use the HRL as a tool for engaging in this topic and connecting with others who share similar interests.
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https://iopscience.iop.org/article/10.3847/1538-4357/ab6596
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Radware Bot Manager Captcha
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https://www.kao.com/global/en/corporate/outline/location-list/
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Locations in Japan
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https://www.kao.com/global/en/corporate/outline/location-list/
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https://www.ll.mit.edu/r-d/air-missile-and-maritime-defense-technology
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en
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Air, Missile, and Maritime Defense Technology
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Developing technology for defending the nation from missile threats
We develop and assess integrated systems for defense against missiles and other threats. Our activities include investigating system architectures, developing advanced sensor and decision support systems, making field measurements, and assessing deployed system capabilities.
Air, Missile, and Maritime Defense Technology Groups
Advanced Concepts and Technologies
Advanced Sensor Systems and Test Beds
Advanced Undersea Systems and Technology
Integrated Missile Defense Technology
Interceptor and Sensor Technology
Kwajalein Field Site
Systems and Architectures
Our expertise is in developing radar, electronic warfare, and system-of-systems technologies for future integrated air and missile defense systems. We design highly digitized phased array radars, equipped with advanced signal processing and electronic protection, for the next generation of land, shipboard, and airborne sensors.
Sensors play a critical role in air and ballistic missile defense by detecting, tracking, and characterizing threats. Our staff design, develop, and prototype innovative advanced sensor systems and employment architectures for air defense systems and the U.S. Ballistic Missile Defense System.
We develop and assess innovative technology to support the U.S. Navy and Department of Defense's undersea and counter-undersea missions. Our expertise lies in acoustic and non-acoustic sensors, undersea networks, autonomous systems, and advanced signal processing.
To help defend our nation, deployed forces, and allies from ballistic missile attacks, we support the Missile Defense Agency in the development, deployment, testing, and enhancement of the Ballistic Missile Defense System (BMDS). We continuously develop and enhance BMDS elements to enable them to keep up with rapidly evolving threats.
We assist the Missile Defense Agency and the U.S. military with protecting the country and our forces by developing advanced technologies that enable air and missile defense systems to identify, track, and intercept potential threats.
Kwajalein Field Site serves as the scientific advisor to the Reagan Test Site at the U.S. Army Garrison - Kwajalein Atoll, located 2,500 miles west-southwest of Hawaii. The site's radars, optics, and telemetry systems support missile testing, space surveillance and testing, satellite launches, and scientific measurements.
To protect our nation, deployed forces, and allies in air, missile, and maritime engagements, our group defines future defense architectures, develops new algorithms, and identifies applications for new technologies to enhance the United States’ defenses against potential threats.
Featured Projects
radar
Wind Turbine Interference–Mitigation Study
A strategy for lessening wind turbines’ effects on the performance of an aircraft measurement system at a naval air station on the Chesapeake Bay could inform future research into interference mitigation for other radar applications.
RF technology
Dual-Use Waveforms for Radar Detection and Wireless Communication
New waveforms enable efficient spectrum sharing between radars sensing moving objects and wireless communications systems transmitting data.
radar
Kwajalein Modernization and Remoting Program Radar Open System Architecture
We developed an open system architecture that reduces the complexity and cost of operations at the Reagan Test Site.
decision support
Reagan Test Site Automation and Decision Support
New software tools provide test operators with automated decision support for directing sensors during increasingly complex tests conducted at the Reagan Test Site.
Laboratory Stories
With the Laboratory sitting on the boundary of academia and industry, I can observe and participate in various areas of cutting-edge research and see some of that work implemented in the real world.
James Casey
Data Scientist
Air, Missile, and Maritime Defense Technology
Advanced Undersea Systems and Technology
I appreciate having the support of my group leaders, who assign me tasks that let me take the lead and who trust me to make decisions on their behalf.
Julia Kiernan
Group Administrative Assistant
Air, Missile, and Maritime Defense Technology
Advanced Sensor Systems and Test Beds
Where else can you be on the cutting edge of technologies that keep us out of harm’s way and give us the sanctuary that we all deserve?
Michele Gruber
Graphic Artist
Air, Missile, and Maritime Defense Technology
Systems and Architectures
One of the fantastic aspects of being a Laboratory employee is that there are opportunities to work on a wide variety of projects.
Benjamin Evans
Signal Processing Researcher
Air, Missile, and Maritime Defense Technology
Advanced Undersea Systems and Technology
Advancing Our Research
Events
Leadership
View the leadership of the Air, Missile, and Maritime Defense Technology research area.
Featured Publications
Backdoor poisoning of encrypted traffic classifiers
IEEE Intl. Conf. Data Mining Workshops, ICDMW, 28 Nov. - 1 Dec. 2022.
Probabilistic coordination of heterogeneous teams from capability temporal logic specifications
IEEE Robot. Autom. Lett., Vol. 7, No. 2, April 2022, pp. 1190-7.
Our Staff
View the biographies of members of the Air, Missile, and Maritime Defense Technology research area.
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https://www.getty.edu/research/
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Getty Research Institute - GRI
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An international center for the study of visual culture. Home to one of the world's largest art libraries.
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en
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https://www.getty.edu/research
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Series considers what is gained by keeping the past present
Exhibition bridges the gap between culture and technology
Browse free tools and resources for your work in visual art and cultural heritage
Visit one of the world’s largest art libraries to pursue research and enjoy changing exhibitions
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https://mitchellaerospacepower.org/about/
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Mitchell Institute for Aerospace Studies
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2021-01-23T00:16:54+00:00
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en
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Mitchell Institute for Aerospace Studies
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https://mitchellaerospacepower.org/about/
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Lt Gen David A. Deptula, USAF (Ret.), serves as the Dean of the Mitchell Institute, PenFed Chair for Aerospace Studies, and Scholar at the U.S. Air Force Academy Center for Character and Leadership Development.
Background: Gen Deptula is the world’s foremost expert on military aerospace issues. He is a pioneer in conceptualizing, planning, and executing national security operations from humanitarian relief to major combat. Featured in the book Airpower Pioneers: From Billy Mitchell to Dave Deptula, he accomplished several “firsts” in the command of joint forces, planning and execution of aerospace power, intelligence, surveillance, and reconnaissance (ISR), and improved international relationships. He was the principal attack planner for the Operation Desert Storm air campaign; commander of no-fly-zone operations over Iraq in the late 1990s; director of the air campaign over Afghanistan in 2001; twice a joint task force commander; and was the air commander for the 2005 South Asia tsunami relief operations. He served on two congressional commissions charged with outlining America’s future defense posture. He is a fighter pilot with more than 3,000 flying hours—400 in combat—including multiple command assignments in the F-15. His last assignment was as the Air Force’s first chief of intelligence, surveillance, and reconnaissance (ISR), where he transformed America’s military ISR and drone enterprises, orchestrating the largest increase in drone operations in Air Force history. He retired from the Air Force in 2010 after more than 34 years of distinguished service.
Areas of focus: Gen Deptula is a recognized expert and sought-after commentator around the world as a thought leader on aerospace operations, defense, strategy, and ISR. He has received numerous awards to include the Air Force Association’s highest honor in the field of national security, the H.H. Arnold Award, and Defense News named him one of the 100 most influential people in U.S. defense. His recent works include: Decades of Air Force Underfunding Threaten America’s Ability to Win; Aerospace Vectors for the Biden Defense Team; Resolving America’s Defense Strategy-Resource Mismatch: The Case for Cost-Per-Effect Analysis; Restoring America’s Military Competitiveness: Mosaic Warfare; and The Force We Need: Key Factors for Shaping the Air Force for the Future, among many others.
Academic and Professional Titles: Gen Deptula has BA and ME degrees from the University of Virginia where he was a distinguished graduate from Air Force ROTC. He is a graduate of the Air Force Fighter Weapons School (81DIN), Air Command and Staff College, and the Armed Forces Staff College. He also holds a M.S. in National Security Strategy from the National War College. In addition to his duties as Dean of the Mitchell Institute, holder of the PenFed Chair for Aerospace Studies, and the Risner Senior Military Scholar at the U.S. Air Force Academy Center for Character and Leadership Development. He is also a board member at a variety of institutions; an independent consultant; and a world-wide commentator on military strategy and related issues.
Gen Kevin P. Chilton, USAF (Ret.) is the Explorer Chair at the Mitchell Institute for Aerospace Studies Spacepower Advantage Center of Excellence (MI-SPACE).
Background: Retiring in 2011, General Chilton served for 34 1/2 years in the Air Force, most recently holding the title of Commander of U.S. Strategic Command from 2007 to 2011. General Chilton has commanded at the wing, numbered air force, major command and unified combatant command levels including serving as Commander of Air Force Space Command. He flew operational assignments in both the R-4C and F-15, and as an Air Force test pilot, conducting weapons tests in various models of the F-4 and F-15. His career includes serving 11 years as a NASA astronaut, where he flew as the Commander of STS-76, his third Space Shuttle mission, and served as the Deputy Program Manager for Operations for the International Space Station Program. General Chilton was awarded an honorary Doctor of Laws from Creighton University, was a Columbia University Guggenheim Fellow earning a Master of Sciences degree in mechanical engineering, and is a distinguished graduate of the U.S. Air Force pilot training and test pilot schools as well as a distinguished graduate of the U.S. Air Force Academy with a Bachelor of Sciences degree in engineering sciences.
Douglas A. Birkey is the Executive Director for the Mitchell Institute for Aerospace Power Studies.
Background: As Executive Director, Mr. Birkey guides the research agenda and stakeholder strategy for Mitchell Institute. He also executes research projects, hosts aerospace forums, shapes public programming, and engages leaders in Congress, the Department of Defense, as well as the broader policy and budget community. He is a routine contributor to the defense dialogue, with a regular presence in a range of publications ranging from the Washington Post and Financial Times to Defense News and Aviation Week. Prior to this position, Birkey served as the Air Force Association’s Director of Government Relations. He was responsible for developing strategies to advance aerospace policy positions with Members of Congress, their staffs, officials within the Air Force, and the broader defense industry. Birkey was also the cofounder of the Washington, DC Airpower Working Group, which afforded the foundation from which Mitchell Institute was launched. Birkey began his Washington, DC career as a defense staffer in the office of Senator Lieberman (D-CT), assisting the Senator with his duties on the Senate Armed Services Committee.
Areas of focus: Air Force modernization, defense policy and budget decisions, airpower strategy, aerospace power history, and congressional defense issues.
Academic and professional titles: He received his undergraduate degree from the College of Wooster, majoring in history, and was awarded a graduate degree from Georgetown University. He is also active in the restoration and operation of vintage aircraft for several private organizations.
Charles Galbreath is a Senior Resident Fellow for Space Studies at the Mitchell Institute’s Spacepower Advantage Center of Excellence (MI-SPACE).
Background: Charles is a retired United States Space Force Colonel; a Command Space Operator with expertise in Missile Warning, Space Control, Space Launch, and ICBM operations; and a Senior Materiel Leader with experience developing advanced technology demonstration and prototype systems. Prior to joining Mitchell, Charles served as the Deputy Chief Technology and Innovation Officer on the Headquarters United Space Force staff. Throughout his military career, Charles served in a variety of space operation, acquisition, test, and staff positions, including Deputy Chief Technology and Innovation Officer, Deputy Director for Innovation and Prototyping, Deputy Director for Strategy and Plans in OSD Space Policy, Deputy Commander for the 30th Launch Group, Squadron Commander for Missile Defense Agency’s demonstration satellites, and program manager for advanced space control capabilities. He also deployed to Afghanistan as the Space Liaison to Headquarters, International Security Assistance Force. In addition, he was an Air Force Fellow to the RAND Corporation.
Areas of focus: He’s an established voice on space operations, acquisitions, and policy with a focus on space control, advanced technology, acquisitions, and digital transformation. In addition, he will provide a research focus on spacepower strategies and policies for MI-SPACE.
Academic and professional titles: Charles received his undergraduate degree from Northrop University, majoring in Aerospace Engineering. He also earned a Masters of Administrative Science from the University of Montana, a Masters Degree in Space Operations from the Air Force Institute of Technology, and a Master of Military and Operational Art and Sciences from Air University as part of Air Command and Staff College where he was a Distinguished Graduate and won the Space Research Award.
Jennifer K. Reeves is a Senior Resident Fellow for Space Studies at the Mitchell Institute’s Spacepower Advantage Center of Excellence.
Background: Jen is a retired United States Air Force Colonel with almost 29 years of active duty, finishing her career as the Chief of the Air Force’s Engine Room, leading the service’s Program Objective Memorandum (POM) build. She commanded the 341st Missile Wing at Malmstrom Air Force Base, leading a 4,000-person team comprising all operational, security, business operations, administrative, and civic engagement activity. Before that, Reeves commanded the 381st Training Group at Vandenberg Air Force Base, where she developed a pipeline of 250 students annually to meet the needs of the space and nuclear operations and maintenance career fields. She commanded the 2d Space Warning Squadron at Buckley Air Force Base, bringing space-based missile warning to military and allied customers worldwide while operating the Defense Support Program and Space-Based Infrared System satellite constellations. Reeves served on three headquarters staffs, was deployed or stationed in five combatant commands, and served on two general officer personal staffs. Immediately prior to joining Mitchell, Reeves worked for a non-traditional government contractor focusing on creating purpose-built software applications to assist in decision making in the POM build process.
Areas of focus: Reeves is a Space Weapons Officer with multiple deployments supporting the joint fight with space assets. Her technical areas of expertise include space-based missile warning, nuclear operations, training, space control operations, and, more recently, programming the Air Force’s budget. Her focus areas at Mitchell include all of these and the emerging issues facing the U.S. Space Force.
Academic and professional titles: Jen earned an Associate’s degree equivalent from her German secondary school in Berlin. She earned a Bachelor of Science in Aerospace Engineering from San Diego State University, a Master of Basic Science in Physics from the University of Colorado in Denver, and a Master of Strategic Studies from the Air War College. Most recently she completed a certificate course in Executive Coaching from the University of Georgia.
J. Michael Dahm is a Senior Resident Fellow for Aerospace and China Studies where he focuses on original research, threat-informed assessments, and recommendations for aerospace policy, strategy, and technical issues.
Background: Prior to joining Mitchell, Dahm worked for federally funded research organizations, the Johns Hopkins University Applied Physics Laboratory and then the MITRE Corporation, advising sponsors across the U.S. national security enterprise and supporting advanced research & development programs. He retired from the U.S. Navy having served over 25 years as an intelligence officer with extensive experience in the Asia-Pacific region, including a tour as an Assistant U.S. Naval Attaché in Beijing, China, and as Senior Naval Intelligence Officer for China at the Office of Naval Intelligence. He has served with USMC strike-fighter squadrons, USN carrier air wings, joint staffs and task forces executing operations ranging from non-combatant evacuations in Europe and Africa to combat actions in the Balkans and Southwest Asia.
Areas of focus: Dahm is a recognized authority on geopolitical and military challenges, sought after for threat assessments, war games, and simulations. He conducts complex investigations and leads scenario development exploring advances in military technologies, strategies, and operations. Dahm is a thought leader on future warfare concepts and an expert on China’s “informationized” and “intelligentized” (i.e. artificial intelligence-enabled) strategies and capabilities.
Academic and professional titles: Dahm received a BA in international relations from the University of Southern California. He also earned an MS in strategic intelligence from the National Intelligence University (NIU). He has taught graduate courses at NIU and is currently a Lecturer at the Elliot School of International Affairs at the George Washington University. Dahm is active in the open-source intelligence community and has published extensively on China military issues.
John “JV” Venable is a Senior Resident Fellow at the Mitchell Institute for Aerospace Studies. He conducts extensive research on defense policy with a focus on airpower.
Background: Prior to joining Mitchell, Venable worked as a senior research fellow on air and space power for the Heritage Foundation, focusing on the capability, capacity, and readiness of the Department of the Air Force. Prior to that role, JV formed and led a research, development, test and evaluation company in Memphis, Tennessee. During his 25-year career in the Air Force, he accumulated more than 4,500 hours in the F-16 and OV-10 aircraft, graduated from the US Air Force Fighter Weapons School, and held commands at both the squadron and group levels.
Areas of focus: He is a recognized expert on air and space capacity, capability and readiness, and a host of other defense policy issues. JV has written extensively on the Joint Strike Fighter, the F-15EX, readiness, hypersonics, space systems and architectures, and leadership. He is the author of a book on building and leading high-performance teams, titled “Breaking the Trust Barrier.”
Academic and professional titles: JV received his undergraduate degree from Ohio University, majoring Business Management, and followed with master’s degrees in Aeronautical Sciences from Embry Riddle, and Strategic Studies from the Air War College.
Kamilla Gunzinger is the Senior Program Director at the Mitchell Institute for Aerospace Studies.
Background: In addition to coordinating the Institute’s several research and writing projects, Ms. Gunzinger also manages multiple speaker series, public engagement efforts, and outreach programs. Before starting at Mitchell, she was the Publications Manager at the Center for Strategic and Budgetary Assessments (CSBA) from 2013–2020 where she edited and published several Congressionally mandated studies on U.S. Air Force and Navy force structure, in addition to other monographs for the Office of Net Assessment and DARPA, as well as for public release. She has experience designing and planning workshops, wargames, and tabletop exercises and helped coordinate the first three annual Directed Energy Summits in Washington, DC. She also worked for Scholastic Asia in Beijing from 2008–2010.
Areas of focus: East Asian geopolitics and security, U.S. military partnerships with Japan and the Republic of Korea, Chinese military culture, informationized warfare, wargaming.
Academic and professional titles: Ms. Gunzinger received a BA in Global Studies from the College of William and Mary and an MA in International Studies from Concordia University, Irvine. She speaks Mandarin Chinese and Japanese, and she also completed a year-long exchange program at Keio University in Tokyo.
Col Maxwell Cover is an Air Force Senior Developmental Education Fellow and F-35A command pilot assigned to the Mitchell Institute for the academic year 2023–2024.
Background: In 2018, Col Cover transitioned to the F-35A Lightning II at Hill Air Force Base, where he served in a variety of operational leadership positions as an evaluator and instructor pilot to include fighter squadron director of operations and commander, 388th Operational Support Squadron. He led combat missions in both 4th generation and 5th generation fighter aircraft and led the Air Force’s largest 5th generation immediate response force deployment where he conducted agile combat operations (ACE) over a 90-day period in support of U.S. Central Command operations. Previously, after graduating pilot training from Euro-NATO Joint Jet Pilot Training (ENJJPT), he was selected for F-16CM training and flew numerous operational assignments as an evaluator and instructor pilot specializing in suppression of enemy air defenses (SEAD).
Academic and Professional Titles: Col Cover was commissioned into the Air Force in 2005 as a distinguished graduate from R.O.T.C. Det. 450, Bozeman, Montana. In 2017, he graduated from the U.S. Marine Corps Command and Staff College as a distinguished graduate and was selected for the USAF’s premier graduate program, the School of Advanced Air and Space Studies (SAASS). He holds three master’s degrees in military strategy, military operational art and science, and finance.
Lt Col Gary Glojek is an Air Force Senior Developmental Education Fellow and A-10 command pilot assigned to the Mitchell Institute for academic year 2023–2024.
Background: Most recently, Lt Col Glojek commanded the 354th Fighter Squadron at Davis-Monthan Air Force Base, where he advanced agile combat employment, signature management during dispersed operations, and small team mission command to improve the survivability and lethality of combat air forces. Lt Col Glojek served as an instructor pilot and flight evaluator while leading as a Combat Search and Rescue Mission Commander and Forward Air Controller (Airborne). He accumulated over 2,000 hours in the A-10C over five operational assignments, including over 250 combat hours in Afghanistan and 80 missions to the Korean demilitarized zone. He also completed the Chief of Staff of the Air Force’s Blue Horizons Fellowship, where he advanced adversarial artificial intelligence technology to counter geospatial intelligence.
Academic and Professional Titles: Lt Col Glojek commissioned from the United States Air Force Academy in 2006, where he earned a Bachelor of Science in English degree, after which he completed specialized undergraduate pilot training (SUPT) at Laughlin Air Force Base, Texas, and was selected to be a first assignment instructor pilot. At Laughlin, he trained USAF pilots alongside partners from Afghanistan, Iraq, Saudi Arabia, Poland, and Nigeria. He holds both a Masters in Aeronautical Science Human Factors from Embry-Riddle Aeronautical University and a Masters in Airpower Strategy and Technology Integration from Air University. Lt Col Glojek is a Distinguished Graduate of the Pilot Instructor Training, Squadron Officer School, Introduction to Fighter Fundamentals, and A-10C Initial Qualification Courses.
Gen Tim Ray is a highly decorated, retired United States Air Force General most recently serving as Commander of Air Force Global Strike Command. Concurrently he served as the Commander of Air Forces Strategic-Air, United States Strategic Command with a focus on strategy and operational excellence. He excels at developing, fielding, operating and sustaining security capabilities as a result of his vast experience and insights across multiple disciplines: technology development and acquisition, joint and combined military operations from the tactical to the strategic, executive leadership, civil-military relationships, and international security. This was demonstrated as a member of the Air Force’s “Corporate Board” team of senior leaders, shaping future force structure, modernization and budget priorities for the United States Air Force. Tim is recognized for solving huge challenges, developing and leading successful global teams, and aerospace power development. He excels at mitigating risk, managing change and creating positive organizational culture.
Tim led the nation’s Air Force Strategic Strike forces in daily operations in support of national objectives globally. He directed modernization efforts for command and control, aircraft, ICBM, infrastructure and support equipment. His leadership and vision were instrumental to the organization thriving and improving in its no-fail mission during the COVID-19 Pandemic and shift to strategic competition with near peer adversaries.
Prior, Tim served as the Deputy Command, US European Command where he was the Deputy Commander for all US Joint Forces in Europe. He was responsible for joint, combined operations, planning and exercises to ensure US and coalition military readiness and regional stability all during Russian efforts to destabilize Europe, North Africa and the Middle East. In his role he worked with partners and allies through Europe and the Middle East on complicated, wide ranging strategic issues.
Previously Tim commanded eight Air Force Wings throughout Europe and Africa supporting the US Joint and coalition operations supporting 5 separate commands. He led daily air operations to include Reconnaissance, Refueling, Airlift, Command and Control and Strike operations. Additional he led the Joint Task Force to conduct ballistic missile defense of key allies in the region. Earlier in his career Tim was the Deputy Director of Fighter, Bomber and Weapon Programs to the Air Force Assistant Secretary of Acquisition. In this role he was responsible for fighter and bomber aircraft and weapons acquisition programs. He was a key interface with the Secretary of Defense’s acquisition staff, Congress and Air Force Major Commands to manage key acquisition and budget decisions.
Tim has a Master of Science degree in Aviation Sciences and Management from Embry-Riddle Aeronautical University in Daytona Beach Florida and a Master of Science degree in Strategic Studies from Air War College, Maxwell AFB, Alabama. He holds a Bachelor of Science degree in Human Factors Engineering from the U.S. Air Force Academy and is a Distinguished graduate of the Air Command and Staff College.
Lyon recently retired from a major aerospace & defense corporation as the Vice President, Government Relations where he led the Air Force customer relations team. Lyon advised corporate leadership as they competed for and developed capabilities with focus on the Department of the Air Force’s future force structure needs. He is a five-time commander who led units from squadron through expeditionary task force commands. Lyon served as the initial 9th Air & Space Expeditionary Task Force-Afghanistan commander during the 2010–2011 surge operations.
Lyon has over 40 years of aerospace & defense experience including 3,800 flight hours; predominately in the F-16 and B-1. He amassed over 1,110 combat hours in Operations ENDURING FREEDOM, IRAQI FREEDOM, ALLIED FORCE, NORTHERN WATCH, SOUTHERN WATCH, and PROVIDE COMFORT. Lyon was the Air Force’s first senior officer to qualify as a remotely piloted aircraft (RPA) mission pilot where he flew MQ-1 Predator combat support missions in support of DoD and other government agencies.
His most recent focus includes developing concepts for multi-domain operations in highly contested environments. He is an airpower advocate with extensive expertise and experience in joint warfighting, command & control, doctrine, operational capabilities development (JCIDS), realistic training, and defense programming (PPBE).
Lyon holds a B.A. in Mathematics from The Citadel and an M.S. in National Security Strategy from the National War College. He was awarded the Distinguished Service Medal, Distinguished Flying Cross, and Bronze Star Medals for combat operations in the U.S. Europe/Africa/Central Commands’ areas of responsibility.
Maj Gen (Ret.) Corcoran is a recognized expert on military aerospace issues, national security, leadership, and innovation. A 1992 graduate of the USAF Academy, he commanded the 525th Fighter Squadron , 325th Operations Group, 3rd Wing, 380th Air Expeditionary Wing, and USAF Warfare Center. His staff assignments included Director of Operations, Strategic Deterrence, and Nuclear Integration at US Air Forces Europe and Air Forces Africa, Deputy Chief of Staff for Operations at NATO Air Command, and Chief of Staff at US Air Force Central Command. His final active duty assignment was as the Air Force’s Assistant Deputy Chief of Staff, Operations, at Headquarters, U.S. Air Force, where he was responsible to the Secretary of the Air Force and Chief of Staff for formulating policy supporting air, irregular warfare, counter-proliferation, homeland security, weather, and cyber operations. A command pilot with more than 3,200 hours in the F-15 and F-22, including over 440 combat hours, Maj Gen Corcoran retired from the active duty in 2023 after more than 31 years of distinguished service.
He is a highly respected, proven combat leader and operator in the National Security Field. He has 31 years of experience successfully leading diverse organizations of up to 15,000 personnel across the globe in support of US national security objectives. Throughout his career he consistently demonstrated the ability to build win-win relationships with personnel across US government, commercial and defense industries, and international partners to achieve common goals. He also brings to Mitchell a solid reputation as an innovator whose intellectual curiosity and disruptive thinking facilitates positive growth and learning in every organization he touches.
Maj Gen Corcoran has BS from the USAF Academy (1992), an MBA from Touro University (2003), and an MS in National Security Studies from the National War College (2011). He was a distinguished graduate of Air Force Pilot Training, Squadron Officer School, and the USAF Weapons School. He also serves as a board member at the Missile Defense Advocacy Alliance and an independent consultant on leadership and national security.
John Baum is a Non-Resident Fellow for the Mitchell Institute for Aerospace Studies where he focuses on strategic communication and key aerospace leader engagement by providing research discussions on defense policy and tactical employment of aerospace power.
Background: Prior to joining Mitchell, Mr. Baum worked as a defense contractor providing strategic planning, aircraft acquisitions and air power employment to support the Department of Defense. He retired as a Lieutenant Colonel in the USAF, serving as an F-16 Weapons School Instructor, F-35 Tactics Development Team Lead, USAF Thunderbird Demonstration Pilot, SECAF Strategic Communications Fellow and HAF Air Dominance Requirements Officer. John has over 2,300 hours in the F-16 and served in OPERATION JOINT FORGE, OPERATION JOINT GUARD, OPERATION IRAQI FREEDOM, OPERATION ENDURING FREEDOM and OPERATION NOBLE EAGLE.
Areas of focus: He’s a recognized expert of/established voice on tactical and operational employment of air and space power, integration of weapons systems across the USAF and USSF domains and strategic development of future concepts, aerospace vehicles and weapons.
Academic and professional titles: Baum received BS and MS degrees from Embry-Riddle Aeronautical University, majoring in Aeronautical Science with a minor in Aviation Safety and Accident Investigation; and earned a Master of Arts in Strategic Communications from George Mason University. He also chaired the Aerospace Science Department as a full professor at Wilkes University. John maintains his FAA ATP/CFII ratings flying vintage warbirds and aerobatic aircraft.
Robert “Otis” Winkler served as a professional staff member on the Senate Armed Services Committee from 2018 until 2022 and was the Staff-lead for Air Land Subcommittee, responsible for legislative oversight of all Air Force and Army programs. Additionally he was responsible for oversight of all space activities including U.S. Space Force and Space Command, all manned and unmanned aviation in DoD, electro-magnetic spectrum operations, warfighting networks, and hypersonic/counter-hypersonic weapons development for the Department of Defense.
In previous roles, Otis served in the U.S. Air Force, as an F-16 Weapons School Graduate with assignments in Europe, Asia and the Middle East. He commanded an F-16 Fighter Squadron and an Operations Group comprised of fighter & air control squadrons. His staff assignments included the Director of the Weapons Systems Division for the U.S. Air Force Legislative Liaison Office and the Special Assistant to the Director of the Defense Advanced Research Project Agency (DARPA). Additionally, he served in industry as a Senior Principal for Strategy and Advanced Technology at Harris Corporation.
Mr. Winkler holds a B.S. in Engineering from the University of Illinois, an M.A. in National Security Policy from American Public University, an M.S. in Strategy and Joint Campaign Planning from National Defense University, and an M.S. in National Security Strategy from the National War College.
He currently serves as the Vice President of Corporate Development and National Security Programs for Kratos Defense.
Robert Haddick, USMC (Ret.) is a Visiting Senior Fellow at the Mitchell Institute. Haddick supports the Institute’s mission to develop the roles of air, space, and cyber capabilities and explore their contributions to national security strategies. Haddick has lectured widely across the U.S. government on strategy, the strategic competition in the Indo-Pacific region, and special operations.
Haddick is the author of Fire on the Water: China, America, and the Future of the Pacific. The U.S. Naval Institute Press will publish the second edition of Fire on the Water in the spring of 2022. The first edition of Fire on the Water, published in 2014, warned readers about the rapid rise of China’s military power and described how U.S. policymakers and military planners were failing to prepare for the deteriorating security situation in the Indo-Pacific region. The first edition was translated into Mandarin and Korean and was widely sold across North America, Europe, and the Indo-Pacific region.
The fully revised second edition of Fire on the Water updates China’s military modernization through 2021 and forecasts China’s military capabilities into the 2030s. The second edition examines the shortfalls in the U.S response to China’s military expansion over the past decade. Applying the principles of strategy, the new edition describes a detailed approach for maintaining conventional deterrence in the Indo-Pacific over the long term, recommending a strategy that applies U.S. and allied aerospace advantages against China’s vulnerabilities in an affordable and sustainable manner.
Haddick’s work for the Mitchell Institute includes reports on long-range standoff nuclear deterrence; defense reform proposals co-written with a former Supreme Allied Commander for Europe; nuclear command, control, and communications; and an airpower history project conducted for the U.S. Defense Department’s Office of Net Assessment.
Haddick served as a contractor at U.S. Special Operations Command. His work there included authoring peer-reviewed monographs for Joint Special Operations University Press on future roles for special operations forces in the Indo-Pacific great power competition; sustaining special operations unconventional warfare campaigns in denied areas; and how special operations forces can contribute to comprehensive deterrence strategies.
Haddick’s service as a U.S. Marine Corps officer included security force assistance activities in East Asia, the Indian Ocean region, and Africa. His duties also included nuclear command and control under the Personnel Reliability Program.
Col Sarah Brehm was an Air Force Senior Developmental Education Fellow assigned to Project Everest for academic year 2022-2023.
Background: Col Brehm commissioned into the Air Force upon graduation from the United States Air Force Academy in 2004. After pilot training she flew distinguished visitor transportation missions in the C-21A based out of Andrews AFB. She then served in U-28A flying squadrons at Hurlburt Field and Cannon AFB as part of Air Force Special Operations Command. From there, Col Brehm attended the Air Command and Staff College and the School of Advanced Air and Space Studies at Maxwell AFB. Next, she served as the commander of the 34th Special Operations Squadron at Hurlburt Field. She has more than 4,000 flight hours including over 1,800 hours of combat time.
Academic and Professional Titles: Col Brehm received her Bachelor’s Degree in Political Science and Foreign Area Studies from the United States Air Force Academy. She holds a Master of Science Degree in Leadership and Business Ethics from Duquesne University, a Master of Arts Degree in Military Operational Art and Science from the Air Command and Staff College at Air University, and a Master of Philosophy Degree in Military Strategy from the School of Advanced Air and Space Studies at Air University.
Maj Christopher Olsen was an Air Force Strategic Policy Fellow assigned to the Mitchell Institute for Aerospace Studies.
Background: Major Olsen commissioned through ROTC in 2008. His first assignment was to the National Air and Space Intelligence Center (NASIC) at Wright-Patterson AFB, Ohio, where he performed technical intelligence analysis on space systems. In 2011 he began duty at the National Security Agency (NSA) while assigned to the 34thIntelligence Squadron, Ft Meade, Maryland. There, he was dual-hatted as both a flight commander and chief of the Nuclear Communications Solutions branch. His last year at Ft Meade was spent on staff at the 707th Intelligence, Surveillance, and Reconnaissance Group as chief of plans and programs. During his time at Ft Meade, he spent six months deployed in support of Operation Enduring Freedom at Camp Leatherneck, Afghanistan, serving as the detachment Officer-in-Charge (OIC) for the 777th Expeditionary Prime Base Engineering Expeditionary Force (Prime BEEF) squadron. He began studies for a PhD in Aeronautical Engineering at the Air Force Institute of Technology, Wright-Patterson AFB, Ohio in 2015 with a focus on optimization and optimal control theory. Upon graduation in 2018, he was assigned to the Aerospace Systems Directorate at the Air Force Research Laboratory, Wright-Patterson AFB, Ohio. While at AFRL, Maj Olsen split time between leadership positions and developing autonomy behaviors and system requirements for what would eventually become the Air Force’s Skyborg Vanguard program. In 2019 he was selected to serve as the executive officer to the AFRL commander, before starting his fellowship at the Mitchell Institute in 2020.
Areas of Focus: Autonomy, Manned-Unmanned Teaming (MUM-T), optimization/optimal control, science and technology program management, and technical intelligence analysis.
Academic and professional titles: Major Olsen has a Bachelor of Science in Mechanical Engineering from Texas A&M University (2008), a Master of Science in Systems Engineering from the Air Force Institute of Technology (2014), and a Doctor of Philosophy in Aeronautical Engineering from the Air Force Institute of Technology (2018).
Lt Col Mark Kimball was an Air Force Senior Developmental Education Fellow assigned to Project Everest for Academic Year 2020–2021.
