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Bebop

Bebop or bop is a style of jazz developed in the early to mid-1940s in the United States. The style features compositions characterized by a fast tempo (usually exceeding 200 bpm), complex chord progressions with rapid chord changes and numerous changes of key, instrumental virtuosity, and improvisation based on a combination of harmonic structure, the use of scales and occasional references to the melody.

Bebop developed as the younger generation of jazz musicians expanded the creative possibilities of jazz beyond the popular