Background: Lt Col Kimball earned his commission in 2002 from the Air Force Reserve Officer Training Corps at the University of Maryland. His U.S. Air Force career has included multiple assignments as a bomber pilot in the B-1B. He graduated from the USAF Weapons School in 2010, has flown more than 2,500 hours, including more than 1,200 in combat, and served as an instructor in each of the three active-duty B-1 combat squadrons as well as at the B-1 formal training unit. Prior to his fellowship, he completed a four-year assignment at Ellsworth AFB in South Dakota, where he deployed to the Andersen AFB supporting Pacific Air Forces’ continuous bomber presence in Indo-Pacific as the director of operations of the 37th Bomb Squadron. He took command of the squadron after returning from that deployment, and later served as a deputy commander of the 28th Operations Group. Lt Col Kimball attended the College of Naval Command and Staff at the US Naval War College in Newport, RI for his intermediate-level professional military education. While attending CNCS, he was selected for the Maritime Advanced Warfighting School, a CNO-directed thirteen-month advanced studies group focusing on operational and theater-strategic planning, decision making, and leadership considerations for component and joint force commanders.
Academic and professional titles: Lt Col Kimball has a Bachelor of Science in Aerospace Engineering from the University of Maryland, a Master of Arts from Air University in Military and Operational Science, and a Master of Arts from the Naval War College in Defense and Strategic Studies.
Col Nelson Rouleau was an Air Force Senior Developmental Education Fellow assigned to Project Everest for Academic Year 2020–2021.
Background: Col Rouleau is a risk-taking leader and strategist with 26 years of combined experience in combat, strategy, disruptive innovation, design thinking, organizational development, consulting, and coaching. He’s led and commanded military organizations at the senior manager and the vice president level. He has earned a reputation for challenging the status quo and quickly transforming organizational culture. His organizations give strong voices to mavericks and have a reputation for leading ridiculously, thinking radically, and designing with perspicacity. In turn, his teams have a history of illuminating solutions to long-standing institutional problems with entrenched positions. Col Rouleau has grown and matured a matrixed network of young leaders and disruptive thinkers capable of leading and ensuring competitive advantage long into the future. He is a founding member of Project Everest, a strategy design and facilitation team that specializes in infusing creativity into dull strategy development methods and using design-inspired facilitation to help teams unlock their creative potential. He has helped teams from the U.S. Air Force, the U.S. Marine Corps, U.S. Space Command, the U.S. Air Force Academy, and the Mitchell Institute. Col Rouleau is the founder of The Bigfoot Experience: Living and Leading, by Design. Inspired by human centered design and motivated through his experiences in leading in combat, authentic leadership development, disruptive innovation, and organization development, the Bigfoot Experience guides large organizations through periods of change and helps discover novel solutions to vexing problems. Through the experience, C-Suite leaders and young high potential leaders are coached to live and lead authentic lives and navigate life’s transitions.
Areas of Focus: Col Rouleau’s mission is three-fold: first, to lead and think far ahead of a rapidly changing world. Second, to guide organizations and teams through periods of change, have tough conversations, and assist executive leaders to live and lead their most authentic lives. Lastly, to develop young curious minds capable of solving difficult national problems through a kaleidoscope of ideas and experiences. He has helped author and communicate strategy at the highest levels of the U.S. government. He was a part of the team that authored the Pacific Air Force Strategy in 2014. In June of 2021, he will serve as the Senior Air Force Strategist in the Under Secretary of Defense’s Policy and Force Development Office where he will help draft the U.S. National Defense Strategy.
Academic and Professional titles: Col Rouleau has a certificate in Management Excellence from Harvard Business School, certificate in Organizational Consulting & Change Leadership from Georgetown University’s Institute for Transformational Leadership (July 2021) as well as master’s degrees in counseling and military strategy. He also serves as an adjunct instructor teaching command leadership and airpower history for the U.S. Air Force’s Air Command and Staff College.
Major Tyler Marcotte serves as Chief, Wing Executive Officer and C-40C Evaluator Pilot, 375th Air Mobility Wing, Scott Air Force Base, Illinois. As the executive advisor to the Wing Commander, Maj Marcotte disseminates policy decisions and taskings to four groups, twenty squadrons, and 2,900 personnel. Additionally, he coordinates and manages all wing and higher headquarters correspondence, taskers, awards and decorations, and management issues regarding all wing personnel. Finally, he operates and commands executive airlift missions for senior military leaders, executive branch personnel, and Congressional members.
Background: Major Marcotte earned his commission through the United States Air Force Academy in May, 2006. Following graduation from pilot training at Laughlin AFB, Texas, Maj Marcotte remained at Laughlin as a T–1A First Assignment Instructor Pilot. Maj Marcotte then served as a C–5M Instructor and Evaluator Pilot in the 9th Airlift Squadron at Dover AFB, Delaware. During this assignment, he was a Flight Commander and the Wing C–5M Training Manager. Prior to his current assignment, he was the Assistant Operations Officer for the 54th Airlift Squadron, Scott AFB, Illinois.
Lt Col Kevin Eley is an Air Force Strategic Policy Fellow within the National Capital Region serving in the Mitchell Institute for Aerospace Studies. Prior to his selection as a Fellow, he was the Distribution Branch Chief for United States Transportation Command, Sustainment Division, where he developed, monitored, and adjusted the global logistics network to support distribution of sustainment, foreign military sales and humanitarian cargo within the defense transportation system.
Background: Lt Col Eley’s operational assignments include Assistant Director of Operations and Chief of Standardization and Evaluation for the 912th Air Refueling Squadron, Director of the Commander’s Action Group, 19th Air Wing, and evaluator pilot for the 34th Combat Training Squadron specializing in air mobility operations for the Joint Readiness Training Center and Green Flag exercises. Lieutenant Colonel Eley has deployed seven times in support of Operations Enduring Freedom, Iraqi Freedom and the Joint Interagency Task Force South. He served as the Aide-de-Camp to the 18th Air Force Commander, a Presidential Advanced agent, and held executive officer positions at the group and squadron level.
Lt Col Kevin Eley is an Air Force Strategic Policy Fellow within the National Capital Region serving in the Mitchell Institute for Aerospace Studies. Prior to his selection as a Fellow, he was the Distribution Branch Chief for United States Transportation Command, Sustainment Division, where he developed, monitored, and adjusted the global logistics network to support distribution of sustainment, foreign military sales and humanitarian cargo within the defense transportation system.
Background: Lt Col Eley’s operational assignments include Assistant Director of Operations and Chief of Standardization and Evaluation for the 912th Air Refueling Squadron, Director of the Commander’s Action Group, 19th Air Wing, and evaluator pilot for the 34th Combat Training Squadron specializing in air mobility operations for the Joint Readiness Training Center and Green Flag exercises. Lieutenant Colonel Eley has deployed seven times in support of Operations Enduring Freedom, Iraqi Freedom and the Joint Interagency Task Force South. He served as the Aide-de-Camp to the 18th Air Force Commander, a Presidential Advanced agent, and held executive officer positions at the group and squadron level. Lieutenant Colonel Eley is a distinguished graduate of the Corps of Cadets at Virginia Polytechnic Institute and State University with a degree in Business Information Technology. He holds a Masters Degree in Business Administration from the University of Arkansas at Little Rock and earned his pilot wings at Naval Air Station Corpus Christi, Texas.
Major John Duray is an MQ-9 Evaluator Pilot and Assistant Director of Operations, 3rd Special Operations Squadron, Cannon Air Force Base, New Mexico. He commands an MQ-9 Reaper crew in direct combat support of our nation’s elite Special Operations Forces. Additionally, he is entrusted to evaluate aircrew members’ ability to execute Joint Force Air Component Commander priority missions requiring persistent armed reconnaissance. As an Assistant Director of Operations, Major Duray is directly responsible for the successful execution of combat operations for AFSOC’s largest MQ-9 squadron, overseeing seven combat lines conducting 24/7/365 operations in four separate geographic regions.
Background: Major Duray graduated from Duke University in 2006 where he commissioned as a Distinguished Graduate through the Reserve Officers’ Training Corps. He went on to serve as a U–28 Instructor Pilot and Flight Commander for the 319th Special Operations Squadron. He has led an expeditionary special operations flying squadron as director of operations and served as an executive officer at both the squadron and group levels. Prior to his current position, the major was the Chief of Standards and Evaluations, 3rd Special Operations Squadron, Cannon AFB, NM.
Major Scott Korell is the Chief of Command Post and KC-135R/T Instructor Pilot, 6th Air Mobility Wing, MacDill Air Force Base, Florida. As Chief of Command Post, he leads more than 30 total force command post controllers and is responsible for the command and control of over 3,000 wing personnel, and base property and capital assets totaling more than $2.8 billion.
Background: Major Korell has been an Executive Officer at the wing and group levels, and a squadron flight commander. Prior to his current assignment, he was a Wing Executive Officer and Evaluator Aircraft Commander in the C-5M Galaxy aircraft. In this capacity, he was the principal executive assistant to the Wing Commander, directly responsible for the wing’s fulfillment of all higher headquarter-directed tasks and the administrative support of 4,500 wing members. He obtained his commission from the U.S. Air Force Academy in 2004 and was a top-ten graduate within his respective field of study.
Major Scott Korell is the Chief of Command Post and KC-135R/T Instructor Pilot, 6th Air Mobility Wing, MacDill Air Force Base, Florida. As Chief of Command Post, he leads more than 30 total force command post controllers and is responsible for the command and control of over 3,000 wing personnel, and base property and capital assets totaling more than $2.8 billion. The wing’s mission is to conduct rapid global mobility by providing worldwide aerial refueling support to Combatant Commanders and to provide installation support to Headquarters U.S Central Command, Headquarters U.S. Special Operations Command, and 36 other mission partners that call MacDill home. The MacDill Command Post executes more than 3,200 aircraft missions and 3,900 flight hours in support of 2,200 aerial refueling receivers each year.
Background: Major Korell has been an Executive Officer at the wing and group levels, and a squadron flight commander. Prior to his current assignment, he was a Wing Executive Officer and Evaluator Aircraft Commander in the C-5M Galaxy aircraft. In this capacity, he was the principal executive assistant to the Wing Commander, directly responsible for the wing’s fulfillment of all higher headquarter-directed tasks and the administrative support of 4,500 wing members. He obtained his commission from the U.S. Air Force Academy in 2004 and was a top-ten graduate within his respective field of study. In 2005, he completed Undergraduate Pilot training at Columbus AFB, Mississippi and his operational experience includes various Air Force mission sets to include, strategic and tactical airlift, aeromedical evacuation, and aerial refueling. Additionally, in 2008 Major Korell deployed to the Air Mobility Division, 609th Combined Air Operations Center. In garrison, he was responsible for the execution of more than 7,000 C-130 intra-theater airlift sorties, transporting 151,000 passengers and 12,500 tons of cargo in support
of Operations Iraqi Freedom and Enduring Freedom.
Major Derek Molloy is the Airfield Operations Flight Commander at Tyndall Air Force Base Florida where he leads 117 air traffic controllers and airfield management operations personnel responsible for 45,000 square miles of airspace supporting 125,000 annual aircraft movements.
Background: Major Molloy graduated from the United States Air Force Officer Training School in December 2002. He was recognized as the 2006 USAF airfield operations officer of the year and was a Distinguished Graduate of Squadron Officer’s
School in 2008. Previously, Major Molloy oversaw air traffic control and airfield support at Dyess AFB and Hurlburt Field. In addition to his core airfield operations expertise, Major Molloy has also performed duties as part of the Air Combat Command Inspector General’s staff and led the Commander, Air Combat Command’s conference and speechwriting teams. Major Molloy has deployed six times since his commission, performing various duties from operating an austere airfield in support of operational detachment alpha missions in western Afghanistan to serving two tours on the NATO Air Command staff.
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Potential for tsunami detection via CCTV cameras in northeastern Toyama Prefecture, Japan, following the 2024 Noto Peninsula earthquake
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2024-06-05T00:00:00
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This study explored closed-circuit television (CCTV) networks in northeastern Toyama Prefecture, Japan, as a new data source for tsunami detection following the 2024 Noto Peninsula earthquake. We analyzed CCTV footage and extracted time-series water level fluctuations at Yokoyama, Shimoiino, and Ekko. Spectral analysis of these waveforms revealed several long-period peaks (more than 100 s) in power spectral density (PSD), suggesting the presence of tsunami components. Notably, relatively large PSD peaks at approximately 5–10 min were observed at all CCTV locations in this study and at offshore wave observation points (Tanaka and Toyama). At Yokoyama, a maximum run-up of approximately 3 m was confirmed around 16:28. Although water level fluctuations at Shimoiino and Ekko were detected, identifying tsunami components proved challenging due to their small magnitude compared to other wave components. Despite these challenges, this study demonstrates the potential of CCTV networks for tsunami detection, and further research is needed to achieve real-time detection.
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https://geoscienceletters.springeropen.com/articles/10.1186/s40562-024-00343-9
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Tsunamis pose significant risks to coastal areas, necessitating advancements in real-time detection and understanding of their generation mechanisms. Various technologies have been developed and utilized for observing sea-level changes to detect tsunamis, including GPS buoys (e.g., Kato et al. 2011) and seafloor pressure gauges, as well as networks like NOAA’s PMEL DART (Deep-ocean Assessment and Reporting of Tsunamis) (Heidarzadeh and Satake 2013). In Japan, the Dense Ocean floor Network System for Earthquakes and Tsunamis (DONET) (Kaneda et al. 2015; Kawaguchi et al. 2015) and the S-net (Seafloor observation network for earthquakes and tsunamis along the Japan Trench) based on seismometers and pressure gauges (Kanazawa et al. 2016) have been established. Moreover, with advances in remote sensing technology, there has been discussion on the potential for using equipment other than offshore sensors for tsunami detection. Reports have highlighted the effectiveness of HF radar (Ogata et al. 2018) and satellite observations of minor sea-level changes in the mid-ocean caused by tsunamis (Koshimura et al. 2020). Video footage has also been reported as very effective for tsunami analysis (e.g., McDonough-Margison et al. 2023). Despite these developments, observation networks capable of detecting tsunamis in coastal areas are still limited.
In Japan, an extensive network of Closed-Circuit Television (CCTV) cameras maintained by the Ministry of Land, Infrastructure, Transport, and Tourism (MLIT) provides constant monitoring across coasts, rivers, and roads. These cameras, part of a disaster prevention communications infrastructure, can transmit real-time images to local governments and TV stations during disasters, aiding in damage assessment. However, effectively leveraging this vast amount of video footage for operational purposes, such as tsunami detection, remains challenging (MLIT 2023). Demonstrations of the potential use of CCTV footage for detecting landslide-related disasters (Kinoshita et al. 2022) and observing river water levels (Sakai et al. 2015) have been conducted. The widespread deployment of coastal CCTV cameras illustrates their potential to enhance the coverage and resolution of the observational network for tsunami detection, complementing specialized offshore equipment. However, their effectiveness in actual tsunami events has yet to be thoroughly examined.
On January 1, 2024, the Noto Peninsula earthquake struck Ishikawa Prefecture, Japan, with its epicenter in the Noto region (37.495°N, 137.270°E, according to the provisional source fault model of the 2024 Noto Peninsula Earthquakes by Geospatial Information Authority of Japan (GSI) as of January 15, 2024), reaching a magnitude of Mw 7.5 (Japan Meteorological Agency (JMA), https://www.data.jma.go.jp/svd/eew/data/mech/fig/world2024010116100000N373000E13712000000076.html, last accessed February 10, 2024). The ensuing tsunami led to approximately 190 ha of flooding in Suzu City, Noto Town, and Shika Town, among others (Damage and Response to the 2024 Noto Peninsula Earthquake (58th Report) by MLIT 2024). However, reports of the tsunami around the northeastern part of Toyama Prefecture are limited due to a lack of tsunami observations. Therefore, this study analyzed and tried to extract tsunami waveforms and run-up height information from multiple CCTV footage installed in the northeastern part of Toyama Prefecture (Fig. 1).
The ultimate goal of utilizing CCTV cameras for tsunami detection in this study is twofold. Firstly, CCTV cameras function as a means for real-time monitoring and early warning, complementing traditional tsunami detection methods that heavily rely on offshore equipment. By analyzing waveforms and run-up heights from CCTV footage, we can enhance the accuracy and timeliness of tsunami alerts, thereby supporting prompt evacuation efforts. Secondly, the data collected from CCTV cameras facilitates detailed post-tsunami assessments, enabling a thorough analysis of the tsunami’s impact and the effectiveness of existing disaster prevention measures. These approaches are expected to strengthen immediate tsunami response measures as well as contribute to the formulation of long-term tsunami disaster prevention strategies. The initial findings reported in this paper can support the feasibility of the aforementioned tsunami detection technology using CCTV cameras, paving the way for future advancements in this critical field.
Field surveys and definition of transects in footage
Figure 2 illustrates the process employed in this method. Shoreline changes were observed at three CCTV locations—Yokoyama, Shimoiino, and Ekko—especially near recognizable landmarks such as stairs, which were chosen for elevation measurements in this study. We conducted onsite elevation surveys using the Real Time Kinematic (RTK) measurement method (with a SOKKIA GSX2 GNSS Receiver) and a Leica DISTO™ S910 laser rangefinder for shoreline measurements. Subsequently, transects within the scope of the footage were delineated (Fig. 3). In a pre-processed image (see “Method for extracting shoreline temporal changes from images” section), transects were assumed to be linear. Elevation information was then required to estimate wave run-up heights from the footage. Here, we posited that elevation \(z\) is uniquely determined by pixel position (\(z = f(x,y(x))\)), adopting a linear (for Shimoiino and Ekko) or quadratic (for Yokoyama) relationship between the observed \(z\) and the corresponding \(x\) on the transect. Assuming that lines connecting points with identical \(z\)-values across two “real” transects consistently share the same elevation \(z\), and considering a flat slope, an estimated \(z\) for any pixel position (\(x,y\)) between the two transects was calculated. By creating multiple “virtual” transects between the “real” transects and averaging the shoreline position change extracted from several effective transects, we aimed to diminish noise in shoreline extraction and derive more reliable waveforms.
Method for extracting shoreline temporal changes from images
For the first step in Fig. 2a, the CCTV footage was decomposed frame by frame. The original footage has a frame rate of 29.97 fps (frames per second) and a frame size of 1920 by 1080. No projective transformation of the images was performed to analyze the images centered on the calibrated segments. The time averaging 29 frames, corresponding to about 1 s, was taken to reduce data processing costs and noise for edge detections. As shown in Fig. 3, frames without averaging and 0.1 s image average have too much noise on the water surface due to edge detection (details of the edge detection are mentioned later). On the other hand, taking a 10–100 s time-averaging for the image reduces the noise. Still, it reduces the number of edge points detected, so continuous time-series data may not be obtained in situations where the image intensity difference is negligible. Therefore, we tried several image averaging intervals here and selected the 1-s averaged image balanced between relatively low noise and high stability of shoreline detection (Fig. 3). These averaged images were then trimmed to the portion used for analysis and converted to grayscale (image intensity values).
Then, for the second step in Fig. 2a, shoreline detection was performed by using the Canny edge detector (Canny 1986) for edge detection. The Canny Detector is widely regarded as one of the most popular algorithms for edge detection in gray images (Jing et al. 2022).
The OpenCV library was implemented in Python (https://docs.opencv.org/3.4/da/d5c/tutorial_canny_detector.html, last accessed February 10, 2024).
For the determination of the final shoreline position (the third step in Fig. 2a), several filtering steps were applied to the edge detection results:
1.
Edges above a certain elevation (Max Elevation) were removed, which the shoreline could not have reached.
2.
Remove edges detected at the same position above a threshold elevation a certain number of times to remove repetitive noise (e.g., lines detected on stairs). This condition is applied with a minimum elevation (Min Elevation) set to avoid erasing the minor water level fluctuations around the average shoreline position.
3.
For noise not removed by steps 1 and 2, a sliding window was set as necessary, treating all data points within this window (e.g., size 5) as belonging to the same timestamp. This process reduces the chance of local noise (e.g., changes in luminance values after inundation) being mistakenly detected as the shoreline position, thereby making the process more robust.
Finally, the median of the remaining edges (elevations) at each timestamp was adopted as the shoreline position for that time. As shown in Fig. 2b, averaging the time-series waveforms obtained from multiple transects helped offset noise effects and extract robust time-series waveforms (for the parameters in the above processes, please refer to the Supplementary Material Table S1). Afterward, the time-series data were interpolated at 1-s intervals, regarding the image at 16:00:00 as the zero point. To validate the time-series data extracted, we compared their waveforms and spectral characteristics with the wave observations at Tanaka and Toyama (indicated by blue dots in Fig. 1). Spectral analysis was conducted using the Welch method from the scipy.signal library (version 1.11.4), implemented in Python. We primarily used the default parameters of the library to ensure the reproducibility of the analysis. For detailed information on the method and its default parameters, please refer to the SciPy documentation (https://docs.scipy.org/doc/scipy/reference/generated/scipy.signal.welch.html, last accessed April 20, 2024). Data sampling frequencies were set at 1 Hz for CCTV and 2 Hz for DWDM observations, covering the analysis period from 16:00 to 16:59. Given the specific challenges of detecting tsunami-related components within this limited dataset, the window length for spectral analysis was set equal to the data length. Additionally, to eliminate the influences of wind waves and swells from the full-time series, a fourth-order Butterworth low-pass filter, also from the SciPy library, was employed (the fourth step in Fig. 2a).
Extraction results of waveforms and comparison of spectral characteristics
In the power spectral density (PSD) analysis (Fig. 4), Yokoyama and Tanaka exhibit the remarkably similar shape of the PSD distributions (e.g., 100–200 s, 200–300 s, 400–500 s, and 885 s), with the highest PSD peaks at Yokoyama was 393 s, and Tanaka was 443 s. The peak at 885 s is unique and not observed at other locations, while a common spectral peak at 400–500 s is present in all locations. Ekko displays a peak at 590 s, but a peak at 272 s is also notably prominent, resembling the trend in Toyama, where 295 s is predominant. This similarity might be attributed to Ekko’s proximity to Toyama Bay, closer than any other location. Furthermore, all locations show relatively large peaks within the 100–200 s range. Such consistency suggests that approximately 100–200 s, 200–300 s, 400–500 s, and 885 s may represent the spectral characteristics of this tsunami event in the northeastern part of Toyama Prefecture.
For waveforms, only Yokoyama’s result is mentioned due to space constraints. In Fig. 5, the extracted time-series waveforms are represented by a gray line. In contrast, a red line depicts the low-pass filtered waveform with a 20-s cutoff period determined from spectral analysis (see Fig. 4). Both the original and the low-pass filtered waveforms for Shimoiino and Ekko are presented in Fig. 1. It should be noted that the mean water level, calculated from the overall analysis window from 16:00 (start of the analysis) to 16:59 (end of the analysis), was set to zero.
For Yokoyama, significant peaks in water level deviation were detected in the filtered waveform at approximately 16:21, 16:24, 16:28 (with the lowpass-filtered maximum run-up height above the mean water level being 2.98 m), 16:36, 16:41, 16:43, and 16:53. Tanaka is a location situated approximately 2 km away from Yokoyama, observed from a position just offshore. The peaks in the filtered waveforms at Tanaka around 16:21, 16:28 (with the maximum wave height being 1.37 m), 16:34, 16:42, 16:51, and 16:56 align well with the times of significant water level deviations observed in Yokoyama. Yokoyama exhibits a slightly delayed phase by several tens of seconds, especially noticeable until around 16:40 compared to Tanaka. This delay is reasonable, given that Tanaka is located slightly offshore, while observations in Yokoyama are made from the shoreline at the coastal dike. Moreover, gentler sea surface elevations in Toyama were observed around 16:30–40. Given the Toyama wave observation station is located further south from Yokoyama and Tanaka and further from the fault, it suggests that these fluctuations could be attributed to tsunami components.
Including Shimoiino and Ekko, significant deviations in water levels were observed in the northeastern part of Toyama Prefecture (excluding Toyama) around 16:27–28 and 16:33–36, as well as before and after these times. While the fault in the northern part of the Noto Peninsula, which triggered the Mw 7.5 earthquake, is identified as a potential wave source, the relatively early arrival of the wave peak before 16:27–28 suggests that this fault alone may not fully account for the observations. A numerical simulation using the fault model from the GSI (2024) (Supplementary Material Figure S1) also suggest that additional factors, such as landslides, might have contributed to these relatively early waves. It should be noted that while the results from Fujii and Satake (2024) offer preliminary support for the simulation, the fault model remains uncertain and necessitates further detailed validation.
Limitations of the presented method and potential for real-time tsunami detection
Overcoming obstacles for real-time tsunami detection is crucial, with the primary challenge being the differentiation of tsunami-induced waveform peaks from other disturbances. For instance, in Yokoyama, distinct peaks are observed at 16:28 and 16:36, among others at 16:18–16:21, and even before the earthquake. Distinguishing tsunami signals amidst noisy waveforms in Shimoiino and Ekko proves difficult with the current method. Typically, two types of noise exist: wave-originated errors (e.g., effects of topography, wave setup, or wave reflections) and inaccuracies in shoreline detection. The latter includes data affected by seismic motion blurring, observed explicitly in Shimoiino and Ekko around 16:10 (Fig. 1) (especially, it should be noted that a sharp negative WLD (water level deviation) observed around 16:10 in Shimoiino was noise caused by the camera angle being shaken by the earthquake tremors, leading to the failure of shoreline detection. Therefore, it is important to clarify that an actual decrease in WLDs, as would appear in time-series waveforms in Fig. 1, did not occur).
For the former, our study’s limited pre-earthquake data (16:00–16:10) restricted a comprehensive analysis of non-tsunami conditions and removing these noises. For the latter, post-inundation wet conditions at Yokoyama after the 16:28 run-up improved shoreline detection (with roughly a 0.5 m error margin as a common measure), yet pre-16:28 low WLDs frequently caused edge detection failures, indicating potential errors of up to around 1 m.
It is worth noting that this study emphasized developing detection methods that are as versatile as possible, focusing on a balance between minimizing errors and ensuring adaptability across various sites as a prototype. However, the applicability to other sites has not been verified, and this method may not necessarily be optimal for addressing the above trade-offs, necessitating further investigation.
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https://www.news-medical.net/news/20230425/Did-a-military-lab-spill-anthrax-into-public-waterways-New-book-reveals-details-of-a-US-leak.aspx
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Did a military lab spill anthrax into public waterways? New book reveals details of a US leak
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2023-04-25T06:32:00-04:00
|
Unsterilized laboratory wastewater from the U.S. Army Medical Research Institute of Infectious Diseases at Fort Detrick, Maryland, spewed out the top of a rusty 50,000-gallon outdoor holding tank, the pressure catapulting it over the short concrete wall that was supposed to contain hazardous spills.
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News-Medical
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https://www.news-medical.net/news/20230425/Did-a-military-lab-spill-anthrax-into-public-waterways-New-book-reveals-details-of-a-US-leak.aspx
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Unsterilized laboratory wastewater from the U.S. Army Medical Research Institute of Infectious Diseases at Fort Detrick, Maryland, spewed out the top of a rusty 50,000-gallon outdoor holding tank, the pressure catapulting it over the short concrete wall that was supposed to contain hazardous spills.
It was May 25, 2018, the Friday morning before Memorial Day weekend, and the tank holding waste from labs working with Ebola, anthrax, and other lethal pathogens had become overpressurized, forcing the liquid out a vent pipe.
An estimated 2,000-3,000 gallons streamed into a grassy area a few feet from an open storm drain that dumps into Carroll Creek — a centerpiece of downtown Frederick, Maryland, a city of about 80,000 an hour's drive from the nation's capital.
But as the waste sprayed for as long as three hours, records show, none of the plant's workers apparently noticed the tank had burst a pipe. This was despite the facility being under scrutiny from federal lab regulators following catastrophic flooding and an escalating series of safety failures that had been playing out for more than a week.
***
Before the outdoor tank failed, there had already been breaches of other lab waste storage tanks inside the sterilization plant.
On May 17, 2018, in the wake of devastating storms, workers at Fort Detrick discovered that the plant's basement was filling with water that would reach 4 to 5 feet deep. Some of it was rainwater seeping in from outdoors. But a lot was fluid leaking from the basement's long-deteriorating tanks that held thousands of gallons of unsterilized lab wastewater.
As basement sump pumps forced floodwater into these tanks, the influx disgorged lab waste through cracks along the tops of the tanks, sending it streaming back toward the floor.
The steam sterilization plant, referred to as "the SSP," was built in 1953. It was designed to essentially cook the wastewater that flowed into it from Fort Detrick's biological laboratories, ensuring that all deadly pathogens were killed before the water was released from the base into the Monocacy River.
USAMRIID's safety protocols called for a two-step kill process for lab wastewater. Before it was sent down drains into Fort Detrick's dedicated laboratory sewer system for heat treatment at the plant, lab workers were supposed to pretreat potentially infectious liquids with bleach or other chemicals.
But chemical disinfection can be tricky. To be effective, it requires workers to use the right kind of disinfectant at the right concentration and, importantly, to ensure that the disinfectant remains in contact with the microbes long enough to kill them.
Any living organisms left behind could multiply.
Despite the plant's importance to protecting public health, by May 2018 it had become a rusting, leaking, temperamental hulk.
It was 65 years old and was supposed to have been torn down already. But a replacement plant completed at a cost to taxpayers of more than $30 million had suffered a "catastrophic failure" in 2016 and couldn't be repaired, records show.
So even though the sterilization plant was in significant disrepair, USAMRIID still used it, with a much smaller amount of waste coming from a U.S. Department of Agriculture lab that worked with weeds and plant diseases.
On a typical day in 2018, state records show, these facilities sent about 30,000 gallons of laboratory wastewater into the plant, which had five 50,000-gallon storage tanks in its basement, plus an additional nine interconnected 50,000-gallon storage tanks outside.
Fort Detrick officials had been aware for some time that the tops of the aging basement storage tanks had multiple leaks caused over the years by chlorine gases accumulating on the surface of the wastewater, according to a state investigation report of the incident and the Army garrison's responses to questions.
It was so much of an issue that the garrison's Directorate of Public Works employees, who operated the plant, had to make sure the tanks didn't ever fill up completely or else the potentially infectious water would spill out.
Their workaround was to try to limit the amount of waste in each basement tank to about half capacity. But the flooding in May 2018 made that impossible because the sump pumps were sending so much water into the sterilization system.
Lab inspectors from the Centers for Disease Control and Prevention had apparently failed to recognize the plant was in such disrepair. The CDC offered no explanation of how the problems were missed, but after the incident it created a new policy and task force for overseeing labs' wastewater decontamination systems.
Samuel Edwin, director of the CDC's select agent regulatory program, did not grant an interview. Two years before the plant flooded and failed, the CDC had hired Edwin from USAMRIID, where he had spent eight years as the biological surety officer and responsible official in charge of making sure USAMRIID's labs complied with federal regulations.
Edwin, in an emailed statement, said he wasn't aware of any corrosion or leak issues while he worked at USAMRIID.
Federal Select Agent Program regulators from the CDC inspected the plant annually, Edwin said, adding: "FSAP did not observe, and I did not report, any issues with the SSP during this time."
Four days after the plant flooded, CDC inspectors arrived at Fort Detrick and spent May 21 and 22, 2018, inspecting the facility. As the CDC inspectors left Fort Detrick, they allowed USAMRIID to resume some research activities.
The long Memorial Day weekend was coming up, and the weather forecast showed more rain headed toward Frederick. To protect the plant against further flooding, a decision was made to pump the water inside the basement's waste storage tanks into the auxiliary tanks outdoors. The hope was to free up an additional 80,000 gallons of capacity, Fort Detrick said in response to questions.
Things didn't go as planned.
Somewhere along the way, an automatic shut-off feature designed to keep the outdoor tanks from overfilling was deactivated, Fort Detrick officials later said in response to questions.
***
It was an employee of the National Cancer Institute, which has a research building at Fort Detrick near the plant, who spotted wastewater spewing from an outdoor wastewater tank, over the containment wall, and into a grassy area with an open storm drain inlet that sends runoff into Carroll Creek, according to records and Fort Detrick's responses to questions. The person called it in to the "trouble desk" of the garrison's Directorate of Public Works on that Friday morning, May 25.
But nobody checked on the tank until noon, Fort Detrick said. The dispatched workers reported back that they didn't see any leaking fluid. They checked the tanks again at 2 p.m. and still saw nothing. So nothing was done.
If not for the persistence of the unidentified National Cancer Institute employee, the leak would have been ignored.
On the Wednesday after the holiday, that person contacted the Fort Detrick safety manager. They wanted to follow up on their previous report — and this time they provided photos proving the tank had been spraying wastewater nearly a week earlier.
The photos got the base's attention.
The Fort Detrick Command was immediately notified. So was USAMRIID's leadership.
But another day passed before anyone alerted state and local authorities.
***
A significant question remained: What was in the lab wastewater that spewed out of the tank?
If viable organisms like anthrax bacteria had been sent into public waterways, the consequences could be disastrous for USAMRIID, Fort Detrick — and the CDC regulators who allowed them to keep operating despite the jury-rigged sterilization plant.
The risk that people or animals would become infected was probably low, with any organisms likely reduced below infectious levels as the waste became diluted by the floodwaters still surging through the area's streams and rivers. But public backlash and headlines were certainties.
So, what was in the wastewater?
Nobody seemed to be looking very hard to find out.
USAMRIID and Fort Detrick officials offered only generalized assurances that their tests hadn't detected any pathogens. But they would not release copies of testing reports.
Rather than serve as watchdogs in the public interest, all levels of government seemed to largely defer to USAMRIID and its expertise — despite the organization's egregious safety breach and potential self-interest in damage control.
In the weeks before the tank started spewing wastewater, USAMRIID had been experimenting with 16 organisms, and lab officials said they had tested the concrete pad and the ground adjacent to the tanks and hadn't detected any of them. Anthrax was the organism of greatest concern because of its ability to persist in the environment, something many pathogens can't do for very long.
Other organisms that were possibly in the wastewater were Ebola virus, Lassa fever virus, Junín virus, Marburg virus, Venezuelan equine encephalitis virus, eastern equine encephalitis virus, Crimean-Congo hemorrhagic fever virus, Nipah virus, Burkholderia pseudomallei, Burkholderia mallei, Francisella tularensis, western equine encephalitis virus, Dobrava-Belgrade virus, Seoul virus, and Chikungunya virus.
But all test results were negative, USAMRIID officials said.
How meaningful was USAMRIID's testing?
USAMRIID and Fort Detrick officials didn't do any environmental tests until May 31 and June 1 — about a week after the tank overflowed. By then, it had rained, which, in response to questions, USAMRIID acknowledged would have had a "dilutional effect" if any pathogens had been present.
Did USAMRIID test two samples or 20 samples or 200 samples? What were the detection limits of the testing methods used? How might the rain — or wind or sunlight — have affected the ability of the tests to detect organisms a week after their release?
USAMRIID and Fort Detrick officials would not release copies of the testing reports. For months, they wouldn't even say how many samples were tested.
"The test plan was reviewed and approved by the CDC," USAMRIID said in a written statement.
CDC lab regulators said USAMRIID developed and conducted its own testing.
"USAMRIID test results indicated the public health risk associated with any potential release was negligible; however, you would need to contact USAMRIID for full information about the testing methods and results," the CDC said.
Eventually, after months of requests, USAMRIID said its testing to determine whether pathogens had escaped involved just five swab samples collected from "various locations" at the plant.
As further evidence that no deadly microbes had escaped, records show that Army officials noted to state and local officials — without providing reports or details — that they had done additional validation testing inside USAMRIID's laboratories that showed lab drains contained sufficient disinfectant to kill anything poured down them. The implication was that there was no risk from the plant's unsterilized wastewater and that the heat-treating process was nice, but not necessary.
Documents obtained under the Freedom of Information Act revealed that these drain tests weren't performed under real-life conditions. Instead, the Army acknowledged, they were done in empty labs where no work had been occurring and no animals were present.
Of perhaps greater concern: The drain tests were performed solely in response to the regulatory and public relations crisis from the lab leak in May 2018. It was the only time — from January 2015 through at least March 2022 — that USAMRIID had checked the adequacy of the disinfectant in its drains, the Army's FOIA response said.
[Editor's note: In 2019, federal lab regulators ordered the prestigious U.S. Army Medical Research Institute of Infectious Diseases to halt all work with dangerous pathogens, such as Ebola and anthrax, which can pose a severe threat to public health and safety.
Army officials had assured the public there was no safety threat and indicated that no pathogens had leaked outside the laboratory after flooding in 2018. But in a new book released April 25, investigative reporter Alison Young reveals there were repeated and egregious safety breaches and government oversight failures at Fort Detrick, Maryland, that preceded the 2019 shutdown. This article is adapted from "Pandora's Gamble: Lab Leaks, Pandemics, and a World at Risk."]
Excerpted from "Pandora's Gamble" by Alison Young (Copyright 2023). Used with permission from Center Street, a division of Hachette Book Group Inc.
Alison Young is an investigative reporter in Washington, D.C., and serves as the Curtis B. Hurley Chair in Public Affairs Reporting for the University of Missouri School of Journalism. During 2009-19, she was a reporter and member of USA Today's national investigative team. She has reported on laboratory accidents for 15 years for news organizations that include USA Today, The Atlanta Journal-Constitution, and ProPublica.
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Get information on the Tanegashima Space Center. The Japan Aerospace Exploration Agency (JAXA) performs various activities related to aerospace as an organization, from basic research in the aerospace field to development and utilization.
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en
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/common/images/content_images/icons/favicon.ico
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JAXA | Japan Aerospace Exploration Agency
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https://global.jaxa.jp/about/centers/tnsc/
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The Tanegashima Space Center (TNSC), is the largest rocket-launch complex in Japan with a total area of about 9,700,000 square meters. Located in the south of Kagoshima Prefecture, along the southeast coast of Tanegashima, it is known as the most beautiful rocket-launch complex in the world.
On-site facilities include the Yoshinobu Launch Complex, a launch site for large-size rockets, Spacecraft Test and Assembly Buildings, and the Spacecraft and Fairing Assembly Building. Using those facilities, a series of operations are performed from assembling launch vehicles, maintenance, inspections, final checks of satellites, loading satellites onto launch vehicles, launches, and tracking launch vehicles after liftoff. The TNSC plays a pivotal role for satellite launches among Japan’s space development activities.
JAXA invites the public to visit our cutting edge R&D space facility to help understand our past, present and future programs and challenges. Exhibition locations in the center are categorized according to programs such as launch vehicles and space environment utilization. You can feel and touch the actual space R&D environment, including a life-size launch vehicle mock-up.
The Bus Tour can take you the launch-related facilities in the Tanegashima Space Center with explanations by the guide. We have the tours three times a day (twice a day from December to February). The tour is closed on the same day as the Museum.
Advance reservation is required and accepted from 3 months before the tour date. For reservations, please use the Space Museum Contact Form or call(+81-997-26-9244). Participation fee is free.
Please note that the course may be changed or canceled depending on the weather, launch and test schedules, etc.
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https://www.nissan-global.com/EN/PLANT/OPPAMA/
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en
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Welcome to NISSAN PLANTS
|
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Learn about the plant and book tours. When the Nissan Oppama Plant launched operations, it was the first plant in Japan to mass produce cars. The plant holds a summer festival and various events during its plant tours to establish rapport with the local community and offers several kinds of sports lessons to promote local sports.
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ja
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Nissan Motor Corporation Global Website
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https://www.nissan-global.com/EN/PLANT/OPPAMA/
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PROFILE
The Oppama Plant, which began operations in 1961 in Yokosuka City, Kanagawa Prefecture, has been a pioneer in the production of advanced vehicles, such as the Nissan LEAF, the worldâs first mass-market electric vehicle.
Since operations began, the plantâs goal of producing quality vehicles that deliver a high level of customer satisfaction continues to guide innovations in manufacturing and development of new processes.
DATA
Area: approx. 1,699,000 m²*¹ Employees: As of June 1, 2021: approx. 3,700*¹
*¹: Includes the Research Center, Oppama Proving Ground, and Oppama Wharf. Production Capacity: approx. 240,000 vehicles/year (excluding overtime and holiday operation)
Production of electric vehicles (EVs & e-Power)
The In 2010, the Oppama Plant became the first Nissan plant to start production of the Nissan LEAF, Nissan's first mass-produced electric vehicle (EV). In 2016, it then became the first Nissan plant to start production of the Nissan Note, an e-Power vehicle that runs on electricity generated by the engine.
The plant is a pioneer in the production of electric vehicles for Nissan and continues to grow as Nissan's mother plant.
Human Resource Development
Women in the Workplace: Women in Manufacturing
Factories are mainly for men, right? Wrong! At the Oppama Plant, a variety of women are active.
Female leaders, working mothers, and a variety of people from young to experienced are working on site as "Monozukuri Girls".
The Oppama Plant supports women who seek to work in a stimulating and rewarding environment.
Coexistence of R&D, experimentation, and production SCM
The Oppama Plant not only produces cars, but also has a general research center for advanced technology research, the Oppama Proving Ground (test course) where you can check the safety and performance of cars and experience the fun of cars. It also has a dedicated wharf where about 20,000 cars can be stored and three car carriers can dock.
Mechanism improvement (Kaizen)
With the wisdom and technology of the employees working on the production line, we are constantly creating devices that use natural energy, cogs, the principle of leverage, and other structures and mechanisms to improve safety and productivity.
At the Karakuri Kaizen Kufu Exhibition 2020, "Aim and Tilt" won the Excellence Award.
Learn and experience the Nissanâs technologies and the vehicle manufacturing process in the virtual environment, where you can explore the Guest Hall of Oppama plant with a 360° view.
Visit the Virtual Tour How to enjoy the virtual tour
How to enjoy the virtual tour
Click the white circle to move in the Guest Hall.
You can also use arrow keys on a computer to
move.
View the entire space in 3D.
Switch to the first-person view.
Switch to the 3rd-person view.
Click the colored icons to see
the details of the cars and
processes.
ADDRESS
1, Natsushima-cho, Yokosuka-shi,
Kanagawa 237-8523
ACCESS
By train
Approx. 20 min. walk from Oppama Station on the Keihin Kyuko Line.
* Be careful, limited express (kaitoku) trains do not stop at Oppama Station.
When heading toward Tokyo
Change at Kanazawa-bunko Station or Kanazawa-hakkei Station to a limited express (tokkyu) train bound for Misakiguchi or a local train bound for Uraga
* Be careful, trains heading to Zushi-Hayama do not go to Oppama Station.
When heading away from Tokyo
Change to a local train at Yokosuka-chūo Station.
By bus from Oppama Station
Take a Keihin Kyuko bus from the No. 2 bus stop at Oppama Station. It takes about 5 min.
Take a bus bound for âTa 17 Taura Station (ç°17 ç°æµ¦é§ )â or a âO 7 Fukaura Loopâ (追7 深浦循ç°) Bus from the No. 2 bus stop.
Get off at the Nissan Jidosha Mae bus stop.
By car
When heading toward Tokyo
About 15 min. from Sachiura Interchange on the Metropolitan Expressway Bayshore Route
About 15 min. from Asahina Interchange on Yokohama Yokosuka Road.
When heading away from Tokyo
About 15 min. from Zushi Interchange on Yokohama Yokosuka Road.
Enter the following phone number in a car navigation system to set the destination to the area around the main gate of the Oppama Plant.
Kanagawa Nissan Oppama
Office Phone: +81 (0)46-866-1123
The Guest Hall is located immediately to the left after entering through the Oppama Plant main gate.
REQUESTS
1) Inquiries regarding plant tours
Oppama Plant Guest Hall, Nissan Motor Co., Ltd.
+81 (0)46-867-5013
2) Inquiries regarding the plant
Oppama Plant, Nissan Motor Co., Ltd.
Human Resources and Administration Department
General Affairs Section
+81 (0)46-867-5000
FOR DOMESTIC
NISSAN LEAF
Renewed October 2021
NOTE
Renewed October 2021
NISSAN AURA
Renewed October 2021
1961 Central Research Laboratory (currently the Research Institute) and Oppama Proving Ground completed
Started production of BLUEBIRD. 1978 Cumulative production reaches 5 million units 1988 Received TP (Total Productivity) Award 1992 Deming Prize Office Commendation
Cumulative production reaches 10 million units. 1994 Acquired ISO9002 certification, an international standard for quality control and quality assurance 1996 Received TPM (Total Productive Maintenance) Award, Category 1 1997 Obtained ISO 14001 certification, an international standard for environmental management 1998 Awarded "Kanagawa Prefecture Community Symbiosis Factory" prize 2003 Start production of CUBE
2006 Opened Global Training Center 2007 Cumulative production reaches 15 million units 2010 Start production of JUKE and NISSAN LEAF 2011 50th Anniversary 2012 Start production of SYLPHY 2014 Number of visitors reaches 3.1 million 2016 Start production of NOTE e-POWER 2018 Start production of NISSAN LEAF e+
NOTE becomes first Nissan car ever to obtain No.1 registered vehicle
View more
10â The special summer event has been conducted!â
How have you getting along with the continuing harsh summer heat lately?
In this summer, we are carrying out âOn-line Tour of Oppama Plantâ which you can participate in the Plant Tour from home!
On July 17th, as an special event, we had âLet's ask these Experts! We are the Research Team of Oppama Plant!â, the event which these expert members who work at the plant answer questions from our guests.
There were a lot of questions such as âWhat was your childhood dream?â, âWhat is the hardest thing when you are working?â, and more from these children who attended the events, and the Experts members also had a fun time thereâª
We asked these Expert members who attended the on-line tour about the impression of the event!
It is said that children leave cars, but I was surprised they were familiar with Nissan cars.
I think that it is necessary not only to manufacture the vehicles but also to study about complete structure of them.
It was a valuable experience for me, and I realized that they have high interest in Nissan cars as their questions were really specific.
We will do our best to make our workplace more amazing for those who attend our Plant Tours.
I was surprised that these children were very knowledgeable when we talked with them.
I would like to appreciate these Nissan funs children's feelings and keep manufacturing high quality and attractive cars in the future.
We are planning special tours on national holidays and etc.
We will inform you detailed information by posting on our Plant Tour Reservation Site.
Please check it and we are looking forward to your participation!
August 4, 2023
09â Whale in Oppama Plant!?â
Do you know what it is?
The answer is ... a wind generator!
On the premises of Oppama Plant, solar panels are installed as well and electricity generated from these solar panels is used in our Guest Hall.
For conserving the global environment, Nissan Motor Corp. will make efforts to generate more electricity from the power of nature.
When you visit Oppama Plant, please find where are the wind generator and solar panelsâª
June 9, 2023
08â Spring special event was held!â
We had a spring special event for kids!
After learning how to manufacture a car, Nissan car designers taught our guests how to paint a carâª
Both adults and kids look serious ã»ã»ã»â
After painting, I applied the magical powder and it's completedï½ï¼ï¼
It would be more dimensional look by considering these angles of the light when painting.
After painting, we had Q&A time to these designers!!
When it comes to car design from where to start thinking? How to be a car designer? And so on.
The designers answered their questionsâª
It was enjoyable memories for our guests in their spring vacations.
Please look forward to our next event as we are planning one!
07â Everyone, letâs take Plant Tours in the spring vacation!â
Now we are having one cold day after another, and can't wait for warm spring.
The spring vacation season in 2023, we are conducting Plant Tours for the general public, too and it is the first time in about 3 years.
As we are preparing Tours both âTours for Adultâ and âTours for Childrenâ, Please come and take our tours with your family members and your friends.
We are looking forwards to seeing you then!
The reservation will be accepted from 8:00 in the morning on the same day 3 months ago.
06Yokohama F. Marinos becomes the J1 Champion!
Yokohama F. Marinos won the J1 League for the 5th time after 3 years on November 5th. We are so happy that we have been rooting for the team with Nissan bear. We celebrate for Yokohama F. Marinos with the comments, âCongratulations for winning!â, at these Guest Halls of each plant in Iwaki, Tochigi, Yokohama, and Kyushu.
Please take a look at these comments when you visit us.
05â Go undercover at Oppara Plant Guest Hallâ
Mr. NISSANãBear, letâs try âAR SCOPE ARIYAâ using tablet at Guest Hall where expanding the world of Nissan vehicle manufacturing!
You can learn about the latest technology of NISSAN ARIYA on the latest AR.
There are pictures of our successive cars manufactured at Oppama Plant displayed on luggage lockers at the entrance of the Guest Hall.
You are so savvy about NISSAN if you know the names and manufactured years of these cars!?
Letâs find out your favorite car there.
The latest VR technology âVirtual Tourâ is available at anytime, by anybody, and you can go undercover wherever you like at Guest Hall.
Letâs give it a try.
https://www.nissan-global.com/EN/PLANT/OPPAMA/#virtualtour
Please visit us and try it.
04Online plant tour for elementary school children nationwide!!
We started the online program for school children in September 2020 and could receive so many applications.
Happy things we could guide them in all 47 prefectures!
We also provide special contents such as places that can only be seen by online.
We are very pleased to receive many cheer-up comments and thank-you letters in various areas.
We sincerely look forward to meeting you!
03We've got a cute visitor.
DB.Starman, the mascot of the Yokohama DeNABay Stars, came to visit us.
He happily explored the guest hall and the car production lineâª
He was very popular with the factory staff!
02The new NOTE is here.
The new NOTE, which is being built at the OppamaPlant, is now on display in the Guest Hall!
It has a sophisticated design that surpasses the common sense of compact cars, and the front grille is inspired by the Japanese traditional craft of Kumiko.
The guest hall director's pocket square has the same Kumiko design as the new NOTE.
01Thank you for the nice letter!
Since September, we have been offering online plant tours to elementary school students from various regions to explore the world of car manufacturing at the OppamaPlant through a screen.
The other day, we received a very cute thank-you note from an elementary school in Fukuoka Prefecture that participated in the online tour!
One of the charms of the online tour is that it allows us to connect with people in distant regions.
LATEST EVENT INFORMATION
There are no events currently scheduled. We will update and inform you of future events here.
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https://worldwidescience.org/topicpages/h/hiroshima%2Bbay%2Bjapan.html
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hiroshima bay japan: Topics by WorldWideScience.org
|
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Study on origin and sedimentary environment of marine sediments from Kii Channel, Hiroshima Bay and Tosa Bay
International Nuclear Information System (INIS)
Suzuki, Misaki
2008-01-01
The trace amounts of elements in the sediments of sea bottom in Kii Channel, Hiroshima Bay and Tosa Bay were determined quantitatively by the neutron activation analysis. The following facts were illustrated particularly from the quantitative analysis of scandium, rare earths, thorium and uranium: 1) It was known from Ce/La ratio that the geological feature in the west part of Japan is reflected in Kii Channel, Hiroshima Bay and Tosa Bay; 2) The rare-earth element pattern and La/Lu ratio suggest the fact that Kii Channel, Hiroshima Bay and Tosa Bay are essentially composed of the materials of which origin is land; 3) From the fact that Ce/La ratio in these sites are slightly under 1.0, these sites are considered to be affected mainly by the materials of which origin is land; 4) The sedimentary environment in the marine bottom of the Japanese coasts has been found to be mostly under a reductive state. (M.H.)
Spatial analysis of 4,5-dichloro-2-n-octyl-4-isothiazolin-3-one (Sea-Nine 211) concentrations and probabilistic risk to marine organisms in Hiroshima Bay, Japan
International Nuclear Information System (INIS)
Mochida, Kazuhiko; Hano, Takeshi; Onduka, Toshimitsu; Ichihashi, Hideki; Amano, Haruna; Ito, Mana; Ito, Katsutoshi; Tanaka, Hiroyuki; Fujii, Kazunori
2015-01-01
We analyzed the spatial distribution of an antifouling biocide, 4,5-dichloro-2-n-octyl-4-isothiazolin-3-one (Sea-Nine 211) in the surface water and sediments of Hiroshima Bay, Japan to determine the extent of contamination by this biocide. A quantitative estimate of the environmental concentration distribution (ECD) and species sensitivity distributions (SSDs) for marine organisms were derived by using a Bayesian statistical model to carry out a probabilistic ecological risk analysis, such as calculation of the expected potentially affected fraction (EPAF). The spatial distribution analysis supported the notion that Sea-Nine 211 is used mainly for treatment of ship hulls in Japan. The calculated EPAF suggests that approximately up to a maximum of 0.45% of marine species are influenced by the toxicity of Sea-Nine 211 in Hiroshima Bay. In addition, estimation of the ecological risk with a conventional risk quotient method indicated that the risk was a cause for concern in Hiroshima Bay. - Highlights: ⢠Spatial distribution analysis exhibits the dynamics of Sea-Nine 211 in Hiroshima Bay. ⢠Probabilistic ecological risk of the biocide was estimated with a Bayesian approach. ⢠Approximately up to 0.45% of marine species were possibly influenced by the toxicity. ⢠The risk analysis concludes that Sea-Nine 211 should be a priority for further work. - Spatial distribution of an antifouling biocide and quantification of its ecological risk were elucidated
Distribution of moon jellyfish Aurelia aurita in relation to summer hypoxia in Hiroshima Bay, Seto Inland Sea
Science.gov (United States)
Shoji, Jun; Kudoh, Takaya; Takatsuji, Hideyuki; Kawaguchi, Osamu; Kasai, Akihide
2010-02-01
Biological and physical surveys were conducted in order to investigate the relationship between environmental conditions and the distribution of moon jellyfish Aurelia aurita in Hiroshima Bay, western Seto Inland Sea, Japan. Moon jellyfish and ichthyoplankton were collected at 13 stations in Hiroshima Bay during monthly surveys from July to September in 2006 and 2007. Surface temperature in 2006 was significantly lower during the August and September cruises and surface salinity was lower during all cruises than in 2007. Moon jellyfish was the most dominant gelatinous plankton collected, accounting for 89.7% in wet weight. Mean moon jellyfish abundance in 2006 was higher than that in 2007 from July through September, with significant inter-year differences for July and September. Variability in precipitation and nutritional input from the Ohta River, northernmost part of Hiroshima Bay, were suggested as possible factors affecting the inter-annual variability in moon jellyfish abundance in the coastal areas of northern Hiroshima Bay. Moon jellyfish were more abundant in the coastal areas of northern Hiroshima Bay, where the dissolved oxygen (DO) concentration was lower, while low in the central part of the bay. Japanese anchovy Engraulis japonicus eggs were most dominant (58.1% in number) among the ichthyoplankton and were abundant in the central area of Hiroshima Bay. Explanatory analysis was conducted to detect possible effects of environmental conditions on the abundance of moon jellyfish and Japanese anchovy eggs during the summer months in Hiroshima Bay. Of the environmental conditions tested (temperature, salinity and DO of surface and bottom layers at each sampling station), bottom DO had the most significant effect on the moon jellyfish abundance: there was a negative correlation between the bottom DO and the moon jellyfish abundance in Hiroshima Bay during summer.
Plutonium characteristics in sediments of Hiroshima Bay in the Seto Inland Sea in Japan
International Nuclear Information System (INIS)
Zhiyong Liu; National Institute of Radiological Sciences, Chiba; Jian Zheng; Masatoshi Yamada; Hirosaki University, Hirosaki, Aomori; Shaoming Pan; Hodaka Kawahata
2011-01-01
Sediment core samples were collected from Hiroshima Bay in the Seto Inland Sea, western Northwest Pacific Ocean, and their 239+240 Pu activities and 240 Pu/ 239 Pu atom ratios were determined by sector field ICP-MS. The activities of 239+240 Pu ranged from 0.556 ± 0.025 to 0.745 ± 0.023 mBq/g. The atom ratios of 240 Pu/ 239 Pu were almost constant within the whole depth; the average value was 0.227 ± 0.014. This atom ratio was significantly higher than the mean global fallout ratio of 0.18, proving the presence of close-in fallout Pu that originated from the Pacific Proving Ground (PPG). The water masses exchanges between the Kuroshio Current and the Seto Inland Sea brought the PPG source Pu to this area, then Pu was extensively scavenged into sediment particles supplied by the rivers around the bay. The relative contributions of the global fallout Pu and the PPG close-in fallout Pu were evaluated by the two end-member mixing model. The contribution of the PPG close-in fallout was 38-41% of the total Pu in sediment. The remaining 59-62% was attributed to direct global fallout and the land-origin Pu transported by the rivers around the Hiroshima Bay. (author)
Japan - From Hiroshima to Fukushima
International Nuclear Information System (INIS)
Pons, Philippe; Guillain, Robert; Pedroletti, Brice; Bouc, Alain; Vichney, Nicolas; Izraelewicz, Erik; Mesmer, Philippe; Fenoglio, Jerome
2013-01-01
This publication proposes a set of articles published by Le Monde and which addressed some important events of the history of the Japanese society since the destruction of Hiroshima by the first atomic bomb until the Fukushima accident. The addressed facts and events are: the destruction of Hiroshima, the surrender of Japan, the end of the peculiar status of the emperor, the strong growth period from the 1950's to the 1980's (the revival of Japanese trusts, industrial pollution in Minamata, the activists of Zengakuren, the Osaka exhibition, Mishima's suicide, nuclear and data processing are defined as national priorities), the lost decades 1990-2010 (a new emperor, the Kobe earthquake, the increasing gap between the society and the political class, life and death in Toyota, demographic decline, etc.). The last articles address the Fukushima accident, and propose some photos and an interview with the Japanese Prime Minister
The Influence of the Climate Change on Landslide Disasters in Western Japan -Hiroshima's case-
Science.gov (United States)
Kubota, Tetsuya; Aditian, Aril
2015-04-01
In last year 2014 and 2012, tremendous landslides due to heavy rainfalls occurred in western Japan. Especially in August 2014, serious landslide disasters induced by the extremely heavy rainfall caused over 70 people's death in Hiroshima. Most of them were caused by debris flows from shallow landslides on granite forest slopes on August 20. In Hiroshima, long-term increase in rainfalls was not obvious, while this trend was found in other area such as Kyushu district. However, in western Japan, the influence of climate change emerged in the increase of vapor concentration caused by rising water surface temperature in East China Sea and that brought the extreme rainfall. The landslide (debris flow) disasters in Hiroshima have distinctive characteristics in terms of followings: (1) the source of debris flows (directly flowing down from mostly shallow landslides), (2) their usual equivalent friction coefficient "Mf" i.e. relative travel distance for Granite (values between 0.174 and 0.554). (3) the peculiar meteorological condition of frontogenesis with vapor convergence on the stationary front and around the Pacific high pressure that can generate the heavy precipitation (above 101 mm/hr, total 256 mm). (4) Contrary to Mf values above, they caused heavy disaster at downstream area with the urban development on hillside slopes. We found that the Mf becomes bigger (relatively short travel distance) as the return period of disasters"Tr"becomes shorter as evaluating in the next formula: Mf = 0.278 Tr^(-3.32). If the return period becomes shorter due to climate change (it is possible), Mf may become bigger. However, the cities such as Hiroshima, Kobe or Nagasaki in western Japan which have the urban area at hillside will be more prone to severe debris flow disasters. (5) Also, theoretically, we may have more slope failures and debris flows per area "N/A" if the rainfall increment "dR" increases. The "increasing ratio in N/A" is given by next equation: (N/A)/(N0/A)=((R0 + d
Hematologic studies of irradiated survivors in Hiroshima, Japan. Refractory anemia occurring in survivors of the atomic bombing in Nagasaki, Japan
Energy Technology Data Exchange (ETDEWEB)
Yamasowa, Yoshimichi; Lange, R D; Wright, S W; Tomonaga, Masanobu; Kurasaki, Hirotami; Matsuoka, Shigeru; Matsunaga, Haruji
1959-01-01
This document contains 2 reports on the effects of radiation on the survivors of the atomic explosions in Hiroshima and Nagasaki. The first report is a hematologic survey conducted 33 to 44 months after the detonation of the atomic bomb in Hiroshima, Japan. The hematologic findings on a total of 824 survivors are compared with those on a control group of 1145 residents of Kure. Although statistical differences are apparent in the two groups, when one takes into account errors inherent in the hematologic methods themselves and differences in the possible incidence of parasitism and nutrition it would be unwarranted to attribute the slight changes found to radiation effect. The data presented here seem to indicate that radiation resulting from the explosion of the atomic bomb in Hiroshima, on August 6, 1945, has not significantly varied the hematologic values as analyzed in this report over a three-to four-year period. In the second report, the case histories of six Nagasaki atomic bomb survivors who developed refractory anemia are presented. Four of these individuals received undoubted radiation injury. The fact that refractory anemia may occur as a late manifestation of exposure to atomic radiation is pointed out. 15 references, 5 figures, 2 tables.
PREFACE: International Conference on Quantum Simulators and Design, Hiroshima, Japan, 3 6 December 2006
Science.gov (United States)
Akai, Hisazumi; Oguchi, Tamio
2007-09-01
This special issue of Journal of Physics: Condensed Matter comprises selected papers from the 1st International Conference on Quantum Simulators and Design (QSD2006) held in Hiroshima, Japan, 3-6 December 2006. This conference was organized under the auspices of the Development of New Quantum Simulators and Quantum Design Grant-in-Aid for Scientific Research on Priority Areas, Ministry of Education, Culture, Sports, Science and Technology of Japan (MEXT), and Hiroshima University Quantum design is a computational approach to the development of new materials with specified properties and functionalities. The basic ingredient is the use of quantum simulations to design a material that meets a given specification of properties and functionalities. For this to be successful, the quantum simulation should be highly reliable and be applicable to systems of realistic size. A central interest is, therefore, the development of new methods of quantum simulation and quantum design. This includes methods beyond the local density approximation of density functional theory (LDA), order-N methods, methods dealing with excitations and reactions, and so on, as well as the application of these methods to the design of new materials and devices. The field of quantum design has developed rapidly in the past few years and this conference provides an international forum for experimental and theoretical researchers to exchange ideas. A total of 183 delegates from 8 countries participated in the conference. There were 18 invited talks, 16 oral presentations and 100 posters. There were many new ideas and we foresee dramatic progress in the coming years. The 2nd International Conference on Quantum Simulators and Design will be held in Tokyo, Japan, 31 May-3 June 2008.
Hiroshima - the effects of the atom bomb
International Nuclear Information System (INIS)
McClelland, M.
1977-01-01
The author, a nurse, describes her personal impressions of a visit to Hiroshima in 1977 and of the medical and nursing facilities available for atomic bomb survivors in Japan. The findings of the Radiation Effects Research Foundation are briefly summarized. Hiroshima's Red Cross Hospital, recently re-built, cares for some of the survivors. The problems of discrimination against the survivors in employment and in society are discussed. (U.K.)
Autopsy study of small cardiac scars in Japanese men who lived in Hiroshima, Japan and Honolulu, Hawaii
International Nuclear Information System (INIS)
Steer, A.; Lee, S.S.; Stemmermann, G.N.; Yamamoto, Tsutomu; Rhoads, G.G.
1978-10-01
Japanese men long resident in Honolulu, Hawaii have significantly more ischemic heart disease, but significantly fewer small cardiac scars than men in Hiroshima, Japan. These scars occur in three forms: 1) small scars in the mural myocardium which account for the difference in frequency of small lesions in the two cities, and are of uncertain etiology; 2) areas of diffuse fibrosis in the papillary muscles. These are equally frequent in the two cities, and are associated with advancing age and sclerosis of papillary muscle arteries; and 3) focal scars in the papillary muscles. These are more frequent in Honolulu than Hiroshima. They are healed infarcts due to ischemic heart disease and are associated with a severe degree of extramural coronary artery sclerosis. Small mural myocardial scars, when present, are usually found in multiple sites, and are not related to age at death or heart weight. They are more common in the presence of sclerosis of intramural small arteries, but this association does not explain their more frequent occurrence in Hiroshima. There is no evidence that they are related to A-bomb radiation exposure. (author)
An autopsy study of cerebrovascular disease in Japanese men who lived in Hiroshima, Japan and Honolulu, Hawaii
International Nuclear Information System (INIS)
Mitsuyama, Yoshio; Thompson, L.R.; Hayashi, Takuji; Lee, K.K.; Keehn, R.J.
1979-01-01
Evidence of cerebrovascular disease at autopsy was compared in two groups of men, 186 long time residents of Hiroshima, Japan and 253 men of Japanese ancestry long resident in Honolulu, Hawaii. They were from 45 to 71 years of age at death. Atherosclerosis of the circle of Willis and its major branches, sclerosis of the intraparenchymal arteries and the frequency of cerebral hemorrhage and cerebral infarct were compared in the two populations. The Honolulu subjects had significantly more atherosclerosis of the circle of Willis, but less intraparenchymal artery sclerosis and less cerebral infarction. Cerebral hemorrhage was equally frequent in the two cities. It was concluded that cerebral infarction is more frequent in Japanese men in Hiroshima than Honolulu, and that men of Japanese ancestry in Honolulu are spared an appreciable risk of cerebral infarction through decreased frequency of intraparenchymal arterial sclerosis despite higher levels of atherosclerosis of large intracranial arteries. (author)
Atmospheric formaldehyde and acetaldehyde at the campus University of Hiroshima, Japan
Directory of Open Access Journals (Sweden)
Sonia Naomi Nomi
2010-09-01
Full Text Available Ambient levels of formaldehyde (HCHO and acetaldehyde (CH3CHO were measured at Hiroshima (Japan during spring and summer of 2005. Measurements of O3, NOx, and SO2 were simultaneously conducted, in an attempt to identify temporal profiles and sources for these aldehydes. Atmospheric aldehydes were collected using C18 silica gel cartridges coated with an acidic solution of 2, 4-dinitrophenylhydrazine (2,4-DNPH and analyzed by high performance liquid chromatography with UV/VIS detection adjusted to 360 nm. Summer concentrations were higher than spring levels. FA concentrations during spring period ranged from 0.50 to 1.05 ppb and AA concentrations ranged from 0.17 to 1.31 ppb; during summer their concentrations ranged from 1.55 to 4.12 ppb and 0. 34 to 2.03 ppb. Average FA/AA in spring and summer were 3.09 and 3.72 suggesting biogenic emissions of aldehydes. The levels of FA and AA, their temporal variations, and their concentration ratio (FA/AA indicated that photochemical reactions contributed significantly to the formation of atmospheric aldehydes at the study site.
Spatial distribution and dietary overlap between Japanese anchovy Engraulis japonicus and moon jellyfish Aurelia aurita in the Seto Inland Sea, Japan
Directory of Open Access Journals (Sweden)
Jun Shoji
2009-10-01
Full Text Available Biological and physical surveys were conducted in order to investigate the relationship between environmental conditions and the distribution of ichthyoplankton and jellyfish, and dietary overlap between the ichthyoplankton and jellyfish in the Seto Inland Sea (SIS, Japan. Ichthyoplankton, copepods, and jellyfish were collected during two cruises in July 2005 in the Sea of Hiuchi and in July 2006 in Hiroshima Bay within the SIS. Sea surface temperature (ËC, salinity, bottom-layer dissolved oxygen (mg l-1 and the abundance (no. m-2 of fish eggs and larvae were significantly higher in the Sea of Hiuchi. Japanese anchovy was most dominant (69.3% in number of eggs and 52.3% in number of larvae among the ichthyoplankton. Mean jellyfish biomass (g m-2 in Hiroshima Bay was significantly higher (50-folds than that in the Sea of Hiuchi. Moon jellyfish was the most dominant among the jellyfish collected, accounting for 85.6% in wet weight. Surface temperature had a significant effect on fish egg and larval distribution: abundance of fish eggs and larvae increased with increasing temperature. Jellyfish abundance was negatively correlated with the bottom-layer oxygen concentration. Stable isotope analysis indicated dietary overlap between the Japanese anchovy and the moon jellyfish in Hiroshima Bay.
An Attempt to Measure the Gamma Radiation Dosage at Hiroshima from Photosensitive Material
Energy Technology Data Exchange (ETDEWEB)
Brixner, Berlyn [Los Alamos National Lab. (LANL), Los Alamos, NM (United States); McmIllan, Edwin [Los Alamos National Lab. (LANL), Los Alamos, NM (United States); Meade, Roger Allen [Los Alamos National Lab. (LANL), Los Alamos, NM (United States)
2016-09-23
After Japan surrendered in August 1945, a team of Los Alamos scientists entered both Hiroshima and Nagasaki to assess the damage of Little Boy and Fat Man. Two of these scientists, Berlyn Brixner and Edwin McMillan, discovered a stock of photographic film in Hiroshima that had been fogged by the gamma radiation from Little Boy. They devised an experiment that they thought might be used to determine the exposure levels in the city. Below is both their description of the film stock and the attempt to determine the exposure levels at Hiroshima.
Epidemiology of diabetes mellitus in Hiroshima and Nagasaki
Energy Technology Data Exchange (ETDEWEB)
Freedman, L R; Blackard, W G; Sagan, L A; Ishida, Morihiro; Hamilton, H B
1965-06-10
Data have been presented on the finding of glycosuria and the diagnosis of diabetes mellitus during four years of a long-term study of the health of population samples of Hiroshima and Nagasaki. Diabetes and glycosuria are much more common in Hiroshima than in Nagasaki and in both cities these findings are more frequent in males than in females. The prevalence of diabetes appears to be increasing in Hiroshima males. Findings in diabetics were compared with nondiabetics. In general, Japanese diabetics are similar to diabetics in other countries concerning their increased risk of obesity, hypertension, proteinuria, hypercholesterolemia, and cardiovascular and cerebrovascular diagnoses. This is of particular interest in the light of evidence that ketosis and severe abnormalities of carbohydrate metabolism are rare in Japan as compared to Western countries. Despite a lower prevalance of diabetes in Japanese females than in males, the abnormalities associated with diabetes appear to occur more commonly in female diabetics than in male diabetics.
Incidence of leukemia in survivors of the atomic bomb in Hiroshima and Nagasaki, Japan
Energy Technology Data Exchange (ETDEWEB)
Folley, J H; Borges, W; Yamawaki, Takuso
1959-01-01
This document contains two reports. The aim of the first investigation was to obtain information concerning all individuals in Hiroshima and Nagasaki having onset of symptoms of leukemia or dying of the disease since the atomic explosion in 1945. Results show that: (1) There is a significant increase in the incidence of leukemia in the exposed populations of Hiroshima and Nagasaki as compared with the non-exposed populations of the two cities; (2) there is a significant increase in the incidence of leukemia within the exposed population of Hiroshima and Nagasaki in subjects exposed at distances less than 2000 meters from the hypocenter; and (3) The concept that radiation from the atomic bomb explosions in Hiroshima and Nagasaki is a leukemogenic agent in man is supported. In the second report, 10 patients were used to study the early hematologic and preclinical phases of leukemia in atomic bomb survivors. Findings are presented. 23 references, 13 figures, 15 tables.
Hematological findings for children exposed in utero - Hiroshima
Energy Technology Data Exchange (ETDEWEB)
Takamura, Tsugiso; Ueda, Shoichi
1960-01-01
For children irradiated in utero and nonirradiated children of Hiroshima hematologic findings between the years 1950 to 1957 have been compared, and no changes peculiar to the irradiated group were found. Despite several predisposing factors toward the development of iron deficiency in Japanese children, overt anemia was rare and distribution of hemoglobin levels was only slightly lower than reported for American and European children. Leukocyte levels, irrespective of age of the children, were found to be progressively falling in Hiroshima children so that by 1957 the values were distinctly lower than those reported for normal children in Japan and the United States. No cause for this change was apparent. 19 references, 7 figures, 3 tables.
Hematological findings for children exposed in utero, Hiroshima
Energy Technology Data Exchange (ETDEWEB)
Takamura, Tsugiso; Ueda, Shoichi
1959-01-01
For children irradiated in utero and nonirradiated children of Hiroshima hematologic findings between the years 1950 to 57 have been compared, and no changes peculiar to the irradiated group were found. Despite several predisposing factors toward the development of iron deficiency in Japanese children, overt anemia was rare and distribution of hemoglobin levels was only slightly lower than reported for American and European children. Leukocyte levels, irrespective of age of the children, were found to be progressively falling in Hiroshima children so that by 1957 the values were distinctly lower than those reported for normal children in Japan and the United States. No cause for this change was apparent. 19 references, 7 figures, 3 tables.
Hiroshima: A City with Peace as Its Purpose.
Science.gov (United States)
Nesbitt, Donna
1998-01-01
Employs a summary of the story "Sadako and the Thousand Paper Cranes" by Eleanor Coerr as an introduction to the city of Hiroshima's (Japan) quest for world peace, peace education, and strong opposition to nuclear warfare. Discusses various symbols of peace, such as paper cranes in Japanese culture, and offers five teaching activities.â¦
Macrofouling community structure in Kanayama Bay, Kii Peninsula (Japan)
Digital Repository Service at National Institute of Oceanography (India)
Raveendran, T.V.; Harada, E.
An investigation on the macrofouling community in Kanayama Bay, Kill Peninsula, Japan was undertaken from June 1994 to May 1995 by exposing fiber reinforced plastic (FRP) panels at subsurface and bottom (2.2 m) depths. The composition and abundance...
Diuron, Irgarol 1051 and Fenitrothion contamination for a river passing through an agricultural and urban area in Higashi Hiroshima City, Japan.
Science.gov (United States)
Kaonga, Chikumbusko Chiziwa; Takeda, Kazuhiko; Sakugawa, Hiroshi
2015-06-15
A study was conducted on the pesticides Diuron, Irgarol 1051 and Fenitrothion in Kurose River water, Higashi Hiroshima, Japan for a period of one year to assess the contribution of agriculture and urban activities on pesticide pollution of the river. Samples were analysed by a reverse phase HPLC system. The maximum pesticide concentrations were; 4620 ng/L, 50 ng/L and 370 ng/L for Diuron, Irgarol 1051 and Fenitrothion, respectively. While Diuron and Fenitrothion were detected at all sites, Irgarol 1051 was only present at Izumi, a high density urban and industrial area which also registered the highest concentrations of the pesticides. The pattern showed by Diuron and Fenitrothion was linked to farming activities. Also, Diuron and Fenitrothion concentration correlated with pesticide utilization data for Hiroshima Prefecture. Irgarol 1051 showed a different pattern to that of Diuron and Fenitrothion and its source was attributed to paint. It was noted that 78% and 42% of water samples at Izumi sampling site exceeded the European Union (EU) guidelines for Diuron and Fenitrothion, respectively. Copyright © 2015 Elsevier B.V. All rights reserved.
Examination of human diaphragms for trichinosis, Hiroshima and Nagasaki
Energy Technology Data Exchange (ETDEWEB)
Gould, S E; Ozaki, Hiroyuki; Kimura, Kazuo
1961-11-30
Trichinella spiralis has been found in three species of mammals born in Hokkaido so it possibly infects other species in Japan, including man. Although examination of human diaphragms in a small series of 149 autopsies in Hiroshima and 37 autopsies in Nagasaki (by digestion, compression, and microscopic sections) failed to reveal any instance of trichinous infection, it is felt that the existence or absence of human trichinosis inJapan can be determined only by examination covering a larger series of autopsies, and performed in various parts of the country. 6 references.
Estimation of the Hiroshima bomb yield and weather conditions at the time of the bomb
International Nuclear Information System (INIS)
Tajima, Eizo
1984-01-01
The results of the survey made immediately after the bombings in Hiroshima and Nagasaki were compiled in Collection of Reports on the Investigation of the Atomic Bomb Casualties published in 1953. Much valuable information for the reassessment of dose are included in this document. One of the major problems to be solved for the dose reassessment is the yield of the Hiroshima bomb. Two articles with relatively detailed description were selected, and the estimation of the yield was attempted, based on them. The data on roof tile melting were used for the purpose. Assuming the yield of the Nagasaki bomb as 22 kt, the yield of the Hiroshima bomb was given as 12.4 kt. By the experiment using the charred state of cypress boards, the total radiant energy from the bomb was calculated as 4.6 x 10 12 cal, and the yield of the Hiroshima bomb was estimated as 14.2 kt and 13.2 kt. The true value is likely between 12 and 13 kt. The vapor pressure at the time of bombing significantly affected the neutron spectrum. On the day of bombing, Japan was covered by hot, humid maritime air mass, namely summer monsoon pattern. The air density and water vapor content in the atmosphere were determined by the Japan Weather Association, and compared with the data of Dr. Kerr et al. (Kako, I.)
Distribution of perfluoroalkyl compounds in Osaka Bay and coastal waters of Western Japan.
Science.gov (United States)
Beškoski, Vladimir P; Yamamoto, Katsuya; Yamamoto, Atsushi; Okamura, Hideo; Hayashi, Mitsuru; Nakano, Takeshi; Matsumura, Chisato; Fukushi, Keiichi; Wada, Shinpei; Inui, Hideyuki
2017-03-01
Perfluoroalkyl acids (PFAAs) including perfluoroalkyl sulfonates (PFSAs) and perfluoroalkyl carboxylates (PFCAs) were analyzed in sediment samples taken from Ajifu Waterway in Osaka city, from Osaka Bay, and from Kagoshima Bay, as well as in fifteen seawater samples collected from Osaka Bay and coastal waters of Western Japan. In all sediment samples, only PFCAs were detected, and the highest concentration was determined in Ajifu Waterway, where ΣPFAA was 58990 ng kg -1 dry weight. The total concentrations of PFAAs in sea water samples ranged between the limit of quantification and 53.4 ng L -1 , and perfluorohexanoic acid was the most prevalent and had the highest concentration of 37 ng L -1 . The changes in the patterns and concentrations of PFAAs in Osaka Bay and coastal waters of Western Japan indicate that the PFAAs in surface waters are influenced by sources from Keihanshin Metropolitan Area, mainly the Yodo River basin, and the dilution effect which naturally occurs during their transport to the Pacific Ocean. Copyright © 2016 Elsevier Ltd. All rights reserved.
Los Alamos, Hiroshima, Nagasaki - a personal recollection
International Nuclear Information System (INIS)
Morrison, P.
1995-01-01
The author, a physicist participating in the Manhattan Project, recalls his experiences and work in the laboratories at the time which marked the onset of the nuclear era, the construction of the first uranium and plutonium bombs in Los Alamos, and the hidious effects shown to the world by the nuclear bombing of Japan. His thoughts and memories presented 50 years after the nuclear destruction of Hiroshima and Nagasaki, and now that the Cold War has ended, call for a global ban of nuclear weapons. (orig.) [de
Concentration of Antifouling Biocides and Metals in Sediment Core Samples in the Northern Part of Hiroshima Bay
Directory of Open Access Journals (Sweden)
Noritaka Tsunemasa
2014-06-01
Full Text Available Accumulation of Ot alternative antifoulants in sediment is the focus of this research. Much research had been done on surface sediment, but in this report, the accumulation in the sediment core was studied. The Ot alternative antifoulants, Diuron, Sea-Nine211, and Irgarol 1051, and the latterâs degradation product, M1, were investigated in five samples from the northern part of Hiroshima Bay. Ot compounds (tributyltin (TBT and triphenyltin (TPT were also investigated for comparison. In addition, metal (Pb, Cu, Zn, Fe and Mn levels and chronology were measured to better understand what happens after accumulation on the sea floor. It was discovered that Ot alternative antifoulant accumulation characteristics in sediment were like Ot compounds, with the concentration in the sediment core being much higher than surface sediment. The concentration in sediment seems to have been affected by the regulation of Ot compounds in 1990, due to the concentration of Ot alternative antifoulants and Ot compounds at the survey point in front of the dock, showing an increase from almost the same layer after the regulation.
Zoonotic onchocerciasis in Hiroshima, Japan, and molecular analysis of a paraffin section of the agent for a reliable identification
Directory of Open Access Journals (Sweden)
Fukuda M.
2011-05-01
Full Text Available Japan is a country of high specific diversity of Onchocerca with eight species, the adults of two not yet known. Onchocerca dewittei japonica, a common filarial parasite of wild boar, had been proved to be the agent of five zoonotic onchocerciasis in Kyushu island with morphological and molecular studies. The sixth case, at Hiroshima in the main island, was identified to the same Onchocerca species, based on adult characters observed on histological sections. To consolidate the identification, mitochondrial cytochrome c oxidase subunit 1 (CO1 gene analysis was attempted with the formalin-fixed, paraffin-embedded parasite specimen. The sequence (196 bp of a CO1 gene fragment of the parasite successfully PCR-amplified agreed well with those of O. dewittei japonica registered in GenBank, confirming the morphological identification. Moreover a comparison with the CO1 gene sequences of six other Onchocerca species in GenBank excluded the possibility that Onchocerca sp. from wild boar and Onchocerca sp. type A from cattle in Japan, were the causative agents in this case. Mitochondrial DNA analysis proved to be a valuable tool to support the morphological method for the discrimination of zoonotic Onchocerca species in a histological specimen.
Fifty years after Hiroshima and Nagasaki
International Nuclear Information System (INIS)
Nishiwaki, Y.
1996-01-01
The initial radiation was composed primarily of gamma rays and neutrons. Several estimates have in the past been advanced for the initial dose of radiation. The tentative T65D dose estimates (established in 1965) were revised in July 1987 by the US-Japan Committee for Reassessment of Atomic Bomb Radiation Dosimetry in Hiroshima and Nagasaki, and the new DS86 dosimetry system was adopted. However, there may still be various uncertainties involved. The uncertainties under emergency conditions, in particular, the uncertainties in estimating dose-effect, relationships in Hiroshima and Nagasaki have been repeatedly discussed by professor Nishiwaki since the first meeting on the medical and pathological effects of atomic bombings held at the Department of Pathology of the late Professor Ryojun Kinoshita, the then Professor of pathology, Faculty of Medicine of Osaka University in 1945. The survivors and those who visited Hiroshima immediately after the atomic bombing could have been subjected in a number of other possible noxious effects in addition to atomic radiation. Hospitals, laboratories, drugstores, chemists, pharmaceutical works, storehouses of chemicals, factories, etc. that were situated close to the hypocenter were all completely destroyed and various mutagenic, carcinogenic or teratogenic substances must have been released. There was no medical care and no food in the region of high dose exposure and the drinking water was contaminated. There would have been various possibilities of infection. Mental stress would also have been much higher in the survivors closer to the hypocenter. It is confusing which factor played a dominant role. In addition, there would be problems in accurately recording the position of the exposed persons at the time of the atomic bombing and also in estimating the shielding factors. There may be considerable uncertainty in human memory under such conditions. It is also possible that there could have been a large storage of gasoline to
Neutron RBEs at Hiroshima
International Nuclear Information System (INIS)
Brenner, D.J.
1988-01-01
The recent reassessment (DS86) of radiation doses at Hiroshima and Nagasaki will have a profound influence on radiation protection standards. One important aspect is the almost order of magnitude reduction in estimated neutron doses at Hiroshima: in the previous dosimetry, the generally increased (per dose) hazard at Hiroshima compared to Nagasaki was interpreted as being due to neutrons having a greater per dose effectiveness, and, on this basis, RBEs were estimated. For example, the RBE for all cancers except leukemia could be estimated to be between about 15 and 50 (80% confidence level). However, the corresponding estimate with the new dosimetry is between 0 and 90 (50% confidence level). Thus it appears, prima facie, that no useful RBE data can be derived from the epidemiological data at Hiroshima. An attempt is made in this study to generate RBEs at Hiroshima based on radiobiological considerations, but making as few assumptions as possible
The Hiroshima Experience: Two Reflections.
Science.gov (United States)
Enloe, Walter; Cogan, John
1985-01-01
The bombing of Hiroshima changed forever the concept of conflict and warfare in the human family. Two Americans, one having grown up in Hiroshima and the other having spent one year in the city as a Fullbright research scholar, reflect on the Hiroshima experience. (RM)
Submerged karst landforms observed by multibeam bathymetric survey in Nagura Bay, Ishigaki Island, southwestern Japan
Science.gov (United States)
Kan, Hironobu; Urata, Kensaku; Nagao, Masayuki; Hori, Nobuyuki; Fujita, Kazuhiko; Yokoyama, Yusuke; Nakashima, Yosuke; Ohashi, Tomoya; Goto, Kazuhisa; Suzuki, Atsushi
2015-01-01
Submerged tropical karst features were discovered in Nagura Bay on Ishigaki Island in the southern Ryukyu Islands, Japan. The coastal seafloor at depths shallower than ~ 130 m has been subjected to repeated and alternating subaerial erosion and sedimentation during periods of Quaternary sea-level lowstands. We conducted a broadband multibeam survey in the central area of Nagura Bay (1.85 Ã 2.7 km) and visualized the high-resolution bathymetric results over a depth range of 1.6-58.5 m. Various types of humid tropical karst landforms were found to coexist within the bay, including fluviokarst, doline karst, cockpit karst, polygonal karst, uvalas, and mega-dolines. Although these submerged karst landforms are covered by thick postglacial reef and reef sediments, their shapes and sizes are distinct from those associated with coral reef geomorphology. The submerged landscape of Nagura Bay likely formed during multiple glacial and interglacial periods. According to our bathymetric results and the aerial photographs of the coastal area, this submerged karst landscape appears to have developed throughout Nagura Bay (i.e., over an area of approximately 6 Ã 5 km) and represents the largest submerged karst in Japan.
Vanadium levels in marine organisms of Onagawa Bay in Japan
International Nuclear Information System (INIS)
Fukushima, M.; Suzuki, H.; Saito, K.; Chatt, A.
2009-01-01
Vanadium in marine organisms from Onagawa Bay in Miyagi, Japan, was determined by an instrumental neutron activation analysis (INAA) method using anticoincidence gamma-ray spectrometry at the Dalhousie University SLOWPOKE-2 Reactor (DUSR) facility in Canada. Seaweeds, cultivated oysters, plankton, and four different species of sea squirt were collected from Onagawa Bay during 2005-2008. Vanadium levels around 20 μg g -1 (dry weight) were found in Japanese tangle and hijiki seaweeds. One species of sea squirt (Ciona savignyi) contained 160-500 ppm of V and it was highest among the four species of sea squirts studied. Protein-bound V species were separated by gel permeation chromatography (GPC) and the element determined by inductively coupled plasma atomic emission spectrometry (ICP-AES). (author)
Neutrons confirmed in Nagasaki and at the Army pulsed radiation Facility: Implications for Hiroshima
International Nuclear Information System (INIS)
Straume, T.; Harris, L.J.; Marchett, A.A.; Egbert, S.D.
1994-01-01
Recent reports have clearly demonstrated that large discrepancies exist between neutron activation measured in Hiroshima and activation calculated using the current dosimetry system DS86. The reports confirmed previous results for cobalt activation in Hiroshoma that suggested problems, and this has spurred a joint U.S.-Japan effort to identify the source(s) of this discrepancy. Here, new results are presented that appear to eliminate both the measurements of neutron activation and the DS86 air-transport calculations are potential sources of the discrepancy in Hiroshima. Computer transport of DS86 fission neutrons through large distances of air was validated using concrete samples from Nagasaki and chloride detectors placed at selected distances from a bare uranium reactor. In both cases accelerator mass spectrometry was used to measure thermal neutron activation via the reaction. 35 Cl(n, γ) 36 Cl (half-life, 301,000 years). Good agreement was observed between measurements of neutron activation and DS86 calculations for Nagasaki, as well as for the reactor experiment. Thus the large discrepancy observed in Hiroshima appears not to be due to uncertainties in air-transport calculations or in the activation measurements; rather, the discrepancy appears to be due to uncertainties associated with the Hiroshima bomb itself. 15 refs., 3 figs., 8 tabs
ABCC-NIH adult health study Hiroshima 1958 to 1959 thyroid disease
Energy Technology Data Exchange (ETDEWEB)
Hollingsworth, D R; Hamilton, H B; Tamagaki, Hideya; Beebe, G W
1962-04-01
In the matched sample for the Adult Health Study 5553 participants were examined in the ABCC clinic in Hiroshima, Japan during the sixteen month period from July 1958 through October 1959. Thyroid disease was diagnosed for 169 subjects, 152 of whom were female. Simple nontoxic goiter was the most frequently seen thyroid disorder comprising 47 percent of the total, with a sex ratio of 8 to 1 in favor of females. Hiroshima is a coastal city where iodine deficiencies seem unlikely and the various etiological possibilities responsible for nontoxic goiter were reviewed and discussed. Hyperthyroidism was observed in 16 patients of whom 13 were females. One patient with hypothyroidism and 5 with chronic thyroiditis diagnosed by biopsy were seen in the study. Single thyroid nodules were found in 39 patients; the biopsy diagnoses of 19 were listed, 8 of whom were shown to have thyroid carcinoma. Carcinoma of the thyroid was diagnosed microscopically in 12 patients, constituting 7 percent of the total number with thyroid disorders. It was concluded that thyroid disease in Hiroshima warrants further study and it will be of particular interest to carefully observe the Adult Health Study group for the incidence of thyroid nodules and thyroid carcinoma.
Leukemia in Hiroshima atomic bomb survivors from 1946 to 1975
International Nuclear Information System (INIS)
Ohkita, Takeshi
1976-01-01
In five recent years, 134 deaths from leukemia among Hiroshima citizen were recorded. Of these, 23 cases (17 acute and 6 chronic types) were atomic bomb survivors exposed within 2,000 m of the hypocenter. Fifteen of them (65%) were over 60 years of age. The frequency of chronic lymphocytic leukemia was still low. Although the risk of leukemia was greatly reduced after 1961, and the frequency of chronic granulocytic leukemia (one of the most characteristic type of Hiroshima atomic bomb-induced leukemia) was also decreased, the death rate from leukemia among survivors exposed within 2,000 m or 1,500 m from the hypocenter was about 3 to 4 times higher than the mean death rate in all Japan. Therefore, careful and long-range follow-up surveillance should be continued. A brief review was also made of relevant studies such as the influence of environmental and host factors in the epidemiology of leukemia, the incidence of leukemia in children exposed in utero, and leukemia in offspring of atomic bomb survivors. (Evans, J.)
Clinical survey to detect diabetes mellitus, Hiroshima
Energy Technology Data Exchange (ETDEWEB)
Rudnick, P A; Anderson, Jr, P S
1961-07-19
Data from this study are in agreement with the general observations that diabetes is not uncommon in Japan. In an adult study population in Hiroshima 108 patients with diabetes were detected, yielding the prevalence rate of 3.02 percent. Nearly one-half of the patients were diagnosed initially as a result of the routine detection program. Although in females a trend with exposure is suggested by the raw data no statistically significant differences could be demonstrated. However, the size of the sample involved does not permit confident negative conclusions. Additional clinical and laboratory observations were completed in order to characterize the manifestation of diabetes in these subjects. Late manifestations of diabetes frequently were found, but atherosclerotic complications were nonexistent. This is considered to be related to the low fat, high carbohydrate diet of the Japanese. The lack of ketosis, apparently low prevalence rate for juveniles, and male preponderance suggest that diabetes in Japan differs from the disease found in many Western countries. 69 references, 1 figure, 9 tables.
Environmental radiation in Higashi-Hiroshima Campus, Hiroshima University
International Nuclear Information System (INIS)
Inada, K.; Matsuhima, A.; Nakashima, S.; Takahashi, Y.; Shizuma, K.; Saito, T.; Iwatani, K.
2006-01-01
Environmental radiation of the water sample from the junction point to public sewerage system and from Kadowaki Chosetsu Pond in Higashi-Hiroshima Campus, Hiroshima University was measured. Time dependence of the total radiation from β-emitter in 40 K equivalent was checked from 1995 to 2005. Seasonal dependence of the environmental radiation for the junction point to public sewerage system was observed. There was no relation between this seasonal dependence and the data of discharge of the effluent from Radioisotope Center, suggesting that there was no radiation originated from the RI facilities. The seasonal dependence was closely related to the weight of residue of the water sample. The present results show an interesting seasonal dependence of the weight of residue of the water sample from the junction point to public sewerage system. (author)
Teaching Hiroshima: Thinking about the Unthinkable.
Science.gov (United States)
Dyke, Reg
1983-01-01
Describes the instructional materials used in a sophomore literature course to deal with the topic of possible nuclear destruction, including John Hersey's "Hiroshima"; photographs of Hiroshima and Nagasaki; Carl Sagan's "Cosmos"; and specially prepared handouts and worksheets. (LAL)
Activation Measurements for Thermal Neutrons, U.S. Measurements of 36Cl in Mineral Samples from Hiroshima and Nagasaki; and Measurement of 63 Ni in Copper Samples From Hiroshima by Accelerator Mass Spectrometry
Energy Technology Data Exchange (ETDEWEB)
Tore Straume; Alfredo A. Marchetti; Stephen D. Egbert; James A. Roberts; Ping Men; Shoichiro Fujita; Kiyoshi Shizuma; Masaharu Hoshi; G. Rugel; W. Ruhm; G. Korschinek; J. E. McAninch; K. L. Carroll; T. Faestermann; K. Knie; R. E. Martinelli; A. Wallner; C. Wallner
2005-01-14
group. The impetus for the extensive {sup 36}Cl and other neutron activation measurements was the recognized need to validate the neutron component of the dose in Hiroshima. Although this was suggested at the time of the DS86 Final Report, where it was stated that the calculated neutron doses for survivors could possibly be wrong, the paucity of neutron validation measurements available at that time prevented adequate resolution of this matter. It was not until additional measurements and data evaluations were made that it became clear that more work was required to better understand the discrepancies observed for thermal neutrons in Hiroshima. This resulted in a large number of additional neutron activation measurements in Hiroshima and Nagasaki by scientists in the US, Japan, and Germany. The results presented here for {sup 36}Cl, together with measurements made by other scientists and for other isotopes, now provide a much improved measurement basis for the validation of neutrons in Hiroshima.
ABCC-NIH Adult Health Study, Hiroshima, 1959: achlorhydria
Energy Technology Data Exchange (ETDEWEB)
Knittle, J L
1960-07-12
In Hiroshima Adult Health Study 1251 subjects were examined for achlorhydria and the proportion with achlorhydria was analyzed as to age, sex, blood type, and exposure to radiation. Achlorhydria was found to be more prevalent in subjects aged 40 and over,than in similar United States populations, and blood Type A subjects were found more achlorhydric than Type O subjects at ages 30 to 49. No differences were found between exposed and nonexposed, nor between those exposed at greater and lesser distances from the hypocenter. The data suggest that achlorhydria may be related to the high incidence of gastric cancer in Japan and seem consistent with the hypothesis that achlorhydria occurs prior to gastric cancer and may be related to inherited factors. 26 references, 4 tables.
Dosimetry studies in Japan
International Nuclear Information System (INIS)
Maruyama, T.; Kumamoto, Y.; Hashizume, T.
1982-01-01
In 1967 the National Institute of Radiological Sciences in Chiba estimated the radiation doses in air from the atomic bombing of Hiroshima and Nagasaki by using some building materials exposed to the nuclear explosions in both cities. These estimated doses were in good agreement with the doses estimated on the basis of the Ichiban project by the research group at Oak Ridge National Laboratory which were the basis for the Atomic Bomb Casualty Commission's tentative 1965 radiation dose (T65D). Recently the radiation doses in Hiroshima and Nagasaki have been reevaluated by Lawrence Livermore National Laboratory and Oak Ridge National Laboratory. In Japan a new research group was started last August, with the intention of making new estimates of doses from the atomic bombs in cooperation with US research groups
ABCC-JNTH Adult Health Study. Report 4. 1960-1962 cycle of examinations, Hiroshima and Nagasaki
Energy Technology Data Exchange (ETDEWEB)
Freedman, L R; Fukushima, Kazuko; Seigel, D G
1963-10-29
The purpose is to determine by clinical investigation any late medical effects of radiation in persons exposed to the 1945 atomic bombings of the cities of Hiroshima and Nagasaki. The prevalence and incidence of certain findings were found to be different in Hiroshima and Nasasaki. For example, tuberculosis, neoplasms of the digestive organs, gastric ulcer, diseases of the thyroid, diabetes mellitus, blood diseases, and arteriosclerosis were more frequent in Hiroshima. On the other hand, syphilis, cerebrovascular accidents, intestinal parasitism, liver and kideny disease, and arthritis were more frequent in Nagasaki. The data from the hematological examinations demonstrate a decrease in hemoglobin and hematocrit with increasing age in men. In both sexes total white blood cell counts decreased with age and the values for males were higher than those for females. Total white blood cell counts in Hiroshima were higher than in Nagasaki. The need continues for superimposition of a number of epidemiologic investigations onto the basic structure of the Adult Health Study to better define and explore the differences between cities. These substudies will undoubtedly provide a more precise foundation for the study of radiation effects and further understanding of important diseases. Finally, since this study brings together scientists from two parts of the world, patterns of disease detected in Japan inevitably were compared with personal and published experience in the United States. Many suspected differences between these countries have been commented upon in the medical literature. The Adult Health Study is contributing data which will establish or deny these differences. 147 references, 18 figures, 35 tables.
Chernobyl or Hiroshima. Tschernobyl oder Hiroshima
Energy Technology Data Exchange (ETDEWEB)
Deserno, H [Sigmund-Freud-Institut, Frankfurt am Main (Germany, F.R.)
1987-07-01
The so called peaceful use of atomic power is an ideology specifically apt for appeasement in an illusionary way: although everyone could know about the desastrous effects of radioactivity since Hiroshima and Nagasaki, the civil use of atomic power serves to demonstrate, that the incompatibility of radionuclides with health and life could be controlled and mastered. In this context the civil use of atomic power appears as an instrument of social control. (orig.).
Self-Nonself Recognition in the Colonial Protochordate Botryllus schlosseri from Mutsu Bay, Japan
OpenAIRE
RINKEVICH, BARUCH; SAITO, YASUNORI
1992-01-01
Wild Botryllus schlosseri collected from a 5 Ã 5 m area in Mutsu Bay (Aomori Prefecture, Japan) were tested for alloresponses in intrapopulation colony allorecognition assays (CAAs). Results indicate that rejection patterns are similar to those recorded previously in the populations from Monterey and Santa Barbara, California, from the Mediterranean coast of Israel, and from the Venetian lagoon, Italy. The only difference was the marked accumulation of bright-yellow blood cells in the tips of...
Submerged Humid Tropical Karst Landforms Observed By High-Resolution Multibeam Survey in Nagura Bay, Ishigaki Island, Southwestern Japan
Science.gov (United States)
Kan, H.; Urata, K.; Nagao, M.; Hori, N.; Fujita, K.; Yokoyama, Y.; Nakashima, Y.; Ohashi, T.; Goto, K.; Suzuki, A.
2014-12-01
Submerged tropical karst features were discovered in Nagura Bay on Ishigaki Island in the South Ryukyu Islands, Japan. This is the first description of submerged humid tropical karst using multibeam bathymetry. We conducted a broadband multibeam survey in the central area of Nagura Bay (1.85 Ã 2.7 km) and visualized the high-resolution bathymetric results with a grid size of 1 m over a depth range of 1.6-58.5 m. Various types of humid tropical karst landforms were found to coexist within the bay, including fluviokarst, doline karst, cockpit karst, polygonal karst, uvalas, and mega-dolines. We assume that Nagura Bay was a large karst basin in which older limestone remained submerged, thus preventing corrosion and the accumulation of reef sediments during periods of submersion, whereas the limestone outcropping on land was corroded during multiple interglacial and glacial periods. Based on our bathymetric result together with aerial photographs of the coastal area, we conclude that the submerged karst landscape has likely developed throughout the whole of Nagura Bay, covering an area of ~6 Ã 5 km. Accordingly, this area hosts the largest submerged karst in Japan. We also observed abundant coral communities during our SCUBA observations. The present marine conditions of Nagura Bay are characterized by low energy (calm sea) and low irradiance owing to the terrestrial influence. Such conditions have been emphasized by the presence of large undulating landforms, which cause decreases in wave intensity and irradiance with depth. These characteristics have acted to establish unique conditions compared to other coral reef areas in the Ryukyu Islands. It may play an important role in supporting the regional coral reef ecosystem.
Experiences and extrapolations from Hiroshima and Nagasaki
International Nuclear Information System (INIS)
Harwell, C.C.
1985-01-01
This paper examines the events following the atomic bombings of Hiroshima and Nagasaki in 1945 and extrapolates from these experiences to further understand the possible consequences of detonations on a local area from weapons in the current world nuclear arsenal. The first section deals with a report of the events that occurred in Hiroshima and Nagasaki just after the 1945 bombings with respect to the physical conditions of the affected areas, the immediate effects on humans, the psychological response of the victims, and the nature of outside assistance. Because there can be no experimental data to validate the effects on cities and their populations of detonations from current weapons, the data from the actual explosions on Hiroshima and Nagasaki provide a point of departure. The second section examines possible extrapolations from and comparisons with the Hiroshima and Nagasaki experiences. The limitations of drawing upon the Hiroshima and Nagasaki experiences are discussed. A comparison is made of the scale of effects from other major disasters for urban systems, such as damages from the conventional bombings of cities during World War II, the consequences of major earthquakes, the historical effects of the Black Plague and widespread famines, and other extreme natural events. The potential effects of detonating a modern 1 MT warhead on the city of Hiroshima as it exists today are simulated. This is extended to the local effects on a targeted city from a global nuclear war, and attention is directed to problems of estimating the societal effects from such a war
The message of Hiroshima
International Nuclear Information System (INIS)
Shimizu, S.
1982-01-01
A review of the research conducted during the Second World War by Japanese scientists and their in-situ experiences on the Hiroshima atomic bomb effects a week after the explosion is given. Details are presented on the activity data of samples from the site, on the results of half-life measurements and of chemical analyses. From these data the site of explosion and the neutron flux on the surface were computed. The damages caused by the Hiroshima and Nagasaki bombs were compared. Further, an account on the powder from the Bikini H-bomb explosion is given. Finally, the author protests against the military uses of nuclear energy. (R.P.)
Impact of predation by Ostracion immaculatus (Pisces: Ostraciidae) on the macrofouling community structure in Kanayama Bay, Kii Peninsula (Japan)
Digital Repository Service at National Institute of Oceanography (India)
Raveendran, T.V.; Harada, E.
An investigation on the impact of predation by Ostracion immaculatus on fouling community structure in Kanayama Bay, Kii Peninsula, Japan was undertaken from April 1994 to February 1995. Caging experiments with three size groups of O. immaculatus...
Sulfur activation in Hiroshima
International Nuclear Information System (INIS)
Kerr, G.D.; Pace, J.V. III.
1987-01-01
In 1979, we attempted to establish the validity of source terms for the Hiroshima and Nagasaki bombs using experimental data on sulfur activation. Close agreement was observed between measured and calculated values for test firings of Nagasaki-type bombs. The calculated values were based on source terms developed by W.E. Preeg at the Los Alamos National Laboratory (LANL). A discrepancy was found, however, when we compared calculated values for the two bombs because a 1956 report by R.R. Wilson stated that sulfur acitvation by fast neutrons in Hiroshima was approximately three times greater than in Nagasaki. Our calculations based on Preeg's source-term data predicted about equal sulfur activation in the two cities
The Hiroshima neutron dosimetry enigma: Missing puzzle piece No. 6
International Nuclear Information System (INIS)
Gold, Raymond
1999-01-01
More than a decade has elapsed since the serious nature of the discrepancy between neutron dosimetry experiments (E) and neutron transport calculations (C) for the Hiroshima site was identified. Since that time extensive efforts to resolve this Hiroshima neutron dosimetry enigma have not only failed, but now demonstrate that the magnitude of this discrepancy is much greater than initially estimated. The currently evaluated E/C ratio for thermal neutron fluence at the Hiroshima site increases rapidly with increasing slant range from the epicenter. In the slant range region beyond 1000 m, E/C exceeds unity by one to two orders of magnitude depending on the specific dosimetry data that are utilized. Principal features that characterize the Hiroshima neutron dosimetry enigma are summarized. Puzzle Piece No. 6: In-situ production and Prompt fallout of radionuclides from Little Boy is advanced as a possible contributory phenomenon to this enigma. (The atom bomb detonated over Hiroshima was called Little Boy.) Measurements of 60 Co and 152 Eu specific activity at the Hiroshima site are used to obtain order of magnitude numerical estimates that show this conjecture is plausible. Comparison of different 60 Co measurements at the Hiroshima site reveals that the variation of E/C with slant range depends on the method used to quantify 60 Co specific activity as well as the type of dosimetry samples that are employed. These 60 Co comparisons lend additional qualitative credence to this conjecture. Within the limits of presently available data, these assessments show that Puzzle Piece No. 6 qualitatively satisfies the principal features that characterize the Hiroshima neutron dosimetry enigma. Nevertheless, current lack of data prevent this conjecture from being conclusively confirmed or refuted. Consequently, specific recommendations are advanced to resolve the Hiroshima neutron dosimetry enigma with emphasis on experimental tests that can quantitatively evaluate Puzzle Piece
Study of dissolved oxygen content in the Eastern Bosporus Strait (Peter the Great Bay, Sea of Japan)
Science.gov (United States)
Grigoryeva, N. I.
2017-09-01
Seasonal changes in the dissolved oxygen (DO) content in water were analyzed based on long-term observations (2006-2013) in the Eastern Bosporus Strait (Peter the Great Bay, Sea of Japan). It was found that the monthly average DO concentrations at the bottom of the strait were significantly lower in summer than the average annual long-term data. The minimum DO contents were recorded during four months, from July to October. It was shown that the DO content in water depended on changes in current directions in the strait: lower DO contents resulted from hypoxic water inflow, mostly from Amur Bay.
Comparative Assessment of Women Farmers' Status in Japan and ...
African Journals Online (AJOL)
The research compared the status of Japanese and Nigerian women farmers. The study was conducted in Sera Chuo, Hiroshima and Ohnan Chuo, Shimane prefecture, Chugoku region of Japan and Southwestern part of Nigeria covering three locations (Omi-Adio, Ijaye and Kila) within the suburban area of Ibadan ...
Uncertainties under emergency conditions in Hiroshima and Nagasaki in 1945 and Bikini accident in 1954
International Nuclear Information System (INIS)
Nishiwaki, Y.; Kawai, H.; Shono, N.; Fujita, S.; Matsuoka, H.; Fujiwara, S.; Hosoda, T.
2000-01-01
In exploding an atomic bomb, in addition to ionizing radiation, strong non-ionizing radiation, such as infrared, ultraviolet light, visible light, electromagnetic pulse radiation, as well as heat and shock waves are produced. The survivors and those who visited Hiroshima immediately after the atomic bombing could have been subjected to a number of other possible noxious effects in addition to atomic radiation. Hospitals, laboratories, drugstores, pharmaceutical works, storehouses of chemicals, factories, etc. that were situated close to the hypocenter were all completely destroyed and various mutagenic, carcinogenic or teratogenic substances must have been released, many doctors, nurses and chemists were killed. There was no medical care and no food in the region of high dose exposure and the drinking water was contaminated. There would have been various possibilities of infection. Mental stress would also have been much higher in the survivors closer to the hypocenter. It is confusing which factor played a dominant role. In addition, there would be problems in accurately identifying the position of the exposed persons at the time of the atomic bombing and also in estimating the shielding factors. There may be considerable uncertainty in human memory under such conditions. It is also possible that there could have been a large storage of gasoline to be used for transportation of the army corps in Hiroshima. Therefore there is a possibility that various toxic substances, mutagenic or carcinogenic agents such as benzopyrene and other radiomimetic substances, chemical weapons (Yperit, Lewisite, etc.) could have been released from various facilities which were destroyed at the time of the atomic bombing. After the German surrender, in May 1945, it was reported in June, in Japan, that the USA might attempt landing on Japan mainland, and that they might be planning massive use of chemical weapons all over Japan on that occasion. Preparing for such case chemical officers
From Hiroshima to Harrisburg
International Nuclear Information System (INIS)
Garrison, J.
1980-01-01
The subject is covered in chapters, as follows: (Part I): Hiroshima and the advent of the atomic bomb: the Manhattan Engineer District Project; the milieu of war; scientific opposition to the use of the atomic bomb; Trinity; Hiroshima; Nagasaki and surrender; Hibakusha; from trust to terror; the nuclear arms spiral; fallout; the rationale for nuclear weapons; nuclear proliferation; thinking the unthinkable; the age of overkill; (Part II):the road to Harrisburg: radiation; meltdown effects and probabilities; nuclear accidents; Harrisburg; the effects of low-level ionizing radiation; the nuclear fuel cycle (mining; milling; uranium conversion; uranium enrichment; fuel fabrication; nuclear reactors; reprocessing; transportation; waste management; summary); (Part III): Karen Silkwood - a life in death: (Part IV): our challenge - overcoming psychic numbing: (Part V): an alternative vision: the soft energy path; the way of nonviolence. (U.K.)
Cytogenetics of the in-utero exposed of Hiroshima and Nagasaki
International Nuclear Information System (INIS)
Neriishi, Shotaro; Shimba, Hachiro
1978-01-01
The presence of chimaerism in peripheral lymphocyte chromosome 21 years after A-bomb radiation was examined using 16 males who had been exposed in-utero to radiation from A-bomb in Hiroshima and Nagasaki. (10 cases in Hiroshima and 6 cases in Nagasaki). At the same time, doses of in-utero radiation were estimated. It was found that no cells possess XX chromosome by observing 1,600 chromosome metaphases in 16 cases (100 per a person). Estimated dose of in-utero radiation was 44 - 151 rad, or 75.6 rad on the average for 10 cases in Hiroshima and 61 - 197 rad, or 104 rad on the average for 6 cases in Nagasaki. Estimated radiation dose of their mothers used as a basis for estimating in-utero radiation dose was 120 - 149 rad or 207.9 rad on the average for cases in Hiroshima and 148 - 477 rad or 251 rad on the average for cases in Nagasaki. A ratio of total dose given to mother to that given to fetus was 2.75 in cases of Hiroshima and 2.41 in those of Nagasaki. (Iwagami, H.)
Addressing Practical Issues Related Tto Nursing Care For International Visitors To Hiroshima
Directory of Open Access Journals (Sweden)
Mariko Nishikawa
2014-04-01
Full Text Available When nine million foreigners visited Japan in 2013, the federal government set a goal to attract an additional two and a half million visitors including medical tourists by 2020. This research investigates the attitudes and concerns of Japanese nurses when they are in a situation dealing with foreign patients. The data were collected from March through September 2010, from 114 nurses at three hospitals, in close proximity to popular tourist destinations in Hiroshima. A questionnaire was developed for this research, named Mari Meter, which included a section to write answers to an open question for the nurses to express their opinions. These responses were examined statistically and by word analysis using Text Mining Studio. Japanese nurses expressed greatest concern about payment options, foreign language skills, and issues of informed consent, when dealing with foreigners. The results confirm that, in order to provide a high quality of patient care, extra preparation and a greater knowledge of international workers and visitors are required by nursing professionals in Japan.
Activation Measurements for Thermal Neutrons, Part D. U.S. Measurements of 36Cl in Mineral Samples from Hiroshima and Nagasaki
International Nuclear Information System (INIS)
Tore Straume; Alfredo A, Marchetti; Stephen D, Egbert; James A, Roberts; Ping Men; Shoichiro Fujita; Kiyoshi Shizuma; Masaharu Hoshi; G, Rugel; W, Ruhm; G, Korschinek; J. E. McAninch; K. L. Carroll; T. Faestermann; K. Knie; R. E. Martinelli; A. Wallner; C. Wallner
2005-01-01
measurements was the recognized need to validate the neutron component of the dose in Hiroshima. Although this was suggested at the time of the DS86 Final Report, where it was stated that the calculated neutron doses for survivors could possibly be wrong, the paucity of neutron validation measurements available at that time prevented adequate resolution of this matter. It was not until additional measurements and data evaluations were made that it became clear that more work was required to better understand the discrepancies observed for thermal neutrons in Hiroshima. This resulted in a large number of additional neutron activation measurements in Hiroshima and Nagasaki by scientists in the US, Japan, and Germany. The results presented here for 36 Cl, together with measurements made by other scientists and for other isotopes, now provide a much improved measurement basis for the validation of neutrons in Hiroshima
Residual radiation in Hiroshima and Nagasaki
Energy Technology Data Exchange (ETDEWEB)
Arakawa, E T
1962-02-01
These results show that the fission product fallout and neutron-induced radioactive isotopes can be separated very conveniently by locations in the city, i.e., the fallout occurred in the Koi-Takasu area of Hiroshima and the Nishiyama area of Nagasaki with negligible fallout in the hypocenter area. The activity in the hypocenter areas of both cities can be accounted for as due principally to neutron induced radioactive isotopes. The maximum exposure from fallout in Hiroshima is considered to have been a few r and in Nagasaki approximately 30 r. From one hour to infinite time after the detonations, the maximum possible neutron induced radiation exposure dose at the hypocenter in Hiroshima is estimated to be in the range from 183 r to 24 r, depending upon the method of calculation. Method III, which yileds 24 r appears to be subject to the least number of uncertainties and thus is the most reliable figure. The excellent agreement between these calculations and the measured activities also further supports the soundness of Method III. This method gives 4 r as the infinity dose at the hypocenter in Nagasaki. These values are considered to be of such loss magnitude as to be of negligible consequence. It should also be emphasized that even for the calculation which yields a maximum dose of 183 r, the probability of an individual being exposed to this dose is very small. These facts suggest that after the detonations in Hiroshima and Nagasaki radiation levels were such that very few individuals, if any, received significant amounts of residual radiation from external sources. 17 references, 4 figures, 3 tables.
Studies on population change of atomic bomb survivors in Hiroshima prefecture 1965-1979
International Nuclear Information System (INIS)
Ueoka, Hiroshi; Munaka, Masaki; Kurihara, Minoru
1984-01-01
Studies of population change of Japanese Atomic Bomb Survivors from 1965 to 1979 in Hiroshima prefecture of which registered in Data Base of Atomic Bomb Survivors of RINMB were conducted, and following were obtained: 1. Population change of Japanese Atomic Bomb Survivors showed increasing trend until 1976 and diminishing trend from 1977. It would be estimated that reason of increasing trend of Atomic Bomb Survivors was correlated the same trend to get register card of ''Atomic Bomb Treatment Law'', and decreasing trend of them was related so much death of the elderly generations. 2. Analysing by residential place the survivors who make a living in Hiroshima city was almost 110,000, and those who make a living in Hiroshima prefecture (except Hiroshima city) was 65,000. Considering exposed distance of the survivors in Hiroshima city, those survivors exposed within 2 km showed diminishing trend; and those who make a living in Hiroshima prefecture (except Hiroshima city), exposed within 2 km showed increasing trend. 3. In 1979, the ratio of male and female survivors by age level showed difference. Those male survivors over 50 years old in Hiroshima city showed much lower percentage than female. 4. In 1979, the population trends of survivors who get the ''card'' before 1964 showed rapid decrease, and those who get the ''card'' after 1965 showed mild decrease. (author)
Sources and transformations of dissolved lignin phenols and chromophoric dissolved organic matter in Otsuchi Bay, Japan
Directory of Open Access Journals (Sweden)
Chia-Jung eLu
2016-06-01
Full Text Available Dissolved lignin phenols and optical properties of dissolved organic matter (DOM were measured to investigate the sources and transformations of terrigenous DOM (tDOM in Otsuchi Bay, Japan. Three rivers discharge into the bay, and relatively high values of syringyl:vanillyl phenols (0.73 ± 0.07 and cinnamyl:vanillyl phenols (0.33 ± 0.10 indicated large contributions of non-woody angiosperm tissues to lignin and tDOM. The physical mixing of river and seawater played an important role in controlling the concentrations and distributions of lignin phenols and chromophoric DOM (CDOM optical properties in the bay. Lignin phenol concentrations and the CDOM absorption coefficient at 350 nm, a(350, were strongly correlated in river and bay waters. Measurements of lignin phenols and CDOM in bay waters indicated a variety of photochemical and biological transformations of tDOM, including oxidation reactions, photobleaching and a decrease in molecular weight. Photodegradation and biodegradation of lignin and CDOM were investigated in decomposition experiments with river water and native microbial assemblages exposed to natural sunlight or kept in the dark. There was a rapid and substantial removal of lignin phenols and CDOM during the first few days in the light treatment, indicating transformations of tDOM and CDOM can occur soon after discharge of buoyant river water into the bay. The removal of lignin phenols was slightly greater in the dark (34% than in the light (30% during the remaining 59 days of the incubation. Comparison of the light and dark treatments indicated biodegradation was responsible for 67% of total lignin phenol removal during the 62-day incubation exposed to natural sunlight, indicating biodegradation is a dominant removal process in Otsuchi Bay.
Statistical aspects of tumor registries, Hiroshima and Nagasaki
Energy Technology Data Exchange (ETDEWEB)
Ishida, M
1961-02-24
Statistical considerations are presented on the tumor registries established for purpose of studying radiation induced carcinoma in Hiroshima and Nagasaki by observing tumors developing in the survivors of these cities. In addition to describing the background and purpose of the tumor registries the report consists of two parts: (1) accuracy of reported tumor cases and (2) statistical aspects of the incidence of tumors based both on a current population and on a fixed sample. Under the heading background, discussion includes the difficulties in attaining complete registration; the various problems associated with the tumor registries; and the special characteristics of tumor registries in Hiroshima and Nagasaki. Beye's a posteriori probability formula was applied to the Type I and Type II errors in the autopsy data of Hiroshima ABCC. (Type I, diagnosis of what is not cancer as cancer; Type II, diagnosis of what is cancer as noncancer.) Finally, the report discussed the difficulties in estimating a current population of survivors; the advantages and disadvantages of analyses based on a fixed sample and on an estimated current population; the comparison of incidence rates based on these populations using the 20 months' data of the tumor registry in Hiroshima; and the sample size required for studying radiation induced carcinoma. 10 references, 1 figure, 8 tables.
Cerebral vascular disease in Hiroshima. Report of a six-year period of surveillance, 1958 to 1964
Energy Technology Data Exchange (ETDEWEB)
Johnson, K G; Yano, Katsuhiko; Kato, Hiroo
1966-08-25
Cerebral vascular disease (CVD) in the population of Hiroshima, Japan, is described for the period 1958 to 1964. The incidence of CVD in the male population over 30 years of age was 7.4 per 1000 per year and in females 4.1, approximately twice the observed incidence of coronary heart disease. Being based on examined individuals only, these estimates are biased downward, perhaps by a factor of 10%. The frequency of cerebral thrombosis was twice that of cerebral hemorrhage. These findings on incidence and type of CVD are in accord with the known high incidence of this disease in Japan but do not suggest that any disease other than atherosclerosis of the cerebral arteries is responsible. Hypertension, cardiomegaly (ascertained by ECG or chest film), and proteinuria were important factors in the risk of subsequent CVD. The singular association between hypertension and CVD, and the evidence that CVD is declining in Japan, the US and Europe during a period of widespread use of antihypertensive agents, encourage further epidemiologic study in CVD. 30 references, 15 figures, 8 tables.
Comparison of medical data of atomic-bomb survivors resident in the U.S. and Hiroshima
International Nuclear Information System (INIS)
Ito, Chikako; Matsubara, Hiroomi; Yamakido, Michio; Yamada, Hiroaki.
1982-01-01
The third medical examination of A-bomb survivors residing in the U.S. was performed in San Francisco, Los Angeles, Seattle and Honolulu during the period 6 - 28 May 1981. The test results were studied and the actual state of the survivors in the U.S., was reviewed as explained hereunder. 1) The number of survivors actually registered with the Committee of A-bomb Survivors in the U.S. is 491 (133 males and 358 females) of whom 57.2% are U.S. citizens. Those exposed in Hiroshima accounted for 91.8%. The mean age was 53.3 +- 8.9, thus they were more than 3 years younger than their counterparts in Hiroshima. The present addresses of the survivors are distributed over 15 states, but those in California constitute 77.6% of the total, and when those residing in the states along the west coast and Hawaii are added the rate increases to 95.9%. 2) Those who underwent health examination numbered 166 (45 males and 121 females), and comparison of the U.S. survivors against the Hiroshima survivors showed there to be a difference in the following points. The prevalence of hypertension was lower among the U.S. survivors, but RBC counts and hemoglobin concentration were significantly higher. The same was observed for blood lipids with hypercholesterolemia and hypertriglyceridemia being found at a significantly higher rate in the U.S. survivors. 3) Those free of clinical abnormalities in this survey were 37.3%, and the rest required dietary guidance, follow-up observation, detailed examination of treatment. Those with diseases which are considered would make them eligible for health management allowance if in Japan, accounted for 18.7%. (author)
Speech by the director of the Peace Memorial Museum, Hiroshima
International Nuclear Information System (INIS)
Harada, H.
1997-01-01
The Peace Memorial Museum in Hiroshima, established in 1955, shows not only the scenes of the city after the explosion but its main task is to send the messages of peace to the world, from the citizens of Hiroshima who are appealing for abolition of nuclear weapons for 50 years
High incidence of meningioma among Hiroshima atomic bomb survivors
International Nuclear Information System (INIS)
Shintani, Takahiro; Hayakawa, Norihiko; Hoshi, Masaharu
1999-01-01
Since the atomic bomb explosions in Hiroshima and Nagasaki, high incidences of leukemia, thyroid cancer and other tumors have been reported as atomic bomb-induced tumors. We investigated the incidence of meningioma among Hiroshima atomic bomb survivors. Sixty-eight patients surgically treated for meningioma who had been within 2.0 km of the hypocenter of the explosion were identified. Six hundred and seven non-exposed patients with meningioma were also studied. Treatment dates were from 1975 to 1992. The incidences of meningioma among 68 subjects within 2.0 km and 607 non-exposed patients were 8.7 and 3.0 cases per 10 5 persons per year, respectively. The incidences of meningioma among the survivors of Hiroshima in 5-year intervals since 1975 were 5.3, 7.4, 10.1, and 14.9, respectively. The incidences of meningioma classified by distances from the hypocenter of 1.5-2.0 km, 1.0-1.5 km and less than 1.0 km were 6.3, 7.6 and 20.0, respectively. The incidences of meningioma classified by doses to the brain of 0-0.099 Sv, 0.1-0.99 Sv and more than 1.0 Sv were 7.7, 9.2 and 18.2, respectively. The incidence of meningioma among Hiroshima atomic bomb survivors has increased since 1975. There was a significant correlation between the incidence and the dose of radiation to the brain. The present findings strongly suggest that meningioma is one of the tumors induced by atomic bombing in Hiroshima. (author)
Under the Mushroom-Shaped Cloud in Hiroshima
International Nuclear Information System (INIS)
Broda, E.
1981-01-01
In 1945 Shuntaro Hida was a young doctor. In a village at the periphery of Hiroshima he survived and he immediately began caring for victims. He has (recently?) written an eye-witness account, of which in a Western language apparently only a manuscript exists. I have extracted a few passages from the document of 41 pages. A few spelling and typing errors were corrected. - Be it added that many of the atomic weapons now in the arsenals of the powers are more than a thousand times stronger than the bomb of Hiroshima. Some 60.000 atomic weapons are thought to exist. (author)
The Japan Statin Treatment Against Recurrent Stroke (J-STARS: A Multicenter, Randomized, Open-label, Parallel-group Study
Directory of Open Access Journals (Sweden)
Naohisa Hosomi
2015-09-01
Funding: This study was initially supported by a grant from the Ministry of Health, Labour and Welfare, Japan. After the governmental support expired, it was conducted in collaboration between Hiroshima University and the Foundation for Biomedical Research and Innovation.
Measurement of the residual radiation intensity at the Hiroshima and Nagasaki atomic bomb sites. Penetration of weapons radiation: application to the Hiroshima and Nagasaki studies
Energy Technology Data Exchange (ETDEWEB)
Pace, N; Smith, R E; Ritchie, R H; Hurst, G S
1959-01-01
This document contains 2 reports. The first is on the measurement of residual radiation intensity at the Hiroshima and Nagasaki bomb sites, the second is on the penetration of weapons radiation at Hiroshima and Nagasaki. Separate abstracts have been prepared for each report for inclusion in the Energy Database. (DMC)
Chernobyl or Hiroshima?
International Nuclear Information System (INIS)
Deserno, H.
1987-01-01
The so called peaceful use of atomic power is an ideology specifically apt for appeasement in an illusionary way: although everyone could know about the desastrous effects of radioactivity since Hiroshima and Nagasaki, the civil use of atomic power serves to demonstrate, that the incompatibility of radionuclides with health and life could be controlled and mastered. In this context the civil use of atomic power appears as an instrument of social control. (orig.) [de
Distribution characteristics of volatile methylsiloxanes in Tokyo Bay watershed in Japan: Analysis of surface waters by purge and trap method.
Science.gov (United States)
Horii, Yuichi; Minomo, Kotaro; Ohtsuka, Nobutoshi; Motegi, Mamoru; Nojiri, Kiyoshi; Kannan, Kurunthachalam
2017-05-15
Surface waters including river water and effluent from sewage treatment plants (STPs) were collected from Tokyo Bay watershed, Japan, and analyzed for seven cyclic and linear volatile methylsiloxanes (VMSs), i.e., D3, D4, D5, D6, L3, L4, and L5 by an optimized purge and trap extraction method. The total concentrations of seven VMSs (ΣVMS) in river water ranged from watershed was estimated at 2300kg. Our results indicate widespread distribution of VMSs in Tokyo Bay watershed and the influence of domestic wastewater discharges as a source of VMSs in the aquatic environment. Copyright © 2017 Elsevier B.V. All rights reserved.
Combined Effect of an Atmospheric River and a Cut-off Low in Hiroshima Flooding Event on August 19, 2014
Science.gov (United States)
Takayabu, Y. N.; Hirota, N.; Kato, M.; Arakane, S.
2015-12-01
An extraordinary precipitation over 100 mmhr-1in Hiroshima on August 19, 2014, caused a flash flood which resulted in 74 fatalities and collapse of 330 houses. In order to examine the meteorological background of this flooding event, we carried out a detailed analysis utilizing rain gauge data, satellite precipitation dataset, and a meso scale and a global scale objective analyses provided from the Japan Meteorological Agency. Then, we performed numerical experiments using a nonhydrostatic compressible equation model called the Cloud-Resolving Storm Simulator (CReSS). As a result, a combined effect of an atmospheric river (AR) and a cut-off low (COL) in this flooding event was elucidated. During the event, a filamentary transport of moisture extending from the Indochina Peninsula to the Japanese Islands was observed along the southern side of the subtropical jet, forming an AR. This AR had a deep structure with an amount of free tropospheric moisture comparable to that of the boundary layer. Concurrently, there was a COL, detached from the Mid-Pacific Trough, moving northwestward toward the Japanese Archipelago. With various sensitivity experiments, we concluded that a mid-tropospheric instability associated with the cold core of the COL and a dynamical ascent induced in its foreside, collaboratively worked with the anomalous moisture in the free troposphere associated with the AR, to extraordinarily enhance the precipitation over Hiroshima region. An orographic effect to concentrate the precipitation in this region was also confirmed. An implication on a difference in effects of AR in this event with a climatologically moist boundary layer, from those in the US west coast with a very dry environment, was also obtained. Acknowledgment: This study is supported by the Environment Research and Technology Development Fund (2-1503) of the Ministry of the Environment, Japan, and by the Ministry of Education, Culture, Sports, Science and Technology, Japan.
Physical Responses of Convective Heavy Rainfall to Future Warming Condition: Case Study of the Hiroshima Event
Directory of Open Access Journals (Sweden)
Kenshi Hibino
2018-04-01
Full Text Available An extreme precipitation event happened at Hiroshima in 2014. Over 200 mm of total rainfall was observed on the night of August 19th, which caused floods and many landslides. The rainfall event was estimated to be a rare event happening once in approximately 30 years. The physical response of this event to the change of the future atmospheric condition, which includes a temperature increase on average and convective stability change, is investigated in the present study using a 27-member ensemble experiment and pseudo global warming downscaling method. The experiment is integrated using the Japan Meteorological Research Institute non-hydrostatic regional climate model. A very high-resolution horizontal grid, 500 m, is used to reproduce dense cumulonimbus cloud formation causing heavy rainfall in the model. The future climate condition determined by a higher greenhouse gas concentration is prescribed to the model, in which the surface air temperature globally averaged is 4 K warmer than that in the preindustrial era. The total amounts of precipitation around the Hiroshima area in the future experiments are closer to or slightly lower than in the current experiments in spite of the increase in water vapor due to the atmospheric warming. The effect of the water vapor increase on extreme precipitation is found to be canceled out by the suppression of convection due to the thermal stability enhancement. The fact that future extreme precipitation like the Hiroshima event is not intensified is in contrast to the well-known result that extreme rainfall tends to be intensified in the future. The results in the present study imply that the response of extreme precipitation to global warming differs for each rainfall phenomenon.
Cytogenetics of the in-utero exposed of Hiroshima and Nagasaki. Supplemental report
Energy Technology Data Exchange (ETDEWEB)
Neriishi, S; Shimba, H [Radiation Effects Research Foundation, Nagasaki (Japan)
1978-04-01
The presence of chimaerism in peripheral lymphocyte chromosome 21 years after A-bomb radiation was examined using 16 males who had been exposed in-utero to radiation from A-bomb in Hiroshima and Nagasaki. (10 cases in Hiroshima and 6 cases in Nagasaki). At the same time, doses of in-utero radiation were estimated. It was found that no cells possess XX chromosome by observing 1,600 chromosome metaphases in 16 cases (100 per a person). Estimated dose of in-utero radiation was 44 - 151 rad, or 75.6 rad on the average for 10 cases in Hiroshima and 61 - 197 rad, or 104 rad on the average for 6 cases in Nagasaki. Estimated radiation dose of their mothers used as a basis for estimating in-utero radiation dose was 120 - 149 rad or 207.9 rad on the average for cases in Hiroshima and 148 - 477 rad or 251 rad on the average for cases in Nagasaki. A ratio of total dose given to mother to that given to fetus was 2.75 in cases of Hiroshima and 2.41 in those of Nagasaki.
Dental radiography exposure of the Hiroshima and Nagasaki populations
International Nuclear Information System (INIS)
Antoku, Shigetoshi; Hoshi, Masaharu; Russell, W.J.
1987-04-01
Dental radiography doses in Hiroshima and Nagasaki were estimated using doses measured by a thermoluminescent dosimeter and a phantom, and survey data from dental hospitals and clinics in Hiroshima and Nagasaki. Doses to organs, including the lens, pituitary fossa, thyroid gland, and skin were calculated. Average doses per examination to these body sites were calculated using data obtained during a two-week survey in both cities. The mean caput doses were calculated from the data indicating frequency per year, and were tabulated by organ, age, teeth examined, type of examination, population, sex, and city. No significant difference was observed by age, population, sex, or city. Currently, the doses incurred during dental radiography may not be sufficiently high to cause bias in the assessments for late radiation effects among atomic bomb survivors. However, the mean caput thyroid doses of 62 mrad and 67 mrad in Hiroshima and Nagasaki, respectively, cannot be ignored from the standpoint of their potential in contributing to radiation-induced carcinogenesis. (author)
Intense Undular Bores on the Autumn Pycnocline of Shelf Waters of the Peter the Great Bay (Sea of Japan)
Science.gov (United States)
Dolgikh, G. I.; Novotryasov, V. V.; Yaroshchuk, I. O.; Permyakov, M. S.
2018-03-01
The results of field observations of an internal undular bore that were performed in a coastal zone of constant depth in the Sea of Japan are presented. A hydrodynamic model of undular bores is discussed according to which the recorded disturbances of the water medium are an experimental prototype of strongly nonlinear (intense) internal undular bores on the pycnocline of shelf waters of Peter the Great Bay with an intensity close to the limit.
Life Cycle Inventory Analysis for a Small-Scale Trawl Fishery in Sendai Bay, Japan
Directory of Open Access Journals (Sweden)
Kazuhito Watanabe
2016-04-01
Full Text Available A reduced environmental burden, while maintaining high quality and low cost, has become an important factor for achieving sustainability in the fisheries sector. The authors performed life cycle inventory (LCI analysis targeting the fish production for a small-scale trawl fishery including small trawlers operating in Sendai Bay, Japan. The average annual cumulative CO2 emissions for the small trawlers were 4.7 ton-CO2/ton-product and 8.3 ton-CO2/million Japanese yen (JPN. Total fuel consumption contributed to 97% of the global warming potential. The range of variation in the basic unit of CO2 for each small trawler was also elucidated. Energy conservation through lower fuel consumption is shown to be an effective measure for reducing CO2 in a small trawler fishery. Moreover, the authors examined the system boundary, the determination of the functional unit, and the allocation method of applying LCI analysis to fisheries. Finally, the economy and environment of small trawler fisheries are discussed as important factors for sustainable fisheries, and the life cycle approach is applied to a new fishery type in Japan.
Status of Los Alamos efforts related to Hiroshima and Nagasaki dose estimates
International Nuclear Information System (INIS)
Whalen, P.P.
1981-09-01
The Los Alamos efforts related to resolution of the Hiroshima, Nagasaki doses are described as follows: (1) Using recently located replicas of the Hiroshima bomb, measurements will be made which will define the upper limit of the Hiroshima yield. (2) Two-dimensional calculations of the neutron and gamma-ray outputs of the Hiroshima and Nagasaki weapons are in progress. Neutron and gamma-ray leakage spectra measurements will be made. Similar measurements on the Mark 9 weapon and on the Ichiban assembly are proposed. These measurements will provide a check for present day cross sections and calculations. (3) Calculations of several air transport experiments are in progress. A comparison of calculated results with experimental results is given. (4) The neutron and gamma-ray output spectra of several devices tested in the atmosphere at the Nevada Test Site are being calculated. The results of these calculations will allow models of the debris cloud contribution to the total dose to be tested
Airway inflammation in Japanese COPD patients compared with smoking and nonsmoking controls
OpenAIRE
Ishikawa, Nobuhisa; Hattori, Noboru; Kohno, Nobuoki; Kobayashi, Akihiro; Hayamizu, Tomoyuki; Johnson, Malcolm
2015-01-01
Nobuhisa Ishikawa,1 Noboru Hattori,2 Nobuoki Kohno,2 Akihiro Kobayashi,3 Tomoyuki Hayamizu,4 Malcolm Johnson5 1Department of Respiratory Medicine, Hiroshima Prefectural Hospital, Hiroshima, Japan; 2Department of Molecular and Internal Medicine, Hiroshima University, Hiroshima, Japan; 3Biomedical Data Science Department, 4Medical Affairs Respiratory Department, GlaxoSmithKline Shibuya-ku, Tokyo, Japan; 5Respiratory Global Franchise, GlaxoSmithKline, Uxbridge, UK Purpose: To assess the impor...
Hiroshima Diary - August 6-September 30, 1945
International Nuclear Information System (INIS)
Hachiya, Michihiko; Duran, Simon
2011-01-01
Michihiko Hachiya was director of the Hiroshima Communications Hospital when the world's first atomic bomb was dropped on the city. Though his responsibilities in the appalling chaos of a devastated city were awesome, he found time to record the story daily, with compassion and tenderness. Hachiya's diary covers the period from Aug. 6, 1945 to Sept. 30, 1945. He described the effects of the atomic bomb blast from its first flash in the early morning as he rested from his night shift as an air warden at the hospital. The force of the blast stripped all the clothes from his body but he and his wife survived, however they both received serious burns to their bodies and had to journey to the hospital Michihiko worked at. He spent the night in the care of the hospital staff who were not seriously injured and started making his daily rounds that he would have normally made as a doctor. As time passes an understanding of what hit their city clears up, and historical events such as the surrender of Japan are brought up. The condition of the hospital also drastically improves as more medical supplies are brought into the city, allowing them to better treat patients
Some aspects of readaptation of atomic survivors in Hiroshima
International Nuclear Information System (INIS)
Vasconcelos, L.A.
1992-01-01
An overview of some aspects of psycho social readaptation of the atomic bomb survivors in Hiroshima is presented. Reports from 31 survivors, 8 men and 23 women, were used as data for the analysis. The reports were collected individually through a structured interview, in one of the two hospitals in Hiroshima which deliver services to the survivors. The data were grouped according to the following areas: family, work, health and psychological readaptation. These data were analysed considering the psycho social aspects of disasters and the characteristics of the japanese culture. (M.A.C.)
Radon concentrations in residential housing in Hiroshima and Nagasaki
International Nuclear Information System (INIS)
Yonehara, Hidenori; Aoyama, Takashi; Radford, E.P.; Kato, Hiroo; Sakanoue, Masanobu.
1992-01-01
A measurement of indoor radon ( 222 Rn) concentrations in Hiroshima and Nagasaki was carried out to examine an effect of the exposure on atomic bomb (A-bomb) survivors. Two hundred dwellings (100 from each city), chiefly of members of the Life Span Study population which is a fixed cohort studied by Radiation Effects Research Foundation (RERF), were selected for this survey. We used two types of alpha-track detector: a Terradex detector type SF and a bare-track detector improved by Yonehara et al. Comparative measurements showed that although there was an adequate correlation between the values obtained using the two detectors, the geometric mean value for the bare-track detector was 45% of that for the Terradex detector. This difference was considered to be due to differences in the calibration methods and sensitivities of the detectors to thoron ( 220 Rn). The arithmetic mean values of the radon concentrations for 193 locations in Hiroshima and 192 locations in Nagasaki measured by Terradex SF detector were 103 Bq m -3 and 40.6 Bq m -3 , respectively. The values at 100 locations in Hiroshima and at 93 locations in Nagasaki measured by the bare detector were 43.1. Bq m -3 and 13.6 Bq m -3 , respectively. The significant difference between the geometric mean values of the concentration in Hiroshima and Nagasaki measured by both methods was observed. The difference might be attributable to the different geological environments of the two cities. The difference between the estimated dose equivalents for exposure to radon daughters in dwellings in Hiroshima and Nagasaki over the last 30 years might amount to 0.4 or 0.8 Sv; however, no statistically significant difference was observed in lung cancer mortality in the low-dose range in either city. Nevertheless, the indoor-radon concentrations estimated in this survey could significantly infl
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Spotlight: Heela Yoon—Afghan Youth Ambassadors for Peace
This interview was filmed at the 2024 Stockholm Forum on Peace and Development. It is part of a series that features international experts, peacebuilders and policymakers. They reflect on how polarization affects the pursuit of peace and development, the steps needed to overcome these divisions, and who is in the best position to act.
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Minderoo Foundation
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Our priorities
Determined to remove barriers that prevent the creation of a fair future, we focus our efforts on three key areas â communities, gender equality and natural ecosystems.
Our three focus areas are complemented by a series of impact missions that allow us to respond to existential threats and urgent challenges in an agile and targeted way.
We recognise that some barriers to change are greater than others. In response, we apply the lens of climate change, gender equality and First Nations to all our work, engagements and partnerships to ensure we donât lose sight of the inequity these areas face.
View our strategy
Our impact and reach
At our core we are driven to âgive backâ and resolve problems at the root cause.
Over our history, Minderoo has established ground-breaking programs and research that has and continues to create positive change within society. We maximise our impact by focusing on our beneficiaries, consistent geographies and key stakeholders.
Australia is our home and will always be our top priority and proving ground.
As our projects mature, we will prioritise the needs of our Asia Pacific neighbours.
Recognising that some issues require global solutions, we maintain a global outlook, collaborating with partners who understand local contexts to solve global problems and bringing the best ideas back to Australia to improve outcomes for the beneficiaries we serve at home.
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https://www.gilderlehrman.org/collection/glc0887551
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The Liberator. [Vol. 9, no. 30 (July 26, 1839)]
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"The Liberator. [Vol. 9",
"no. 30 (July 26",
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The Liberator. [Vol. 9, no. 30 (July 26, 1839)] | | With previous owner's signature ([I.] Stearns) in top margin of first page. Includes an article on the Massachusetts Abolition Society and miscellaneous other reports. Garrison serves as editor, Isaac Knapp as printer, and Oliver Johnson as general agent. Discolored in creases.
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https://www.gilderlehrman.org/collection/glc0887551
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At the Institute’s core is the Gilder Lehrman Collection, one of the great archives in American history. More than 85,000 items cover five hundred years of American history, from Columbus’s 1493 letter describing the New World through the end of the twentieth century.
Gilder Lehrman Collection #: GLC08875.51 Author/Creator: Garrison, William Lloyd, 1805-1879 Place Written: Boston, Massachusetts Type: Newspaper Date: 26 July 1839 Pagination: 4 p. : newspaper ; 62 x 47 cm. Order a Copy
Summary of Content
With previous owner's signature ([I.] Stearns) in top margin of first page. Includes an article on the Massachusetts Abolition Society and miscellaneous other reports. Garrison serves as editor, Isaac Knapp as printer, and Oliver Johnson as general agent. Discolored in creases.
People
Garrison, William Lloyd, 1805-1879
Johnson, Oliver, 1809-1889
Knapp, Isaac, 1804-1843
Goodell, William, 1792-1878
Adams, John Quincy, 1767-1848
Sub Era
Citation Guidelines for Online Resources
Copyright Notice The copyright law of the United States (title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specific conditions is that the photocopy or reproduction is not to be “used for any purpose other than private study, scholarship, or research.” If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of “fair use,” that user may be liable for copyright infringement. This institution reserves the right to refuse to accept a copying order if, in its judgment, fulfillment of the order would involve violation of copyright law.
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2007-06-09T16:48:39+00:00
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/Noborito
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Noborito (登戸) is a neighborhood in Tama-ku, Kawasaki, Kanagawa Prefecture, Japan just across the southwestern border of Tokyo on the Tama River and about 18 minutes south of Shinjuku on the Odakyu Odawara Line Express.
In 1927, Odakyu Line and Nanbu Line were constructed. Noborito Station became the interchange station.
During World War II, the Imperial Japanese Army established its secret institute, the Number Nine Research Laboratory, for researching special weapons, such as the Fu-Go balloon bomb, counterfeit bills, and other chemical and biological weapons. It is called the "Noborito Institute" now, and several houses are used by Meiji University.[1]
For many years after 1945, Noborito was thought of as a rather sleepy suburb and company dormitory for workers to commute to more urban destinations such as Kawasaki, Tachikawa, and Shinjuku.
Noborito has the Okamoto Taro Art Museum and Minka-en folk village, both nearer Mukōgaoka-Yūen Station than Noborito Station.
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https://sanfordlab.org/
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Sanford Underground Research Facility
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2024-08-27T12:00:00+00:00
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/themes/custom/surf_main/branding/favicon-surf.svg
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https://sanfordlab.org/
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Most of the mass of the universe is missing. Where is it and how do we know it exists? Scientists working deep underground at SURF believe WIMPs (weakly interacting massive particles) could be the answer.
This ghostly particle could answer a lot of questions about the universe, including how the universe was formed and why we exist.
The Sanford Lab Homestake Visitor Center in Lead, SD is free to everyone, open daily. Learn the scientific and cultural legacy of our campus.
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https://www.govinfo.gov/content/pkg/CZIC-sh11-a44672-no-92/html/CZIC-sh11-a44672-no-92.htm
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en
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Japan Meeting on Aquaculture, Charleston, South Carolina, October 20 and 21, 1987
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[From the U.S. Government Printing Office, www.gpo.gov]
L ILI @TE NOAA Technical Repoi-t NMFS 92 November 1990 Genetics in Aquaculture Proceedings of the Sixkenth U.S. -Japan Meeting on Aquaculture Charleston, South Carolina October 20 and 21., 1987 Ralph S. Svrjcek (editor) U.S. Department of Commerce SH11 .A44672 no.92 NOAA Technical Report NMFS The major responsibilities of the National Marine Fisheries Service (NMFS) are to monitor and assess the abundance and geographic distribution of fishery resources, to understand and predict fluctuations in the quantity and distribution of these resources, and to establish levels for their optimum use. NMFS is also charged with the development and implementation of policies for managing national fishing grounds, development and enforcement of domestic fisheries regulations, surveillance of foreign fishing off United States coastal waters, and the development and enforcement of international fishery agreements and policies. NMFS also assists the fishing industry through marketing service and economic analysis programs, and mortgage in- surance and vessel construction subsidies. It collects, analyzes, and publishes statistics on various phases of the industry. The NOAA Technical Report NMFS series was established in 1983 to replace two subcategories of the Technical Reports series: "Special Scientific Report-Fisheries" and "Circular." The series contains the following types of reports: Scientific investigations that document long-term continuing programs of NMFS; intensive scientific reports on studies of restricted scope; papers on applied fishery problems; technical reports of general interest intended to aid conservation and management; reports that review in considerable detail and at a high technical level certain broad areas of research; and technical papers originating in economics studies and from management investigations. Since this is a formal series, all submitted papers receive peer review and those accepted receive professional editing before publication. Copies of NOAA Technical Reports NMFS are available free in limited numbers to governmental agencies, both Federal and State. They are also available in exchange for other scientific and technical publications in the marine sciences. Individual copies may be obtained from: U.S. Department of Commerce, National Technical Information Service, 5285 Port Royal Road, Springfield, VA 22161. Although the contents have not been copyrighted and may be reprinted entirely, reference to source is appreciated. 69. Environmental quality and aquaculture systems: Proceedings of the Beverly M. Vinter. October 1989, 651 p. thirteenth U.S.-Japan meeting on aquaculture, Mie, Japan, October 24-25, 1984, edited by Carl J. Sindermann. October 1988, 50 p. 81. Catch-per-unit-effort and biological parameters from the Massachu- setts coastal lobster (Horwrus ameriranus) resource: Description and Trends, 70. New and innovative advances in biology/engineering with potential by Bruce T. Estrella and Daniel J. McKiernan. September 1989, 21 p. for use in aquaculture: Proceedings of the fourteenth U.S.-Japan meeting on aquaculture, Woods Hole, Massachusetts, October 16-17, 1985, edited 82. Synopsis of biological data on the cobia R"hycentron canadum (Pisces: by Albert K. Sparks. November 1988, 69 p. Rachycentridae), by Rosalie Vaught Shaffer and Eugene L. Nakamura. December 1989, 21 p. 71. Greenland turbot Reinhardliushippoglossoidesof the eastern Bering Sea and Aleutian Islands region, by Miles S. Alton, Richard G. Bakkala, Gary 83. Celaphopods from the stomachs of sperm whales taken off Califor- E. Walters, and Peter T. Munro. December 1988, 31 p. nia, by Clifford H. Fiscus, Dale W. Rice, and Allen A. Wolman. Decem- ber 1989, 12 p. 72. Age determination methods for northwest Atlantic species, edited by Judy Perittila and Louise M. Dery. December 1988, 135 p. 84. Results of abundance surveys of juvenile Atlantic and Gulf menha- den, Brevoortia Vannus and B. patrunus, by Dean W. Ahrenholz, James F. 73. Marine flora and fauna of the Eastern United States. Mollusca: Guthrie, and Charles W. Krouse. December 1989, 14 p. Cephalopoda, by Michael Vecchione, Clyde F. E. Roper, and Michael J. Sweeney. February 1989, 23 p. 85. Marine farming and enhancement: Proceedings of the Fifteenth U.S.-Japan Meeting on Aquaculture, Kyoto, Japan, October 22-23, 1986, 74. Proximate composition and fatty acid and cholesterol content of 22 edited by Albert K. Sparks. March 1990, 127 p. species of northwest Atlantic finfish, by Judith Krzynowek, jenny Mur- phy, Richard S. Maney, and Laurie J. Panunzio. May 1989, 35 p. 86. Benthic macroiatina and habitat monitoring on the continental shelf of the northeastern United States. 1. Biomass, by Frank Steimle. Febru- 75. Codend selection of winter flounder Pseudopleuronectes amen@anus, by ary 1990, 28 p. David G. Simpson. March 1989, 10 p. 87. Life history aspects of 19 rockfish species (Scorpaenidae: Sebastes) from 76. Analysis of fish diversion efficiency and survivorship in the fish return the Southern California Bight, by Milton S. Love, Pamela Morris, Mer- system at San Onofte Nuclear Generating Station, by Milton S. Love, ritt McCrae, and Robson Collins. February 1990, 38 p. Meenu Sandbu, Jeffrey Stein, Kevin T. Herbinson, Robert H. Moore, Michael Mullin, and John S. Stephens Jr. April 1989, 16 p. 88. Early-life-history profiles, seasonal abundance, and distribution of four species of clupeid larvae from the northern Gulf of Mexico, 1982 and 77. Illustrated key to the genera of free-living marine nematodes of the 1983, by Richard F. Shaw and David L. Drullinger. April 1990, 60 p. order Enoplida, by Edwin J. Keppner and Armen C. Tarjan. July 1989, 26 p. 89. Early-life-history profiles, seasonal abundance, and distribution of four species of carangid larvae off Louisiana, 1982 and 1983, by Richard 78. Survey of fishes and water properties of south San Francisco Bay, F Shaw and David L. Drullinger. April 1990, 37 p. California, 1973-82, by Donald E. Pearson. August 1989, 21 p. 90. Elasmobranchs as living resources: Advances in the biology, ecology, 79. Species composition, distribution, and relative abundance of fishes systematics, and the status of the fisheries, edited by Harold L. Pratt Jr., in the coastal habitat off the southeastern United States, by Charles A. Samuel H. Gruber, and Toru Taniuchi. July 1990, 518 p. Wenner and George R. Sedberry. July 1989, 49 p. 91. Marine flora and fauna of the northeastern United States, Echinoder- 80. Laboratory guide to early life history stages of northeast Pacific fishes, mata: Crinoidea, by Charles G. Messing and John H. Dearborn. August by Ann C. Matarese, Arthur W. Kendall Jr., Deborah M. Blood, and 1990, 30 p. NOAA Technical Report NMFS 92 Genetics in Aquaculture Proceedings of the Sixteenth U.S. -Japan Meeting on Aquaculture Charleston, South Carolina October 20 and 21, 1987 Ralph S. Svrjcek (editor), Publications Unit Northwest and Alaska Fisheries Science Centers Panel Chairmen: Conrad Mahnken, United States Takeshi Nose, Japan Under the U.S. -Japan Cooperative Program in Natural Resources (UJNR) November 1990 stil OF Co. U.S. DEPARTMENT OF COMMERCE Robert Mosbacher, Secretary National Oceanic and Atmospheric Administration John A. Knauss, Under Secretary for Oceans and Atmosphere 14, National Marine Fisheries Service "ArEs 0V William W. Fox Jr., Assistant Administrator for Fisheries C" TaE7 LIBRARY NOAA/CCEH 1990 HOBSON AVE. CHAS. SC 29408-2623 PREFACE The United States and Japanese counterpart panels on aquaculture were formed in 1969 under the United States-Japan Cooperative Program in Natural Resources (UJNR). The panels currently include specialists drawn from the federal departments most concerned with aquaculture. Charged with exploring and developing bilateral cooperation, the panels have focused their efforts on exchanging information related to aquaculture which could be of benefit to both countries. The UJNR was begun during the Third Cabinet-Level Meeting of the joint United States-Japan Committee on Trade and Economic Affairs in January 1964. In addition to aqua- culture, current subjects in the program include desalination of seawater, toxic microorganisms, air pollution, energy, forage crops, national park management, mycoplasmosis, wind and seismic effects, protein resources, forestry, and several joint panels and committees in marine resources research, development, and utilization. Accomplishments include: Increased communication and cooperation among technical specialists; exchanges of information, data, and research findings; annual meetings of the panels, a policy-coordinative body; administrative staff meetings; exchanges of equipment, materials, and samples; several major technical conferences; and beneficial effects on international relations. Conrad Mahnken - United States Takeshi Nose Japan The National Marine Fisheries Service (NMFS) does not approve, recom- mend or endorse any proprietary product or proprietary material mentioned in this publication. No reference shall be made to NMFS, or to this publica- tion furnished by NMFS, in any advertising or sales promotion which would indicate or imply that NMFS approves, recommends or endorses any pro- prietary product or proprietary material mentioned herein, or which has as its purpose an intent to cause directly or indirectly the advertised pro- duct to be used or purchased because of this NMFS publication. Text printed on recycled paper CONTENTS W.K. HERSHBERGER Assessment of inbreeding and its implications for salmon broodstock 1 J.M. MYERS development R.N. IWAMOTO W.C. McAULEY G.H. THORGAARD Chromosome set manipulation in salmonid fishes 9 R.T. DILLON Jr. Outcrossed lines of the hard clam Mercenaria mercenaria 11 J.J. MANZI Y. FU A preliminary study on genetics of two types of the rotifer Brachionus plicatilis 13 Y. NATSUKARI K. HIRAYAMA K.FUKUSHO Present status of genetic studies on marine finfish in Japan 21 J.C. LEONG Recombinant viral vaccines in aquaculture 27 R. BARRIE H.M. ENGELKING J. FEYEREISEN-KOENER R. GILMORE J.HARRY G.KURATH D.S. MANNING C.L. MASON L.OBERG J. WIRKKULA R.S. WAPLES Genetic monitoring of Pacific salmon hatcheries 33 G.A. WINANS F.M. UTTER C. MAHNKEN Sj. YOON Successful gene transfer in fish 39 Z. LIU A.R. KAPUSCINSKI P.B. HACKETT A.FARAS K.S. GUISE T. NAKANISHI Clonal ginbuna crucian carp as a model for the study of fish immunology 45 H.ONOZATO and genetics T.I.J. SMITH Aquaculture of striped bass, Morone saxatilis, and its hybrids in North America 53 L.J. LESTER Computerized image analysis for selective breeding of shrimp: a progress 63 K.S. LAWSON report Mj. PIOTROWSKI T.-C. B. WONG H. MOMMA Breeding test on abalone 71 L.L. BEHRENDS Two-stage hybridization and introgression for improving production traits of 77 J.G. KINGSLEY red tilapias A.H. PRICE III Assessment of Inbreeding and Its Implications for Salmon Broodstock Development* WILLIAM K. HERSHBERGER and JAMES M. MYERS School of Fisheries WH-10 University of Washington Seattle, WA 98195 R.N. IWAMOTO** and W.C. McAULEY Domsea Farnis, Inc. 5500 180th S. W. Rochester, WA 98579 ABSTRACT Inbreeding is an important part of any selection and breeding program designed to improve aquacultural broodstock. A decrease in freshwater and saltwater growth rate was noted in a strain of coho salmon, Oncorhynchus kisutch, undergoing selection to improve these traits for commercial production. Thus, an investigation was undertaken to estimate the level of inbreeding in this strain and to assess different approaches to alleviate problematic levels of inbreeding. Estimation of inbreeding level was conducted via pedigree analysis and change in heterozygosity of elctrophoretically detected ser-um proteins variants of odd- and even-year lines of coho salmon. The two methods of analysis indicated vastly different inbreeding levels. However, pedigree analysis, the more accurate of the two methods, estimated inbreeding levels not anticipated to cause the observed depression in growth traits. Two approaches, interstock crosses and crosses between parallel -selected lines, were assessed for alleviation of inbreeding problems. Both types of crosses decrease the level of inbreeding, but the performance of the two types of crosses dif- fered greatly. Crosses between unrelated year classes of the selected stock showed positive heterotic effects, while the outcrosses with unrelated lines yielded negative heterotic effects. These results indicate that careful attention should be given to the selection of the founding populations from which broodstocks are developed and that subsequent breeding information be collected to pro- duce pedigrees for population maintenance. Furthermore, the production of parallel "in-house" lines, may provide the best method of minimizing inbreeding without diluting selection gains. Introduction result in increased inbreeding levels (Falconer 1981), where the magnitude will depend on the genetic characteristics Inbreeding is integral to any selection and breeding pro- of the population and the severity of the constraints im- gram designed for the development of broodstock. Such posed. Consequently, the factors that influence inbreeding programs generally deal with a "closed" population (i.e., must be integrated into the design of any program to migration into the population is eliminated) having a re- develop genetically improved aquacultural stocks. stricted breeding population size. Both of these factors There has been a large amount of research concerning inbreeding and its effects on various traits in fish. For example, work with rainbow trout, Oncorhynchus mykiss * Contribution No. 760, School of Fisheries WH-10, University of Wash- (formerly SaIrno gairdnert), has revealed that increased levels ington, Seattle, WA 98195. The Project was supported by U.S. NOAA of inbreeding result in increased egg and fry mortality, Grant NA86AA-D-SCO44 A09 to the Washington Sea Grant Program increased numbers of abnormal fry, decreased early Project No. R/A-47. * Current Address: Ocean Farms of Hawaii, P.O. Box A, Kailua-Kona, growth, and decreased fishery recovery (Kincaid 1976, HI @6745 1983; Aulstad and Kittlesen 1971). Research with brook I 2 NOAA Technical Report NMFS 92 trout, Salvelinusfontinalis, has demonstrated a negative im- a broodstock with traits that are beneficial to the produc- pact on weight owing to inbreeding (Cooper 1961). Ryman tion of 300-350 g coho salmon for the "plate-size" salmon (1970) reported a decrease in recapture frequency in Atlan- market. tic salmon, Salmo salar, with increased levels of inbreeding. The traits that have been emphasized for selective im- In general, the results of these studies suggest a negative provement are 1) freshwater growth, 2) smoltification, and impact on a variety of biological traits in the populations 3) saltwater growth to harvest size. Genetic analyses of studied and, consequently, on production. these traits in the stock employed by Domsea Farms re- No studies have been published on the effects of inbreed- vealed adequate variability to expect progress from selec- ing on Pacific salmon, Oncorhynchus spp., nor have any tion (Iwamoto et al. 1982; Hershberger and Iwamoto 1984; published reports dealt with the effects of inbreeding in con- Saxton et al. 1984). junction with a selection and breeding program designed Using estimated genetic values and considering that to develop a genetically improved stock for aquacultural the facilities available to the program would only allow purposes. To some degree, both of these deficiencies in in- raising 40 families of 600 individuals or less, a selection formation are being eliminated as Pacific salmon are used scheme was designed to yield maximum response and to for captive culture. It is imperative that data be obtained be useful in a commercial operation (Fig. 1). This scheme on inbreeding in these species under defined programs to involved several different types of concurrent selection determine their response to selection. (e.g., family and individual) and used a selection index that incorporated heritability estimates, relative economic values, genetic correlations, and mean values on all the Research Rationale traits of interest. It was recognized early in the develop- ment of this scheme that potential inbreeding problems The University of Washington, Domsea Farms, Inc., and could arise from the rather severe limitation in breeding the Washington Sea Grant Program have been conduct- population size (only twenty individuals contribute to ing a selection and breeding program with coho salmon, each generation). Consequently, breeding was conducted 0. k1sutch, to develop a broodstock for the marine net-pen by a rotational line-crossing procedure (Fig. 2) to minimize industry in the State of Washington. The major objective the possibility of crossing within lines. On a theoretical of this nine year cooperative program has been to develop basis, these steps should limit the change in inbreeding 3.5 MONTH SALTWATER SAMPLING FRESHWATER SAMPLING 8 MONTH SALTWATER SALTWATER SALTWATER SAMPLING PHASEI PHASEII Fish in Excess 25 Families* of 600 per Family* FRESHWATER 15 Families REARING SALTWATER PHASE III 40 Families 20 Families* INCUBATION MATURATION IN FRESHWATER 14 MONTH SALTWATER SA PH 'WATER ASE MATU RATI 0N IN FRIES HWATER S, INCUBATION 'SAMPLING 10 Families IN PERFORMANCE Figure 1 60 Families 5 Families* Diagram of the selection scheme used to develop coho salmon stocks for marine pen- SPAWNING culture. The entire cycle represents a two- year generation interval. Hershberger et al.: Assessment of Salmon Broodstock Development 3 FAMILY FAMILY FAMILY FAMILY FAMILY 1. 2 3 4 5 FROM FAMILY 5 TO FAMILY1 FAMILY FAMILY FAMIL7 FAMIL7 6 7 8 9 10 FROM FAMILY 10 TO Figure 2 FAMILY 6 Diagram of the rotational line mating system used in crossing selected indi- viduals. The asterisk indicates that each family cross is composed of six Q [9d lid E single-pair matings to form six double I first-cousin families. to about I % per generation (Hershberger and Iwamoto for this growth depression would be the accumulation of 1984). deleterious alleles through inbreeding. Even with the pre- In 1983 (for the odd-year line) and 1984 (for the even- cautions taken in the design of the selection and breeding year line) a decrease in the growth of selected fish in program, there were two potential sources of inbreeding saltwater was observed (Fig. 3). One possible explanation that could not be quantitated. First, an unknown amount of inbreeding may have been introduced by selection and breeding that had occurred prior to use of this designed program. Second, because of some unexpected husbandry 700 problems with raising fish to maturity there was a strong probability that a few families contributed disporpor- 600 tionately to the subsequent generations. Prior to the defi- nition of pedigrees for the two lines, the importance of these 500 Cr 2 factors was undeterminable. 400 ................ . 2 As a result of these indications, studies were initiated 300 to 1) determine the actual levels of inbreeding in the two lines and 2) define the best approach to eliminate inbreed- 200 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 ing in the selected stocks. BROODYEAR -M - ODD-YEAR LINE -0 EVEN-YEAR LINE -C- WILD CONTROLS Determination of Inbreeding Level Figure 3 The level of inbreeding in each of the two selected lines Average weight (grams) of selected broodstock and wild controls. after 8 months rearing in marine net-pens. Weights for 1986 are (Le., odd- and even-year) was determined by two differ- given as unadjusted (1) and adjusted (2) for density differences ent methods. First, pedigree analyses were employed to that year. N = 1200-2200 for selected broodstock and N determine the coefficient of inbreeding (F) (Falconer 1981). 15-35 for wild controls. Computation of this value is accomplished by tracing the 4 NOAA Technical Report NMFS 92 DOMSEA COHO SALMON SEAWATER BROODSTOCK ODD-YEAR LINE PEDIGREE BROODYEAR K777N -(R % 1977 LDTC LUU LAUC @AUC AU LD C RAT RUT RDU ,6 % 1 14 20 25 2 3 35 53 30 @rH A 1U @L'D LHUS RHUU 'R@ PUC RHPU,' LHPUC C U LDPU DPU RDUU 1979 63 3 19 20,.,A 27 41 31 23 25 A LOPU LH RDUUC R A LDDU LHUSC RHDUC'@ LDAUC DDUC 1981 44 10 0 23 61 25 34 2 U -(L' RHAUC RDUUC 'DD'U"', rLHUS RDD RDUU LDDUC' ,RDRUj: LDUU 1983 54 ,66 59,@ 16 50..,@ 18 9 3 --- (L U S@) _S C'% LH 'U'S1 1985 @'_LDDUC RD RDDU LHU rLHUU LHUD S rL Z U LHPU % 54 52 2 11 41 55 50 A @c --- Figure 4 Pedigree of matings between se- lected families for the odd-year 1987 broodstock line (1978-1986). Families enclosed by a striped box are double first cousins. pedigree back to common ancestors and determining the ing coefficient from these pedigrees (Table 1) indicates that probability that a pair of alleles, are identical by descent. the current level of inbreeding is not too severe, although Second, the change in genotype frequencies of electro- the estimate for the next generation (1987 broodyear) will phoretically analyzed protein differences were determined approach 8- 10%. These levels of inbreeding would not be and the difference in heterozygote frequencies equated to anticipated to cause the level of change found in the re- an apparent inbreeding coefficient (Hartl 1980). Electro- sponse of growth to selection. It has been estimated that phoretic analyses were conducted on serum samples from in domesticated animals selection can balance an increase 100-120 adult fish in each of four years (1977, 1978, 1985, in inbreeding of approximately 2 % per generation (Pirch- and 1986). The electrophoretic procedures employed were ner 1969). The estimated levels of inbreeding in coho those reported in Utter et al. (1970) for analysis of serum salmon lines, to the point where apparent inbreeding transferrins in coho salmon. depression was noted (1983 and 1984), are below this value. Construction of the pedigrees for the two lines of coho However, the coefficients reflect only the inbreeding since salmon revealed more closely related families than was the program was initiated and do not provide a measure originally anticipated (Fig. 4). Calculation of an inbreed- of prior inbreeding. Further, it is difficult to determine what Hershberger et al.: Assessment of Salmon Broodstock Development 5 Table 1 Inbreeding estimates based on pedigree analysis for both odd- and even-year lines, and based solely on effective population size (Ne). The estimates are calculated assuming the initial inbreeding coefficient (F) is equal to 0. Pedigree estimates AF = (1 /2 N + 4)' Odd-year Control Even-year Control Odd Even 1977 0.00 - 1978 0.00 - 0.00 0.00 1979 0.00 2.50 1980 0.00 2.50 2.27 2.27 1981 0.32 4.71 1982 0.63 5.75 4.49 4.41 1983 2.34 8.68 1984 4.22 9.11 8.78 6.58 1985 4.86 11.00 1986 5.90 12.20 10.86 8.52 1987 8.34 13.79 12.88 'Theoretical A F excluding sib-matings. the effects of an incremental change in inbreeding may be much larger value than was obtained from the pedigree in a species that has been recently developed from naturally analyses (Table 1). reproducing populations (Soule 1980). It is possible to rationalize the discrepancy in these values The second type of inbreeding assessment employed elec- on two bases. First, there is evidence suggesting selective trophoretic analysis of the transferrin locus, which has been differences among the various afleles of the transferrin locus shown to have three variant alleles (Utter et al. 1970) and (Suzurnoto et al. 1977; Pratschner 1977). T he results of is one of the few genetically variable protein loci found in Pratschner's research indicated that fish with the "A" and coho salmon (Utter et al. 1980). Comparison of the geno- "C" alleles, were more resistant to challenges by Vibrio type and gene frequency values in the original adult pop- bacteria than those with the "B" allele, and Suzurnoto et ulation with those from the fourth generation of selected al (1977) found that the "A" allele imparted higher sur- stock (Table 2) revealed changes that would be anticipated vival to BKD (bacterial kidney disease) challenge. If such in an inbred population (Falconer 1981); that is, there was selective pressures were applied to the selected coho salmon a decrease in the frequency of heterozygotes and, with one lines, analyses based on the genotype frequencies would exception, there was little change in the gene frequencies. tend to overestimate the inbreeding coefficient. The data Calculation of apparent inbreeding coefficients based on from the current study support the hypothesis that fish with the frequency change in heterozygotes (Fig. 5) yields a the "A" and "C" alleles have a selective advantage, and Table 2 Observed transferrin gene and genotype frequencies in the odd- and even-year lines of coho salmon and their changes over four generations of selection (N = 100- 120). Odd-year broodstock line Genotype Gene frequency Year AA AB AC BB BC cc fA fB fC 1977 0.00 0.08 0.33 0.00 0.13 0.48 0.20 0.10 0.70 1985 0.05 0.03 0.08 0.00 0.18 0.68 0.10 0.10 0.80 Change +0.05 -0.05 -0.25 +0.00 +0.05 +0.20 -0.10 0.00 +0.10 Even-year broodstock line Genotype Gene frequency Year AA AB AC BB BC cc fA fB fC 1978 0.10 0.05 0.45 0.05 0.25 0.10 0.35 0.20 0.45 1986 0.12 0.00 0.42 0.00 0.04 0. 42 0.33 0.02 0.65 Change +0.01 -0.05 -0.02 -0.05 -0.21 +0.32 -0.02 +0.18 +0.20 6 NOAA Technical Report NMFS 92 Figure 5 ODD-YEAR Estimates of the apprent inbreeding coefficients for the odd- and even-year lines based on the changes in observed and expected ACTUAL HETEROZYGOSITY VS. EXPECTED genotype frequencies of the coho transferrin alleles. 1977 .525 -.46 /.46 = +14.1 % 1985 .275 -.525 /.525 = - 47.6 % CHANGE IN OBSERVED HETEROZYGOSITY Table 3 The relative growth and survival of interstrain (Domsea x Univ. of WA) and intrastrain (Domsea odd- x even- CHANGE 1977 to 1985:.275 - .525 /.525 47.6 % year) crosses after 8 months rearing in marine net-pens. ESTIMATED AF 41.9% The weights and survivals have been standardized against the Domsea x Domsea (2 x 2) cross = 100. The index value is the cross-product of weight and survival/100. N EVEN-YEAR 8-45 for each cross. Outcrossing schemes ACTUAL HETEROZYGOSITY VS. EXPECTED Relative Relative weight survival Index 1978 .75 -.635 /.635 = + 18.1 % DOMSEA (D) 100 100 too 1986 .461 - .465 /.465 0.8 % D x UW (9 x 0) 147 25 36.8 CHANGE IN OBSERVED HETEROZYGOSITY UW x D (9 x a) 141 25 35.3 University of Wash. (UW) 55.1 21.4 11.7 CHANGE 1978 to 1986:.461 -.75 /.75 38.5 % DOMSEA line crosses ESTIMATED AF 29.3% Relative Relative weight survival Index DOMSEA (2 x 2) 100 100 too DOMSEA (2 x 3) 116.1 150 174.5 vibriosis is a common problem in the marine net-pen DOMSEA (3 x 2) 101.4 225 174.1 culture of salmon. The directed selection practiced on the DOMSEA (3 x 3) 128.7 100 128.7 stock may also have an epistatic effect on the transferrin locus. A tacit assumption made in the use of the genotype frequency relationship used to calculate an inbreeding coef- ficient is the absence of selection. Such an assumption is coho salmon stock and the hatchery stock of the Univer- clearly not valid in this situation and may result in the sity of Washington, and between the Domsea odd- and inflation of the calculated value. even-year parallel- selected lines. Progeny from these crosses To summarize, it appears that pedigree analysis is the were reared in conjunction with the broodstock line. best approach to determine inbreeding levels in coho It is apparent from the data (Table 3) that the progeny salmon. Thus, it would seem wise to assure that a selec- from the crosses derived from the Doinsea intrastock crosses tion and breeding program incorporates the mechanisms were superior to the interstock cross at the time of harvest. that define accurate pedigrees of the breeding population. Although both of the University of Washington x Domsea Further, caution should, be exercised in the use of geno- hybrids were larger after eight months of saltwater rear- type frequency changes to determine absolute values for ing, relative to the Domsea controls, the overall survival inbreeding coefficients. The potential effects of direct and of both the hybrids and the University of Washington fish indirect selection must be determined for these values to was extremely poor under net-pen conditions. The high be considered as valid measurements of inbreeding. values reported reflect the survival of a few large hybrids which biased the weight measurements. The University of Washington x Domsea hybrids may not necessarily be Elimination of Inbreeding indicative of all interstock crosses, but the results suggest that extensive hybrid testing may be necessary to identify Although the apparent levels of inbreeding in the selected a complementary stock. The Domsea intrastock hybrids, stocks of coho salmon were not large, two approaches to however, showed both good growth and greatly improved elimination of accumulated inbreeding were investigated: survival relative to controls. Maintaining "in-house" outcrossing between stocks and outcrossing between lines parallel selection lines may be a more efficient expenditure within stocks. Test crosses were made between the Domsea of effort relative to testing outcrosses. The "odd x even" Hershberger et al.: Assessment of Salmon Broodstock Development 7 crosses would appear to be the method-of-choice for allevi- Citations ating the inbreeding "load" while preserving selection gains. Aulstad, D., and Kittlesen. 1971. Abnormal body curvatures of rainbow trout (Salmogairdnen) inbred fry. J. Fish. Res. Board Can. 28:1918-1920. Cooper, E.L. Implications for 1961. Growth of wild and hatchery strains of brook trout. Trans. Am. Fish. Soc. 23:614-617. Broodstock Development Falconer, D.S. 1981. Introduction to quantitative genetics. Longman,Inc.New The coho salmon stocks that have been developed as a York, NY, 340 p. result of this research program have, apparently, not yet Gall, G.A.E. 1987. Inbreeding. In Population genetics & fishery management reached a level of inbreeding which would result in a strong (N. Ryman and F. Utter, eds.), p. 47-87. Univ. Washington negative impact on their performance. The depression in Press, Seattle, WA. growth observed in both lines appears to have been envi- Hart], D.L. ronmentally generated and subsequent generations have 1980. Principles of population genetics. Sinauer Assoc., Inc. Sunderland, MA, 488 p. performed well (Fig. 3). However, analyses of inbreeding Hershberger, W.K., and R.N. Iwamoto. in these lines have demonstrated several areas requiring 1984. Systematic genetic selection and breeding in salmonid culture special consideration in the development of aquaculture and enhancement programs. In Proceedings of the I lth U.S.- broodstocks. Where possible, a selection and breeding pro- Japan Meeting on Aquaculture, salmon enhancement; 19-20 gram should be initiated with a large enough population October 1982, Tokyo, Japan, p. 29-32. U.S. Dep. Commer., NOAA Tech. Rep. NMFS 27. size to completely address the combined needs of a reason- Iwamoto, R.N., A.M. Saxton, and W.K. Hershberger. able selection differential and elimination of close familial 1982. Genetic estimates for length and weight of coho salmon relationships. Otherwise, definitive steps must be taken in (Oncorhynchus kisutch) during freshwater rearing. J. Hered. the formulation of the selection and breeding program to 73:187-191. minimize the accumulation of inbreeding from these Kincaid, H.L. 1976. Effects of inbreeding on rainbow trout populations. Trans. factors. Am .Fish. Soc. 105:273-280. Further, a broodstock program should be initiated from 1983. Inbreeding in fish populations used for aquaculture. Aqua- either an outbred population with an inbreeding coeffici- culture 33:215-227. ent (F) equal, or close to 0, or from a stock with a defined Pirchner, F. and well maintained pedigree. This would insure that the 1969. Population Genetics in Animal Breeding. W.H.Freeman and Co., San Francisco, CA, 274 p. inbreeding level could be unquestionably determined and Pratschner, G.A. the effects of any increases could be well defined. In addi- 1977. Relative resistance of six transferrin phenotypes of coho tion, research is needed to determine the response of aqua- salmon to cytophagosis, furunculosis and vibriosis. M.S. Thesis, cultural species recently derived from wild populations to Univ. Washington, Seattle, WA, 71 p. an increase in inbreeding level. While the response of Ryman, N. domesticated animals to increases in inbreeding has been 1970. A genetic analysis of recapture frequencies of released young of salmon (Salmo salar L.). Hereditas 65:159-160. quantitated to some degree (Pirchner 1969), there is no Saxton, A.M., W.K. Hershberger, and R.N. Iwamoto. a priori method by which to predict the magnitude of 1984. Smoltification in the net-pen culture of accelerated coho responses in natural populations. As indicated by Gall salmon (Oncorhynchus kisutch); quantitative genetic analysis. Trans. (1987), the best information will be obtained from induc- Am. Fish. Sec. 113:339-347. Soule, M.E. ing high levels of inbreeding in such stocks and quantify- 1980. Thresholds for survival: maintaining fitness and evolutionary ing the effects. However, inbreeding effects observed in potential. In Conservation Biology (M.E. Soule and B.A. Wilcox, the progeny of sib-matings are indicative of, but not highly eds.), p. 151-169. Sinauer Assoc., Inc., Sunderland, MA. correlated with the performance of individuals with equal Suzumoto, B. K., C. B. Schreck, and J. D. McIntyre. inbreeding levels produced through generations of matings. 1977. Relative resistances of three transferrin genotypes of coho salmon (Oncorhynchus kistuch) and their hernatological responses to Finally, it appears that using parallel selection in at least bacterial kidney disease. J. Fish. Res. Board Can. 34:1-8. two separate lines of broodstock would be a valuable ap- Utter, F.M., W.E. Ames, and H.O. Hodgins. proach to incorporate into a selection and breeding pro- 1970. Transferrin polymorphism in coho salmon (Oncorhynchus gram. This provides an additional data set with which to kisulch). J. Fish. Res. Board Can. 27:2371-2373. evaluate a selection program and also incorporates a Utter, F. M., D. Campton, S. Grant, G. Milner, J. Seeb, and L. Wishard. mechanism that has the potential to eliminate inbreeding 1980. Population structures of indigenous salmonis species of the Pacific Northwest. In Salmonid ecosystems of the North Pacific effects without the loss of advances made in the traits that (W.J. McNeil and D.C. Hirnsworth, eds.), p. 285-304. Oregon are beneficial to aquaculture production. State Univ. Press, Corvallis, OR. Chromosome Set Manipulation in Salmonid Fishes GARY H. THORGAARD Department of Zoology and Program in Genetics and Cell Biology Washington State University Pullman, WA 99164-4220 ABSTRACT Techniques to manipulate chromosome sets and produce polyploid fishes or fishes with all the inheritance from the female or male parent have been exploited in aquaculture in recent years. Some of the principal applications of this work have been to produce sterile fish or to produce monosex populations. Three additional applications of chromosome set manipulation that we have explored in salmonids in our laboratory and in collaboration with other laboratories have been 1) increased survival in triploid hybrids; 2) the potential for gene transfer by "incomplete gynogenesis"; and 3) the generation of homozygous diploids and ultimately homozygous clones through androgenesis (all-paternal inheritance). A number of researchers have demonstrated that interspecific triploid fish hybrids survive better than the corresponding diploid hybrids. Notable examples of this phenomenon include the tiger trout (brown trout x brook trout) hybrid, the rainbow trout x coho salmon hybrid, and the chum salmon x chinook salmon hybrid. The tiger trout has considerable potential as a sport fish and may be advantageous because both the diploid and triploid hybrids are essentially sterile. The rainbow trout x coho salmon hybrid has increased resistance to IHN (infectious hernatopoietic necrosis) virus characteristic of the coho salmon parent. The chum salmon x chinook salmon hybrid has early seawater tolerance characteristic of the chum salmon parent. Gynogenesis (all-maternal inheritance) experiments have normally involved complete inactiva- tion of the paternal genome by radiation or chemical treatment of the sperm. However, we have demonstrated that if a lower than normal radiation treatment is applied to the sperm, some paternal genes may still be active in the progeny. This has been demonstrated for both pigmentation and isozyme loci. It appears that the paternal genes in this situation are located on chromosomal fragments which are lost during development. If the paternal genes can be stably inherited and if desirable paternal traits can be selected for, this "incomplete gyogenesis" might potentially be used to transfer desirable traits between species. Androgenesis is induced by fertilizing radiation-inactivated eggs with normal sperm and by applying a pressure or heat treatment to block the first cleavage division and produce homo- zygous diploids. We have successfully induced androgenesis in rainbow trout and have also pro- duced androgenetic progeny from homozygous androgenetic males. Androgenesis has a number of distinctive applications for aquaculture, including generation of homozygous clones and recovery of strains from cryogenically preserved sperm. 9 Outcrossed Lines of the Hard Clam Mercenaria mercenaria ROBERT T. DILLON Jr. Department of Biology College of Charleston Charleston, SC 29424 JOHN J. MANZI Marine Resources Research Institute Charleston, SC 29412 ABSTRACT A large-scale breeding program has been initiated in South Carolina to achieve improved growth and survival of the hard clams, M. mercenaria. This interdisciplinary, multi-institutional program uses the facilities and personnel of the South Carolina Wildlife and Marine Resources Research Institute, the College of Charleston, the University of South Carolina, and Clemson University. Nursery stocks of hard clams that had been selected for fast growth were obtained from Aquaculture Research Corporation ("ARC" - Dennis, MA) and the Virginia Institute of Marine Science ("VIMS" - Wachapreague, VA). These stocks were compared to corresponding wild populations for allele frequencies at seven polymorphic enzyme loci. Although as few as 30-60 parents were spawned at each of four generations to produce these two broodstocks, neither line exhibited any reduction in heterozygosity. Both lines, however, showed evidence of genetic drift and loss of rare alleles, suggesting that crosses between them could result in genetically distinct lines. ARC and VIMS stocks were spawned on three occasions at different times of the year for pro- duction of both reciprocal outbred and pure control lines. Growth and survival were monitored regularly over two years. Early growth was strongly influenced by time of spawning, and as such was not a reliable indicator of subsequent growth. Most significant disparities between trials decreased as the lines aged. At 21 months, outbred and purebred lines were not consistently different in their heterozygosity, mean size, or size variance. Within crosses, little relationship was detected between shell length and heterozygosity aver- aged over the seven enzyme loci. However, significant differences between the largest and smallest clams were detected at individual loci in 10 of 42 tests. Results were consistent neither with the hypothesis that the alleles themselves were affecting growth, nor with the hypothesis that these enzyme loci were tightly linked to other loci affecting growth. Rather, it appears that alleles are marking the entire genomes of their parents, and that variation in the growth rates of the off- spring from individual clams may be obscuring any relationship with overall heterozygosity. A Preliminary Study on Genetics of Two Types of the Rotifer Brachionus plicatilis YONG FU, YUTAKA NATSUKARI, and KAZUTSUGU HIRAYAMA Faculty of Fisheries Nagasaki University Bunkyomachi, Nagasaki Nagasaki 852, Japan ABSTRACT The domesticated rotifer Brachionus plicatilis can be divided roughly into two types, called L and S, using morphological differences in the shape of anterior spines on the lorica (obtuse angled and pointed, respectively). However, differences in growth responses with respect to environmental factors make this method unreliable, We have, therefore, tried to clarify differ- ences at the genetic level between types, using starch gel electrophoresis of enzymes. Thirty-four collected strains were separated by three methods into the two types. Initially, strains were qualitatively judged with respect to differences in the shape of anterior spines. Afterwards pure strains were cultured parthenogenetically and re-evaluated using the second method (quan- titative). To accomplish this, morphological features were measured, the ratios of which created an index for comparison of the strains (cluster analysis). Both the anterior spine and cluster analysis indicated that the 34 strains were composed of two large clusters consisting of 15 L and 19 S strains. Allozyme variations of the 34 strains were then detected by horizontal starch gel electrophoresis. Nine isozyme loci were recognized. Of the 42 alleles observed, 15 alleles over 6 loci showed great differences between L- and S-types. Using genetic distances according to the allele frequencies of 42 alleles, a dendrogram was drawn. The strains separated into two groups. One group con- sisted of only S-type strains, the other group was subdivided again into 3 clusters. One of these three clusters consisted only of the S-type strains, while the other two contained only L-type strains. This result indicates the great genetic differences between L and S strains. Introduction not to genetic differences. However, Fukusho and Okauchi (1982, 1983, 1984) have provided evidence that differences Since the introduction of the rotifer Brachionus plicatilis to may be genetic and that the two types can be isolated from nourish larval fish, aquaculturists have increased scientific each other. In countries outside Japan, many scientists attention on this organism. In Japan a significant achieve- recognize the variation of rotifers which is due to poly- ment in rotifer biology was the discovery that the domes- morphosis. Scientific approaches concerning analysis of ticated rotifers can be divided roughly into two so-called allozyme variation have therefore been investigated (Serra S and L types as shown in Figure 1 (Fukusho 1983). The and Miracle 1983, 1985, 1987; Snell and Carrillo 1984; main morphological differences between the two types are Snell and Winkler 1984; Suzuki 1983, 1987; King and lorica size, lorica shape, and the shape of the anterior spines Zhao 198 7), while in Japan there have been no studies to on the lorica. They also exhibit differences in growth with detect allozyme variation in the two types by means of elec- respect to temperature. The morphological and physio- trophorctic procedures. logical differences in the two types were summarized in a Using strains collected from many locations, we at- previous review (Hirayama 1987). The rotifer, especially tempted to distinguish L and S types using morphological the domesticated rotifer, exhibits cyclomorphosis (seasonal comparisons. In order to confirm the genetic differences variation in size) and also polymorphosis (change in size between strains, allozyme variations were detected by influenced by variations in diet) (Fukusho and Iwamoto horizontal starch gel elect rophores is. Then, the genetic 1980, 1981). So, there is a probability that observed dif- distances among collected strains were compared for mor- ferences could be attributed to cyclo- or poly-morphosis, phological similarities. 13 14 NOAA Technical Report NMFS 92 S N. @A *@w T 7 Ai IN IVV 4 Figure 1 The two types of rotifer Brachionus plicatilis, L and S (provided by K. Fukusho). Materials and Methods collected those eggs into test tubes reculturing them again with marine Chlorella. After the offspring hatching from We collected many strains from all over the world. On the those eggs grew and laid their first eggs, we performed mor- map (Fig. 2), the localities of 34 strains used in this study phological measurements. We removed 20 individuals per are shown. Table I shows the abbreviated names and sample and measured seven morphological features (Fig. origins of the strains. In the tables and figures, L- and 3, A through G). The ratios of these measurements were S-type strains are shown by abbreviation with capital and used to create indices for a cluster analysis. small letters, respectively. Allozyme Analysis Morphological Analysis The same 34 strains were used both for electrophoretic and We first observed the anterior spines of each of the 34 morphological analysis. Allozyme analysis for each strain strains and qualitatively divided them into the two types, was conducted with a population grown from one in- L and S, according to whether they had obtuse angled or dividual and cultured with marine Chlorella and baker's pointed spines, respectively. We classified 15 strains into yeast. The population was harvested with a net, washed the L type and 19 strains into the S type. After the initial with clean seawater several times, blotted dry using filter screening, one individual from each strain was selected for paper and frozen at 30'C until analyzed. Before har- culturing parthenogenetically and was regarded as one vesting, the group was starved for one day to remove the genetic strain for further study. Each strain was cultured influences of food. Immediately prior to electrophoretic with marine Chlorella (Nannochloropsis oculata). We collected analysis, we thawed the sample and used a small amount eggs and recultured each strain in marine Chlorella suspen- of the drip absorbed by filter paper as a crude extract of sions in 23'C. The first eggs were laid after 48 hours. We enzyme for allozyme alayisis. Electrophoresis were carried Fu et al.: Genetics of the Rotifer Brachionus plicatilis 15 F-PA F-PA- I I F-PA- I I I F-PA-IV a-sal .0 c _xM a-mk P-ilo t-son p-le -amp is-eil t-Pu -0t s-sin i-ja i-kay J-SAP J-NSGT J-SAP-86 J-NSGT-11 J-TKU J-NSU J-NSC 0@4 J-NSZ i-nsz j-ebp J_S01 i-kgko i-otk j-kgko-8 J-OTK J-KAU J-kgs locality of collection Figure 2 Map of collection localities. Capital and small letters mean L- and S-type strains, respectively. out in 11% starch gel with three buffer systems reported Leucine aminopeptidase (LAP, EC 3.4.11. 1); and Glucose by Clayton and Tretiak (1972) with minor modifications phosphaste isomerase (GPI, EC 5.3.1.9). (Table 2). Staining procedures were from Shaw and Prasad (1970) and Siciliano and Shaw (1976). The following 18 enzymes were tested: a-Glycerophosphate clehydrogenase Results (aGPD, EC 1. 1. 1. 8); D-Sorbitol dehydrogenase (SDH, EC 1.1.1.14); Lactate dehydrogenase (LDH, EC 1.1.1.27; Morphological Analysis 3-Hydrooxybutyrate dehydrogenase (HBDH, EC 1.1.1.30); Malate clehydrogenase (MDH, EC 1.1.1.37); In Figure 3, are shown the average morphological mea- Malic enzyme (ME, EC 1.1.1.40); Isocitrate dehydro- surements and standard deviations of the 15 L and 19 S genase (IDH, EC 1.1.1.42); 6-Phosphogluconate strains. The results indicate that the strains of the rotifer dehydrogenase (6PGD, EC 1. 1. 1. 44); Glucose-6-phosphate could be divided clearly into the two types by quantitating 4 dehydrogenase (G6PD, EC 1.1.1.49); Superoxide the shape of the anterior spine (E/D, G/F). The results of dismutase (SOD, EC 1. 15. 1. 1); Aspartate aminotrans- the cluster analysis (Fig. 4A) are identical to the classifica- ferase (AAT, EC 2.6. 1. 1); Adenylate kinase (AK, EC tion judging by the anterior spine shape (15 L types, 19 2.7.4.3); Phosphoglucomutase (PGM, EC 2.7.5. 1); S types). Each cluster can be divided again into 2 small Esterase (EST, EC 3. 1. 1. 1); Alkaline phosphatase (ALP, clusters. These results indicate that with statistical treat- EC 3.1.3. 1); Acid phosphatase (ACP, EC 3.1.3.2); ment of the morphologica charcteristics, the varieties of the 16 NOAA Technical Report NMFS 92 Table I Abbreviated names and origins of 34 strains of Brachionas plicatilis tested for morphological and genetic differences. PE: Prefec- tural Experimental Station or Hatchery; SFC: Japan Sea Farming Center; AQD SEAFDEC: Aquaculture Division of South East Asian Fisheries Development Center; NICA: National Institute of Coastal Aquaculture; and CE: City Hatchery. Capital and small letters mean that the strain belongs to L and S type respectively. Abbreviated Station or Year of Wild (w) or name Country Locality hatchery collection domesticated (d) j-amp Japan Aomori PE '87 d j-kay Japan Kagawa PE '87 d j-ehp Japan Ehime PE '87 d j-otk Japan Oita SFC '87 d j-nsz Japan Nagasaki PE '86 d j-kgko Japan Kagoshima (Kai Lake) '78 w j-kgko-86 Japan Kagoshima (Kai Lake) '86 w j-kgs Japan Kagoshima (Shibushi SFC '87 d a-sal USA California (Salton Sea) '78 w a-mk USA Florida (Makay Bay) '80 w c_xm China Fujian Fish. Res. Inst. '87 d P-ilo Philippines Panay Island AQD SEAFDEC '84 d p-le Philippines Panay Island Leganes Stn. '84 d AQD SEAFDEC P-Ot Philippines Oton River (Panay Island) '84 w i-ja Indonesia Java '86 d s-sin Singapore Natl. Inst. of Aquaculture '86 d t-son Thailand Sonkia NICA '87 d t-pu Thailand Puket Marine Inst. '87 d is-eil Israel Eilat '87 d J-Sol Japan Shizuoka PE '78 d J-TKU Japan Univ. Tokyo '78 d J-OTK Japan Oita (kamiura) SFC '87 d J-SAP Japan Saga PE '84 d J-SAP-86 Japan Saga PE '86 d J-NSU Japan Nagasaki Univ. '69 d J-NSZ Japan Nagasaki PE '86 d J-NSC Japan Nagasaki CE '86 d J-NSGT Japan Nagasaki (Goto Island) SFC '87 d J-NSGT-II Japan Nagasaki (Goto Island) SFC '87 d J-KAU Japan Kagoshima Univ. '86 d F-PA France Palavas-les-Flots '87 d F-PA-11 France Palavas-les-Flots '87 d F-PA-III France Palavas-les-Flots '87 d F-PA-IV France Palavas-les-Flots '87 d Table 2 Buffer systems used for electrophoresis of enzymes. Electrode buffer Gel buffer Abbreviated name Components pH Components pH References C-A 0.04 m Citric acid, 6.1 Dilute 50 mL of electrode buffer 6.1 Clayton and Tretiak (1972) adjust pH up to 6.1 with to I liter (Citric acid, 0.002 M). N-(3-aminopropyl)-morpholine. C-A 0.04 m Citric acid, 6.9 Dilute 50 mL of electrode buffer 6.9 Clay and Tretiak (1972) adjust pH up to 6.1 with to 1 liter (Citric acid, 0.002 M). N-(3-aminopropyl)-morpholine, then to 6.9 with NaOH. C-T 0.04 m Citric acid, 8.0 Dilute 50 mL of electrode buffer 8.0 Clayton and Tretiak (1972) adjust pH up to 8.0 with to I liter (Citric acid, 0.002 M). Tris-(hydroxymethyl)-methylamine. Fu et al.: Genetics of the Rotifer Brachionus plicatilis 17 rotifer can be divided into two groups, and that the strains A S within the same type display further variation. 206 L o 277 Allozyme Analysis lk 2t 2t 24-0 905 28-0 3@0[pN L Among 18 enzymes tested, 10 enzymes showed clear band- 0.792 0 =1 0. 821 Tr 0 s .ng patterns (Table 3). However, bandings for 3 enzymes (AK, EST, and IDH) were not genetically interpretable. a75 0a, 5 The number of alleles of each locus are summarized in S Table 4. On MDH, 3 isozyme loci were recognized, al- 0.619 L B 0: 662 though no alleles were detected at 2 loci. In Table 5 are C shown the number of L- and S-type strains and the alleles 0.5 0.6 0 0,8 they posses at each locus. The L and S strains differ con- L siderably in allele profiles. For instance, at Ldh where 8 0.755 1.095 alleles were observed, 9 of 15 L strains possessed the A D Erl _U allele whereas none of S strains possessed the A allele. In E ER;@U" 0-7 d8 0'9 10 .'1 .2 contrast, B allele appeared only in the S strains. There were L considerable genetic differences between L and S strains 0. 3M S F G 0-f568 for 15 alleles at 6 loci. Allele frequencies for each allele at T' A 9 loci affecting 7 enzymes were estimated for each strain er V\1A 0'3 Ot0.5 0.6 0'7 'G in which individuals were considered to be genetically iden- tical. For MDH, however, three zones of banding patterns appeared. Although two of those three zones were not in- Figure 3 terpretable as showing allozyme variation, we regarded Averages and standard deviations of 5 varieties of measurements allele frequency as one if the strain had the bandings in considered for differentiating L- and S-type strains. (A) morphological genetical (B) 80 60 40 20 0 0 0.2 0.4 0.6 0.8 1.0 1.2 1.4 1.6 18 j-P t-son t-son P- t i s-e ij kgko-86 i-j aa-s a I Po tj -k g k s-Si ni-j . J-kgk. - 86 i-kay tpu J-ehp C_xm a-mk P-1 ICX. i-kay Jotk j-kgs p-1 e Jnsz P-i lo J-ehp - i n J-0tk t-P 1 @j-, a-m kI _! ,s z a-s a Ij-P J-kgko i s-e I J-TKU PP A-11 F-PA_RF-PA F-PA JTKU J-SAP J-SAP J-NSZ J-NSZ J-NSGTK J N SGT-11 J-NSGT J_NSGT i J_KAU J-NSC -Sol i-so I Iii -SAP.86 J-SAP .861 1 i_0TK J-OTK F-PA-M J-KAU F-PA_lV F-PA-IVi J-NSC F-PA-M J-NSU J-NSU PC E@ 9:1 80 60 2 @0_ 20 0 0.2 0.4 0.6 0.8 1.0 1.2 1.4 1.6 1.8 fusion level genetical distance Figure 4 of similarities among 34 strains by morphological and genetic snalyses. Abbreviated names by capital and small letters mean that the strain belongs to L and S type, respectively. 18 NOAA Technical Report NMFS 92 Table 3 Table 5 The different enzyme systems of Brachionus plicatilis screened The number of U and S-type strains for each allele at dif- with various buffers. x no detectable bandings; A ferent enzyme loci. 9 = Great difference in allele posses- unclear bandings; 0 find bandings. sion between U and S-type strains. Buffer Relative mobility L-Type S-Type Locus Allele (15) (19) C-A C-A C-T Enzyme (pH 6. 1) (pH 6.9) (pH 8.0) Ldh X 100 2 0 0 A 81 9 0 aGPD X X X 0 B 69 0 5 SDH X X X C 64 4 4 LDH A 0 A 0 D 47 1 12 HBDH X X X E 39 1 3 MDH A 0 A 0, 0 2 ME X A A 0, 1 0 IDH A A 0 Mdh-I A 100 0 3 6PGD A 0 X B 83 13 16 G6PD X A X C 62 15 9 SOD 0 0 A AAT A 0 A Mdh-II 0 ? - 0 17 AK 0 0 A Mdh-III 0 ? - 15 6 PGM X 0 A 6Pgd A 100 0 1 EST A 0 A * B 91 10 0 ALP A A A BL 75 1 1 ACP A A A C 68 4 1 LAP X X X CL 55 2 0 GPI A A 0 D (-)39 0 10 DL (-)52 0 1 0 E (-)68 0 13 F (-)75 0 1 Sod 0 A 100 0 6 Table 4 0 B 95 10 0 Isozyme loci and number of observed alleles. 0 C 74 0 17 0 D 49 5 0 Enzyme Locus Aflele Subunit structure Aat-I A 100 11 8 B 75 15 15 LDH Ldh 8 Tetramer Pgm-I A 100 4 6 MDH Mdh-I 3 Dimer B 93 3 2 Mdh-II ? C 89 1 2 Mdh-III ? D 86 7 6 6PGD 6Pgd 9 Dimer E 79 3 9 SOD Sod 4 Dimer F 77 0 1 G 70 0 2 AAT Aat-I 2 Dimer 0 1 0 PGM Pgm-I 8 Monomer Gpi 0 A 100 0 6 GPI Gpi 6 Dimer B 78 0 1 C 67 2 6 0 D 13 0 13 0 E 28 13 0 F 0 7 2 the zone. If not, we decided allele frequency on the zone as zero. According to Nei's formula (1972), the genetic distances among the 34 strains were estimated from gene frequencies including estimated values for MDH. The den- of which consists only of S type strains, and the other two drograrn expressing similarities among the 34 strains was clusters consist only of L-type strains. Although one of the also drawn from genetic distances (Fig. 413). The 34 strains two large clusters includes the two types of rotifers, the can therefore be divided into two major groups. One group classification by the genetic distances also pointed out that consists only of the strains which had been identified as there are great genetical distances between L and S strains. S type judging by the anterior spine shape. The other Some of the strains which are genetically identical (e.g., cluster can be divided again into 3 smaller clusters, one genetic distance = 0) were collected from neighboring loca- Fu et al.: Genetics of the Rotifer Brachionus plicatilis 19 tions or from the same hatchery, for instances between the 1981. Polymorphosis in size ofrotifer, Brachionusplicatilis, cultured two strains of p-ilo and p-le or between J-NSGT and with various feeds. Bull. Natl. Res. Inst. Aquacult. 2:1-10. J-NSGT-11. However, 'in one instance (c-xm and *-otk), Fukusho, K., and M. Okauchi. 1982. Strain and size of the rotifer, Brachionus plicatilis, being the samples were geographically unrelated. cultured in southeast asian countries. Bull. Natl. Res. Inst. Aquacult. 3:107-109. 1983. Sympatry in natural distribution of two strains of a rotifer, Discussion Brachionusplicatilis. Bull. Natl. Res. Ins. Aquacult. 4:135-138. 1984. Seasonal isolation between two strains of rotifer Brachionus plicatilis in an eel culture pond. Bull. Jap. Soc. Sci. Fish. 50:909. For comparison, the two dendrograms are shown in the Hirayama, K. same frame (Fig. 4). The dendrogram patterns for the two 1987. An Approach from the physiological aspect to the problems methods are very similar, especially with respect to the in present mass culture technique of the rotifer. In Proceedings L-type strains. of the 15th (1986) U.S. Japan meeting on aquaculture (Al Sparks, The results indicate that the rotifer Brachlonus plicatill's ed.). U.S. Dep. Commer., NOAA Tech. Rep. King, C.E., and Y. Zhao. can be divided into the two types of genetic constitution. 1987. Coexistence ofrotifer (Brachionusplicatilis) dones in Soda Lake, The results in this report were drawn from 34 strains, Nevada. Hydrobiologia 147:57-64. collected mainly from western Japan. In the case of the Nei, M. L-type, the overseas strains obtained came from only one 1972. Genetic distance between populations. Am. Nat. 106: 283-292. locality. We are now collecting more strains from all over Serra, M., and M.R. Miracle. the world in order to make a more unequivocal conclusion. 1983. Biornetric analysis ofBrachionusplicatilisecotypes from Spanish lagoon. Hydrobiologia 104:279-29L 1985. Enzyme polymorphism in Br"hionusplicatilis populations from Acknowledgments several Spanish lagoons. Verh. Internat. Limno. 22:2991-2996. 1987. Biometric variation in three strains of Brachionus plicatilis as a direct response to abiotic variables. Hydrobiologia 147: The authors wish to express their sincere thanks to 83-90. H. Kayano, Nagasaki University, for his kind advice on Shaw, C.R., and R. Prasad. the interpretation of allozyme variation, to K. Fukusho who 1970. Starch gel electrophoresis of enzymes - a compilation of kindly provided photos of L and S strains, and also to the recipes. Biochem. Genet. 4:297-320. scientists who kindly sent us live samples of the rotifers. Siciliano, M.J., and C.R. Shaw. 1976. Separation and visualization of enzymes on gels. In Chromatographic and electrophoretic techniques, 4th ed., Vol. 2:185-209 (1. Smith, ed,). William Heinemann Medical Books Citations Ltd, London. Snell, T.W., and K. Carrillo. Clayton, J.W., and D.N. Tretiak. 1984. Body size variation among strains of the rotifer Brachionus 1972. Amine-citrate buffers for pH control in starch gel electro- plicalihs. Aquaculture 37:359-367. phoresis. J. Fish. Res. Board Canada 29:1169-1172. Snell, T.W., and B.C. Winkler. Fukusho, K. 1984. Isozyme analysis of rotifer proteins. Biochem Syst Eco 1983. Present status and problems in culture of the rotifer Br"hionus 12:199-202. plicatilis for fry production of marine fishes in Japan. Symp. Intl. Suzuki, M. Acuacultura Coquimbo, Chike-Septiembre:361-373. 1983. Taxonomical study on rotifers cultured for fry production. Fukusho, K@., and 1, Iwamoto. Zool. Mag. 91:657. 1980. Cyclomorphosis in size of the cultured rotifer, Brachionus 1987. IntraspecificvariabdityofBrachionusplicatilis. Hydrobiologia plicalilis. Bull. Natl. Res. Inst. Aquacult. 1:29-37. 147:45-48. Present Status of Genetic Studies on Marine Finfish in Japan KUNIHIKO FUKUSHO National Research Institute of Aquaculture Fisheries Agency Nakatsuhama, Nansei-cho, Watarai-gun, Mie 516-01 Japan ABSTRACT The present paper briefly introduces the status of genetic breeding of marine finfish in Japan. The domestication of exotic species is also described. Selection is the most successful technique of genetic breeding for marine finfish, even though limited scientific data and experimental results have been reported. Selection was conducted on red sea bream, I'agrus major, and Japanese flounder, Paralichthys olivaceus, and their selected strains were supplied for industrial culture. Experiments on hybridization leading to heterosis were conducted as well as interspecific, intergeneric, inter- family, back and reciprocal crosses. Few of these hybrids, however, have been widely used by the industry, except the P. major x crimson sea bream, Evynnisjaponicus. Chromosome manipu- lation studies such as triploid production and all female production by gynogenesis have been conducted since 1984 in Japan. These technologies are strongly expected to be adopted in in- dustrial culture, even though they are currently experimental. Exotic species or strains of marine finfish have been introduced to Japan and cultured in recent years. Most marine species are imported to supply seed where local production is inadequate, not to introduce a new industrial target species or strain, except the red sea bream. Cryopreservation of sperm is used in most hybridization studies, induction of gynogeriesis, and triploid production. This technology will no doubt be adopted in androgenesis and gene bank projects for marine finfish. Introduction tools for improving fish quality. Therefore, various kinds of experiments on genetics, including chromosome man- Mariculture of finfish is well developed in Japan as reflected ipulation have been intensively conducted in recent years by the total harvest in 1986 of nearly 2 x 105 tons. The for marine finfish, despite the short history of mariculture. number of cultured species is approximately 30 (Table 1) The objective of the present paper is to provide a brief (Fukusho 1981). Yellowtail, Seriola quinqueradiala (14.6 x introduction on the status of genetic breeding of marine 104 tons), and red sea brearn (3.4 x 104 tons), are the most finfish, except salmonids in Japan. Introductions leading important species. The Japanese flounder and coho to domestication are considered part of the study of gene- salmon, Oncorhynchus kisutch, have shown great promise as tics for the purpose of this review. cultured species, with their production levels increasing rapidly in recent years (0.3 x 104 and 1.2 x 104 tons, re- spectively for 1987 data). All the marine species are cul- The Introduction of Exotic Species tured in net cages except the Japanese flounder which is usually raised in land based tanks. Exotic species or strains of marine finfish, such as At present, the total supply is adequate to satisfy demand yellowtail, red sea bream, rockfish, Sebasticus spp., grouper for yellowtail and red sea bream, taking into considera- Epinephelus spp., knifejaw Oplegnathus spp., have been in- tion the total cornsumptiorn plus the carrying capacity of troduced to Japan and cultured in recent years. Marine the culture ground. Therefore, research presently focuses finfish have been introduced for different reasons than have on the improvement of fish quality (e.g., high growth rate, freshwater fish. Most marine species are imported to supply high resistance to pollution, good taste and flavor, and seed where the local production is inadequate, not to intro- favorable color) based on the requirements of culturists and duce a new industrial target species of strain. An excep- consumers. Genetic breeding is one of the most effective tion is the case of the red sea bream. 21 22 NOAA Technical Report NMFS 92 Table I Marine finfish cultured in Japan (Fukusho 1981). Family Common name Scientific name Pref. No.' Salmonidae Cohn salmon Oncorhynchus kisutch I Mugilidae Grey mullet Mugil cephalus I Oplegnathidae Japanese striped knifejaw Oplegnathus fasciatus 19 Japanese spotted knifejaw 0. Punclatus 7 Serranidae Sea bass Lateolabraxjaponicus 5 Sea bass L. latus I Groupers Epinephelus spp. 3 Girellidae Nibbler Girella punctala 11 Sparidae Red sea brearn Pagrus major 25 Porgy Sparus sarba 2 Crimson sea brearn Eoynnisjaponica I I Porgy Acanthopagrus schlegeli 17 Porgy A. latus 2 Pomadasyidae Grunt Parapristipoma trilinea I Carrangiclae Yellowtail Seriola quinqueradiata 26 Amberjack S. purpurascens 8 Amberjack S. aureovittata 2 Horse mackerel Trachurusjaponicus 20 Striped jack Longirosirum delicatissimus 9 Scombridae Bluefin tuna Thunnus thynnus 3 Siganiclae Rabbit fish Siganusfuscessens 3 Alutericlae Filefish Stephanolepis cirrhifer 2 Tetradontidae Puffer Fugu rubripes 9 Scorpacnidae Rockfish Sebastiscus marmoratus 3 Rockfish Sebastes inermis Rockfish S schlegel, I Bothiclae Flounder Paralichthys olivaceus 10 'Number of prefectures where the species was cultured. A deep reddish color is highly prized in cultured red sea and response to new environmental conditions should always be bream by the Japanese consumers. A Korean strain, which considered prior to introduction, as with freshwater fish. is identical to the Japanese strain taxonomically, shows a much deeper reddish color than the latter (Harada et al. 1988, Harada et al. 1985, Kumai et al. 1986). No difference Hybridization has been found between the two strains in electrophoresis analysis of isozymes. The Korean strain is preferred by fish Experiments on hybridization leading to heterosis have con- farmers because of its deeper reddish color, even though tributcd to the development of larval rearing techniques for the Japanese strain is superior to the Korean strain in terms marine finfish (Fujita 1961, 1967; Harada 1974, 1975, 1978). of growth rate (Kumai et al. 1986). The deep reddish color Interspecific, intergeneric, interfamily, back and reciprocal is caused by its higher content of carotenoid and astaxan- crosses have also been attempted (Harada 1978). thine in the skin, which results even under the same rear- Hybridization of marine finfish was initiated on puffers ing and feeding conditions as the Japanese strain (Kumai (1961-67) of which several species are a high prized luxury food et al. 1986). Hybridization between the Japanese and despite the fact that parts of these fish are highly toxic (Fujita Korean strains has been conducted to provide a hybrid with 1967) (Table 2). The Fisheries Laboratory of Kinki University a deeper reddish color and higher growth rate (Harada has further promoted hybridization to improve fish quality. et al. 1988). Several successful and promising hybrids were produced that are Both fertilized eggs and juveniles of Japanese red sea superior in growth rate, survival rate, body color, and meat bream have been exported to foreign countries; Thus quality to each parent fish (Table 3) (Harada 1974, 1975, 1978). marine finfish have been introduced world-wide and mari- The "kindai" (Oplegnathusfasciatus x 0. punclatus), which ab- culture has expanded. In each country, they are being breviates the name of Kinki University and which means sea cultured as an introduced species. Precise investigation and brearn and sounds like "golden fish" injapanese, is significantly research of a new marine species' biological characteristics superior in growth rate, survival rate, and handling to each Fukusho: Genetic Studies on Marine Finfish in Japan 23 Table 2 Table 3 Hybridization of puffers (Fujita 1967). Hybrids of marine finfish produced at the Kinki Univer- Hatching rate sity (Harada 1974, 1975, 1978). Female Male (%) Female x Male Takifugu pardalis x T. poecilonotus 95 Pagrus major x Acanthopagrus schulegeli 1964 T. poecilonolus x T. pardalis 95 P. major x Sparus sarba 67 T rubripes x T. xanthopterus 93 Oplegnathusfasciatus x A. schlegeli 68 Lagocephalus lunaris spadiceus x T. niphobles 0 0. fasciatUS a X 0. Punctatus 69 L. 1. spadiceus x Canthigaster rivulata 0 Seriola quinqueradiata' x S. auroeovittata 70 S. quinqueradiaea X S. purpurascens 70 S. purpurascens' x S. aureovittata 71 S. aureovittata X S. purpurascens 72 P. majora x Evynnis japonicus 73 parent fish (Kumai 1984; Harada et a]. 1986). Because red 0. punialus' x 0. fascialus 73 sea bream. are usually cultured in protected bays with vary- Auxis thazard x Euthynnus affinis 76 ing salinity, tolerance to low salinity is an important char- 'Promising hybrid. acteristic. Therefore, a useful hybrid of the red sea bream, and the porgy, Acanthopagrus shulegeli, was developed which' showed both improved tolerance to lower salinity than the maternal fish plus faster growth and better taste than the paternal one (Harada 1975). The Nagasaki Prefectural wild red sea bream caught in the Akashi area in the Seto Institute of Fisheries has also conducted studies on the Inland Sea. Production of selected strains has also been hybridization of marine finfish. A hybrid of a sparid, Sparus intensively conducted on the Japanese flounder and the sarba, and the porgy, A. shulegell', was produced in order Japanese sriped knifej aw, 0. fasnatus, at the Fisheries Lab- to combine the highest growth characteristics of S. sarba oratory of Kinki University (Harada 1975, 1978). and the low salinity resistance of A. schulegeli (Kitajima and Tsukashima 1983). However, the hybrid showed mater- nal characteristics in both its morphological and physio- Chromosome Manipulation logical characteristics (Kitajima and Tsukashima 1983). The same phenomenon occurred in the hybrid of P. maj'or Since 1984, chromosome manipulation studies such as and the crimson sea bream, Evynnisjaponicus (Arakawa and triploid production, all female production by gynogenesis, Yoshida 1986, Arakawa et al. 1988). extraction and synthesis of growth hormone, production Few of these hybrids have been widely used by industry, of cloned fish, and cell fusion have been conducted in except the hybrid of P. maj'or x E. japonicus. The reason Japan to produce new strains of marine finfish. These may be due to 1) conservative consumers to whom appear- technologies have been called "Fisheries Biotechnology." ance is very important (red sea brearn must look like the In 1985, the Ministry of Agriculture, Forestry, and wild red sea bream. because theJapanese people always eat Fisheries (MAFF) designed and organized a large-scale the whole and raw fish for sashimi and sushi; 2) limited scientific project on chromosome manipulation titled attempts to show clearly the difference in quality between "Development of new breeding techniques by induction the hybrid and parent fish; and 3) too short a period of of gynogenesis in fish." The National Research Institute marine finfish culture for the industry to evaluate and of Aquaculture was the leading institution to promote the utilize new strains or hybrids as well as exotic species. project, along with three Universities (Tokyo University of Fisheries, Hokkaido University, and Kansei Gakuin University), two Regional Fisheries Laboratories (Nansei Selection Regional Fisheries Laboratory and Hokkaido Regional Fisheries Laboratory of the Fisheries Agency-MAFF), and Selection is the most successful technique of genetic breed- three Prefectural Institutes of Fisheries (Saitama, Hyogo, ing for marine finfish, even though limited scientific data and Hokkaido). The target species included the Japanese and experimental results have been reported. Selected flounder, red sea bream, plaices, Verasper moseri, Limanda strains of red sea bream have been supplied by the Fish- shrenki, L. punctatissima, Platichthys stellatus, and filefish, eries Laboratory of Kinki University. These selections are Stephanolepis cirrhifer, Thamnaconus modestus, Aluterus monoceros. highly desired by fish farmers because their growth rates The Fisheries Agency has also organized and initiated a are approximately 30-40% higher than the wild forms. scientific project addressing fisheries biotechnology. Several Mass selection has been conducted at the Fisheries Lab- Prefectural fisheries laboratories have also joined this oratory of Kinki University over several generations from "Local Biotechnological Study Project" where marine 24 NOAA Technical Report NMFS 92 finfish such as the red sea brearn and flounder are being preservation is also used in most hybridization studies, studied. induction of gynogenesis, and triploid production. Triploid and gynogenetic diploid induction techniques In marine fish, cryopreservation has been conducted on which use cold shock have been used to block the second a variety of species, such as: two species of goby, Glosso- polar body extrusion for red sea brearn (Arakawa et al. gobius olivaceus, Acanthogobw'flavimanus; porgy; mullet, Mugil 1987; Arakawa and Miyahara 1988; Fukusho et al. 1987b), cephalus; mackerel, Scomberjaponicus; bluefin tuna, Thunnus porgy (Arakawa et al. 1987), and flounder (Tabata, 1988; thynnus; and puffer, Takaifugu nipholbles (Doi et al. 1982; Tabata and Gorie 1988a, Tabata et al. 1986). The dura- Kurokura 1983). A recent study on the hybridization of tion of cold shock intervals are as follows: for red sea bream, red sea bream and crimson sea brearn showed positive 15-20 min. duration of OOC, starting 3 min. after insemina- results with high survival rates and increased growth rates tion; for porgy, 25 min. duration, starting 1.5 min. after observed when sperm preserved for 6 months was used insemination; and for flounder, 45 min. duration, start- (Kurokura et al. 1986). ing 3-5 min. after insemination. Suppression of the Ist Thus, gamete preservation is useful for hybridization of cleavage was achieved by using increased hydrostatic species which spawn in different seasons, genetic breeding pressure (Tabata and Gorie 1988b). UV irradiation has by chromosome manipulation, transplantation (introduc- been effective for genetic inactivation of sperm (e.g., tion), and gene bank projects for marine finfish. 1000-2000 erg/mm2 for red sea brearn). Also, sperm of different species have often been used as an indicator of the induction of gynogenesis (Fukusho et al. 1987a; Yano Acknowledgments and Sakai 1988). Triploids were produced in red sea brearn and porgy (Arakawa et al. 1987, 1988; Fukusho et al. I wish to express my sincere thanks to Dr. F. Brian Davy, 1987b). Thus, various conditions for induction of triploid IDRC, Canada and Dr. Ryo Suzuki, National Res. Inst. and gynogenesis have been examined for several marine Aquaculture, Japan for their critical reading of this finfish, and comparisons of growth rate, survival rate, and manuscript. other biological characteristics have been conducted through larval rearing (Arakawa and Yoshida 1986; Fuku- sho et al. 1987a; Tabata et al. 1986; Tabata and Gorie Citations 1988a). Comparison of growth rate during rearing to young stage and commercial size was also conducted (Tabata and Arakawa, T., and J. Miyahara. Gorie 1988a), but there is little information to evaluate 1988. Induction of gynogenesis with ultra violet rays in red sea gynogenetic and triploid fish in view of industrial culture bream, Pagrus major. Bull. Nagasaki Pref. Inst. Fish. 14:37-42. because the scientific activities have only just started. (In Japanese; English summ.) Arakawa, T., and Y. Yoshida. Reports .and papers on the comparison of growth and 1986. Growth, survival and morphologic comparison between fry maturation rates and sex ratio between chromosome ma- cross bred Pagrus major with Evynnisjaponica and hatchery reared nipulated fish and common diploid fish are expected to Pagrusu major. Bull. Nagasaki Pref. Inst. Fish. 12:27-35. (In promote these techniques in industrial mariculture of fin- Japanese; English summ.) fish. Techniques for examination of ploidy have been Arakawa, T., M. Tanaka, K. Inoue, 1. Takami, and K. Yamashita. established, but with conflicting result (e.g., appearance 1987. An examination of the conditions for triploid induction by cold shocck in red sea brearn and black sea bream. Bull. Nagasaki of males among gynogenetic diploids of the flounder in spite pref. Inst. Fish. 132:25-30. (In Japanese; English summ,) of a theoretical expectation of all female production) Arakawa, T., C. Kitajima, K. Yamashita, A. Ikeda, and H. limura. (Tabata 1988; Tabata and Gorie 1988b). These phenom- 1988. Growth and morphology of crossbred Pagrus major with Evynnis ena could not be explained by the XX and XY sex i.aponica. Bull. Nagasaki Pref. Inst. Fish. 14:31-3 5. (In Japanese; English summ.) chromosome theory. Further investigation on embryology Doi, M., T. Hoshino, Y. Taki, and Y, Ogasawara. and sexual differentiation might be required as well as 1982. Activity of the sperm of the bluefin tuna Thunnus thynnus under genetic studies. The mechanism of sexual differentiation fresh and preserved conditions. Bull. Japan. Soc. Sci. Fish. 48: should be clarified to advance the technology of chromo- 495-498. (In Japanese; English summ.) some manipulation. Fujita, S. 1961. Studies on life history and aquaculture of important puffers in Japan. Special report of the Nagasaki Pref. Inst. Fisheries, No. 2, 121 p. (In Japanese) Cryopreservation of Sperm 1967. Artificial interspecific and intergeneric hybridization among the tetradontid puffer (Prelim. rep.). Jpn. J. Michurin Biol., Experiments on androgenesis have been conducted for 3:5-11. (In Japanese; English summ.) freshwater fish in Japan. Cryopreservation of sperm in Fukusho, K. 1981. Present status and view of fry production and genetic breed- combination with androgenesis is useful in preserving en- ing of marine finfish. Fish Genetics and Breeding 6:1-10. (In dangered species, and also in all male production. Cryo- Japanese.) Fukusho: Genetic Studies on Marine Finfish in Japan 25 Fukusho, K., M. Okauchi, H. Nanba, M. Hoshi, and H. Tsubaki. Oplegnaihusfasciatus (Temminck and Schlegel). Bull. Fish. Lab. 1987a. Comparison in growth and survival rate among gynogenetic Kinki Univ. 2:1-127. (In Japanese; English summ.) larvae of red sea bream, being induced by sperm of red sea bream, Kumai, H., M. Nakamura, Y. Kubo, and Asada. flounder, and striped knifejaw. Proc. MeetingJapan. Soc. Sci. 1986. Comparison of growth and morphological characteristics Fish. 1987 (Hakodate), p. 149. (In Japanese.) among Japanese, Korean, and Hong Kong red sea bream. 1987b. An attempt of triploid induction of red sea bream, using Proc. Meeting Japan. Soc. Sci. Fish. 1986 (Tokyo), p. 28. (In fertilized eggs by natural spawning in net cage. Proc. Meeting Japanese.) Japan. Soc. Sci. 1987 (Hakodate), p. 149. (In Japanese.) Kurokura, H. Harada, T. 1983. Cryopreservation of fish sperm. Fish Genetics and Breeding 1974. Genetic improvement of sea bream. Yoshoku (Midori- Sci. 8:42-53. (In Japanese.) shobow), 11:50-54. (Injapanese.) Kurokura H., S. Kasahara, H. Kumai, and M. Nakamura. 1975. Target species of marine finfish for fry production. In 1986. Hybridization of red sea brearn and crimson sea brearn by Feeding and development of larvae and juvenile (Japan. Soc. Sci. cryopreservation of sperm. Proc. MeetingJapan. Soc. Sci. Fish. Fish., eds.), p. 90-96. Koseisha-Koseikaku, Tokyo, Japan. (In 1986 (Tokyo), p. 50. (In Japanese.) Japanese.) Tabata, K. 1978. Cross breeding of marine finfish. Yoshoku (Midori-shobow) 1988. Review: Studies on chromosome manipulation in Hirame, 15:32-35. (In Japanese.) Paralichthys olivaceus. Fish Genetics and Breeding Sci. 13:9-18. Harada, T., 0. Murata, S. Miyashita, S. Oda, and S. Maeda. (In Japanese.) 1985. Incubation and larval rearing of Korean red sea bream. Tabata, K., and S. Gorie. Proc. Meeting Japan. Soc. Sci. Fish. 1985 (Tokyo), p. 54. (In 1988a. Comparison of the growth of gynogenetic diploids with con- Japanese.) trol diploid in Hirame Paralichthys olivaceus in the same tank. Harada, T., H. Kumi, and 0. Murata. Bull. Japan. Soc. Sci. Fish. 54:1143-1147. (In Japanese; English 1986. Artificial hybrids between Japanese parrot fish and spotted summ.) parrotfish. Bull. Japan. Soc. Sci. Fish. 52:613-62 1. (In Japanese; 1988b. Induction of gynogenetic diploids in Paralich1hysalivaceus by English summ.) suppression of the I st cleavage with special reference to their sur- Harada, T., 0. Murata, and S. Miyashita. vival and growth. Bull. Jpn. Soc. Sci. Fish. 54:1867-1872. (In 1988. Artificial hybridization between Japanese red sea bream and Japanese; English summ.) Korean red sea bream, and three years culture of the hybrids. Tabata, K., S. Gorie, and N. Taniguchi. Proc. MeetingJapan. Soc. Sci. Fish., 1988 (Tokyo), p. 276. (In 1986. Verification by isozyme gene marker for gynogenetic Japanese.) diploidization and triploidization in Hirame, Paralighthys Kitajima, C., and Y. Tsukashima. olivaceus. Fish Genetics and Breeding Sci. 11:35-41. (In Japa- 1983. Morphology, growth and low temperature and low salinity nese.) tolerance of sparid hybrids. Jpn. J. Ichthyol. 30:275-283. (In Yano, Y., and Y. Sakai. Japanese; English summ.) 1988. Introduction of gynogenetic diploids in two species of flat Kumai, H. fish. Bull. Hokkaido Reg. Fish. Res. Lab. 52:167-172. (In 198C Biological studies on culture of the Japanese parrot fish, Japanese; English summ.) Recombinant Viral Vaccines in Aquaculture* JO-ANN C. LEONG, R. BARRIE, H.M. ENGELKING, J. FEYEREISEN-KOENER, R. GILMORE, J. HARRY, G. KURATH, D.S. MANNING, C.L. MASON, L. OBERG, and J. WIRKKULA Department of Microbiology Oregon State University Corvallis, Oregon 97331-3804 ABSTRACT Viral pathogens in aquaculture have largely been controlled by the culling and destruction of carriers and infected animals and eggs. Because most viral pathogens in aquaculture are trans- mitted via water and because sensitive animals reside in the neighboring waters, the administra- tion of attenuated viral vaccines has not been feasible. Attenuated vaccines require costly trials to assure that these modified live viruses are nonvirulent in all species and that reversion to virulence does not occur. Killed viral vaccines have been too expensive to produce for the aquaculture industry. Thus, subunit viral vaccines developed by recombinant DNA techniques are attractive alternatives for the industry. These vaccines are nonreplicating and inexpensive to produce. The molecular cloning and expression of viral genes in several host vector systems for the develop- ment of subunit viral vaccines for aquaculture has been the primary research focus of the authors' laboratory. Work on the development of such vaccines for infectious hematopoietic necrosis virus (IHNV), a fish rhabdovirus, and infectious pancreatic necrosis virus (IPNV), a fish birnavirus, is presented. Laboratory tests of both vaccines in vivo have indicated that fish develop protective immunity to live virus after vaccination. Introduction earthen ponds and stable viruses, like the baculoviruses and the picornaviruses, these disinfection procedures may not One of the major factors that will have an impact on the work. success of the aquaculture industry is the control of Another facet of present day controls for viral diseases diseases. As the industry grows and greater productivity in aquaculture is the requirement for certified pathogen- demands are madeon facilities, the incidence of disease free stocks and eggs and the use of specific pathogen-free outbreaks will increase. Thus, the need for more effective water in the facility. When available, these requirements disease controls has been receiving more attention. The have been very effective in preventing disease outbreaks. viral diseases are particularly important because there are However, it has not always been possible to obtain disease- no suitable treatments available. In the United States, there free stocks for highly-prized strains nor economically prac- are no approved antiviral drugs or vaccines that can be tical to use specific pathogen-free water. Thus, the aqua- used in the aquaculture industry today. culture industry has a definite need for viral vaccines. Our At the present time, the control of viral diseases is based group reports here the successful development of two pro- largely on management. Current recommendations for the totype viral vaccines by recombinant DNA techniques. control of viral disease outbreak include the destruction of Two viruses were selected for vaccine development diseased stocks, drainage of ponds, disinfection of con- because these viruses affect economically important aqua- taminated areas with chlorine, treatment with sunlight or culture species (salmon and trout) in the United States, lime, and the restocking of the facility with disease-free Europe, and Japan. In addition, these viruses, infectious stock. These procedures are very expensive and instituted hematopoetic necrosis virus (IHNV), and infectious pan- with understandable reluctance by the industry. With creatic necrosis virus (IPNV), affect very young fish, and immunization of large numbers of fish at this size by im- mersion is fairly easy. IHNV is a rhabdovirus with an *Oregon Agricultural Experiment Station Technical Paper No. 8961. enveloped virion and glycoprotein peplomers on the 27 28 NOAA Technical Report NMFS 92 envelope surface; it has a viral genome of single-stranded pared against purified IHNV and IPNV were made as RNA of negative sense ( 'McAllister and Wagner 1977). In described (Engelking and Leong 1989). contrast, IPNV is a nonenveloped virus with a single cap- sid and a genorne of two segments of double-stranded RNA (Dobos 1975). The techniques that were involved in the Construction of Recombinant Plasmids construction of recombinant plasmids containing the genes The construction of a recombinant plasmid containing the for the major immunogenic proteins of these two viruses trp E promoter and the trp E gene fused to an immunogenic have been described (Kurath and Leong 1985; Huang region of the gene for IHNV glycoprotein gene or the et al. 1986). The expression of these proteins in bacteria IPNV VP2 gene is shown schematically in Figure 2. The and the use of these expressed proteins as vaccines will be isolation, cloning and sequence analysis of these genes have described here. been reported (Kocner et al. 1987; D. S. Manning 1988). The pATH vectors were the generous gift of A. Tzagaloff (Dieckmarm and Tzagoloff 1985). The constructions were Materials and Methods verified by DNA sequence analysis by the dideoxy method (Sanger et al. 1977). The plasmid pUC 19, which served Cells, Virus, and Antisera as the negative control for pTA1 in Figure I was obtained The following viruses here used in this study: the IHNV from Pharmacia, Inc., Piscataway, NJ. isolate from Round Butte was obtained from W. Groberg (Oregon Department of Fisheries and Wildlife) and the Immunization Trials in Fish IPNV isolates, Sp and Buhl, were obtained from R. Hed- rick, University of California at Davis. The virus used for Bacterial crude lysates were prepared as described (Kleid challenge studies was prepared by infecting rainbow trout et al. 1981). Proteins were analyzed by sodium dodecyl (Oncorhynchus mykiss) fry and reisolating the virus from fish sulfate polyacrylamide gel electrophoresis (SDS-PAGE) dying of IHN disease in the case of the IHNV isolates and and Western immunoblotting as previously described IPN disease in the case of the IP@NV isolates. Subsequently, (Gilmore et al. 1988). The crude lysates were used to im- the virus was grown for two passages in chinook salmon munize fish by immersion. Rainbow trout fry at 0.4 g were embryo cells (CHSE-214 cells) (Fryer et al. 1978). The immunized in sets of 100 fish. Immunization was ac- tissue-culture supernatant fluid containing the virus was complished by bathing groups of 100 fry in 25 mL of the used as the challenge virus. The IHNV and IPNV used vaccine preparation (ca. 3 mg/mL total protein concen- as molecular weight markers in Figure I were prepared tration) for I minute. At that time, the immersion solu- as described in Kurath and Leong (1985) for IHNV and tion volume was increased to 250 mL with water and fish Huang et al. (1986) for IPNV. The rabbit antisera pre- were incubated in this diluted solution for an additional 12 LO Figure I .2 Analysis of bacterial production of trpE-viral gene I.- tu E 4 E fusion proteins by antibody reactivity on an elec- > CL CL Z A. 'L CL B. 1 5 25 1 5 25 1 2 trophorectic transfer blot of a 10 % SDS-polyacr-y- ------- lamide gel of bacterial extracts. (A) Development of the blot made with anti-IHNV sera. Lane a 110 _VP1 is the trpE-G fusion protein detected in cells con- -# WWI, taining the recombinant plasmid, p52G; Lane b 66- -4- TrpE-VP2 are proteins detected in cells containing the ex- 45- -VP2 pression vector pATH3, without a viral gene in- sert; and Lane c is purified IHNV. (B) Develop- *".mow ment of the blot made with anti-IPNV sera. 31-1 VP3 Lanes a and i contain the molecular weight VP3A marker proteins: phosphorylase B (110 000 Da); bovine serum albumin (66000 Da); ovalbumin (45 000 Da); and carbonic anhydrase (31000 Da). a b c a b c d e f g h I In lanes b, c, and d are cell lysates from bacterial Anti-IHNV Sera Anti-IPNV Sera cells containing the plasmid pUC 19 with no viral insert; the samples were loaded at 1, 5 and 25 - pL respectively in lanes b, c, and d. In lanes c, Leong et al.: Recombinant Viral Vaccines in Aquaculture 29 2 minutes. These fish were then placed in aquaria of 5 from stained gels and Western blots of total bacterial ex- gallons with a water flow rate of 0.25 gal/min in a con- tract. In Figure 1, the product of a trpE-IHNV glycopro- stant water temperature of 10'C. The control fish were tein fusion gene from the plasmid p52G and the major cap- exposed to saline in the same procedure or left undisturbed. sid protein of IPNV from the plasmid pTAl is shown in Approximately one month after immunization, the ex- Western blots of the appropriate bacterial lysates. A deter- perimental and control fish were placed in separate aquaria mination of the DNA sequence of p52G indicated that a in groups of 25. The fish were exposed to serial log virus 264 bp fragment of the lHNV glycoprotein gene had been dilutions in I liter of water. The challenge virus was inserted in-frame with the trpE protein to produce a fusion prepared as described by Engelking and Leong (198 1). In protein of 49000 daltons (49 kDa = 37 kDa [trpEl + 11 Figure 3, the data for fish exposed to 7.2 x 10 + 5 plaque kDa [glycoprotein gene fragment]). In addition, a second forming units per mL (PFU/mL) is presented. The data fragment of the IHNV glycoprotein gene had been inserted represents the mean of duplicate experiments. All dead fish out-of-frame adjacent to the 264 bp fragment and this ad- were assayed for the presence of infectious virus in chinook ditional nucleic acid resulted in I kDa (84 bp extra) more salmon embryo cells (CHSE-214) as described by Engel- of amino acid residue owing to the fusion protein (Gilmore king and Leong (1981). et al. 1988). The IPNV expressing plasmid, pTAl, contained the entire coding region of the A segment of the viral Results genome for the isolate Sp. It was constructed so that Antigen Production in Bacteria the viral genetic information was fused in-frame to the trpE protein (Figure 2) and all the proteins encoded by the The size and quantity of virus-specific antigen produced A segment were synthesized in the bacteria. Thus, VP2 in bacteria hosting the recombinant plasmids was estimated (major capsid protein), and VP3 (minor capsid protein) TrpE PLASMID WITH EXPRESSION CLONED VIRAL VECTOR Eco R1 GENE AMP R Bam H1 Hind III Pst I Pst I VIRAL GENE Figure I (Continued) f, and g are 1, 5 and 25 pL of cell lysates from bacterial cells containing the plasmid pTA1. Lane VIRAL GENE Restrict with either h contains purified IPNV. The arrow indicates the Eco Rl trpE-VP2 fusion protein found in lanes e, f, and g. Restrict with compatible Bam Hl The symbol VP1 indicates virion protein 1; VP2, enzyme Hind III virion protein 2; VP3, virion protein 3; and VP3a, breakdown product of VP3. TrpE TrpE Figure 2 Promoter VIRAL GENE Construction of the expression vectors for trp E-viral INSERT gene fusions. The cDNA cloned insert of the IHNV IMMUNOLOGICAL glycoprotein gene or the A segment of the IPNV 01 SCREENING FOR genome was restricted with a compatible nuclease EXPRESSION to permit the insertion of a portion of the viral gene into the expression vector in the proper reading frame. The resulting plasmids were used for expres- sion of a trpE-viral gene fusion protein in E. coli. 30 NOAA Technical Report NMFS 92 100 - CONTROL 80- _j Figure 3 0 60 Immunization of rainbow trout with a subunit vac- cine against IHNV. Rainbow trout fry (0.4 g) were Z Uj 40 immersed in a bacterial lysate (3 mg/mL, contain- cc ing 10% expressed IrpE-G fusion protein) as de- Ui 20 VACCINE scribed in Materials and Methods section. The results are expressed as mean percent total mortality 0 on the ordinate and days after the initiation of viral 0 4 8 12 16 20 24 challenge on the abscissa. There were 25 fish in the control group and 26 fish in the vaccinated group. DAYS AF7ER VIRAL CHALLENGE In this particular challenge, the fish received 7.2 x lo,5 plaque forming units/mL. 50- CONTROL 40- Figure 4 30 - Immunization of rainbow trout with a subunit vac- 0 cine against IPNV. Rainbow trout fry (0.3 g) were 20 immersed in a bacterial lysate (3 mg/mL) contain- Z ing the 1rpE-VP2 fusion protein as described in Materials and Methods section. The results are W 10- expressed as percent total mortality on the ordinate a. 0 0 0 0 VACCINE and days after the initiation of viral challenge on the 0 a 6 0 1 1 1 abscissa. There were 25 fish in both control and vac- 0 10 20 30 40 50 60 cinated groups. The fish received 10" plaque DAYS AFTER VIRAL CHALLENGE forming units/mL of IPNV-Buhl strain for viral challenge. of IPNV-Sp were expressed by this recombinant plasmid Discussion in bacteria. We have presented initial findings on the efficacy of bac- Immunization Trials with Subunit Vaccine terially expressed viral proteins as subunit vaccines for fish. Both the IHNV and the IPNV vaccines were effective in Viral challenges provided data on the efficacy of the immunizing fish against lethal viral challenge in laboratory bacterially expressed protein as vaccine&. A significant trials. Moreover, the vaccinations were carried out on rain- level of protection (697o) was conferred on fish immu- bow trout fry that were 0.4 g in size. These fish were able nized with p52G versus unimmunized fish when chal- to respond effectively to the viral vaccine. Previous studies lenged with the Round Butte isolate of IHNV (Figure 3). of immunization in fish have indicated that the minimum The glycoprotein used in constructing the fusion pro- size for successful immunization by immersion was 0.8 g r tein was derived from this strain. In Figure 4, the pro- for chinook salmon (Fryer et al. 1978) and 1-2.5 g for rain- tection that was achieved by immunization with pTAI bow trout Uohnson et al. 1982). against the Buhl isolate of IPNV, a heterologous virus The use of these vaccines with different species of fish strain, is shown. A decrease in virus-induced mortalities and against a variety of different viral strains must be from 45 To to 3 To was found for the immunized group of tested. In addition, the duration of effective immunity must fish. be determined. However, the possibility now exists for Leong ct al.: Recombinant Viral Vaccines in Aquaculturc 31 developing an inexpensive and effective vaccine for fish necrosis virus. Nucl. Acid Res. 3:1903-1919. using recombinant DNA technology. Engelking. H.M., and J.C. Leong. 1981. IHNV persistently infects chinook salmon embryo cells. The development of any vaccine must have safety as well Virol. 109:47-58. as efficacy as one of its primary considerations. The safety 1989. The glycoprotein of infectious hematopoeitic necrosis virus of live attenuated vaccines has been questioned for the elicits neutralizing antibody and protective responses. Virus Res. aquaculture industry because of the nature of the environ- 13:213-230. ment where the vaccine would be applied. The vaccine has Fryer, J.F., J.S. Nelson, and R.L. Garrison. to be completely safe for cultured and wild salmonid fish 1978. Immunization of salmonids for control of vibriosis. Mar. Fish. Rev. 1,0:20-23. in the watershed. Moreover, the vaccine has to be eco- Gilmore, R.D. Jr., H.M. Engelking, D.S. Manning, and J.C. Leong. nomical and a subunit vaccine produced in bacteria seems 1988. Expression in Escherichia coli of an epitope of the glycopro- to be a viable alternative. The initial trials of the subunit tein of infectious hematopoietic necrosis virus protects against viral vaccines reported here suggest that bacterially expressed challenge. Bio/Technology 6:295-300. viral proteins, even in crude lysates, can be used as effec- Huang, M., D.S. Manning, M. Warner, E.B. Stephens, andJ.C. Leong. 1986. A physical map of the viral genome for infectious pancreatic tive and economical viral vaccines. necrosis virus Sp: Analysis of cell-free translation products derived from viral cDNA clones. J. Virol. 60(3):1002- 1011. Johnson, K.A., J.K. Flynn, and D.F. Amend. 1982. Onset of immunity in salmonid fry vaccinated by direct im- Acknowledgments mersion in Vibrio anguillarum and Yersinia ruckeri bacterins. J. Fish. Dis. 5:197-205. This publication is the result of research sponsored by Kleid, D.G., D. Yansura, B. Small, D, Dowbenko, D.M. Moore, Bonneville Power Administration Contract DE-A179- MJ. Grubman, P.D. McKercher, D.O. Morgan, B.H. Robertson, 84BP16479, Project 84-43 (G.R. Bouck and R. Morinaka and H.L. Bachrach. 1981. Cloned viral protein vaccine for foot-and-mouth disease: served as the Contracting Office Technical Representatives Responses in cattle and swine. Science 214:1125-1129. on the project) and, in part, by Oregon Sea Grant with Koener, J.F., C.W. Passavant, G. Kurath, and J.C. Leong. funds from the National Oceanic and Atmospheric Ad- 1987. Nucleotide sequence of a cDNA clone carrying the glycopro- ministration, Office of Sea Grant, Department of Com- tein gene of infectious pancreatic necrosis virus, a fish rhabdo- merce, under grant no. NA85AA-D-SGO95 (project no virus. J. Virol. 61(5):1342-1349. Kurath, G., and J.C. Leong. R/FSD-l 1) and from appropriations made by the Oregon 1985. Characterization of infectious hernatopoietic necrosis virus State Legislature. We thank Rebecca Day for typing the in mRNA species reveals a non-virion rhabdovirus protein. J. manuscript. Virol. 53:162-468. McAllister, P.E., and R.R. Wagner. 1977. Virion RNA polymerases of two salmonid rhabdoviruses. J. Virol. 22(3):839-843. Citations Manning, D.S. 1988. Deletion mapping and Expression of the Large Genomic seg- Dieckmann, C.L., and A. Tzagoloff. ment of Infectious Pancreatic Necrosis Virus. Doctoral Diss., 1985. Assembly of the mitochondrial membrane system. J. Biol. Oregon State Univ., Corvallis, Oregon. Chem. 260:1513-1520. Sanger, F., S. Nicklen, and A.R. Coulson. Dobos, P. 1977. DNA sequencing with chain-terminating inhibitors. Proc. 1975. Size and structure of the genome of infectious pancreatic Natl. Acad. Sci. USA 7,t(12):5463-5467. Genetic Monitoring of Pacific Salmon Hatcheries ROBIN S. WAPLES, GARY A. WINANS, FRED M. UTTER, and CONRAD MAHNKEN Northwest Fisheries Center National Marine Fisheries Service, NOAA 2725 Montlake Blvd. East Seattle, WA 98112 ABSTRACT In the last few decades, and in response to substantial reductions in the abundance of wild populations of Pacific salmon, an enormous amount of resources in both Asia and North America has been devoted to artificial propagation programs. Several factors increase the possibility of rapid (often detrimental) genetic change in cultured populations, but genetic considerations are often overlooked in the effor
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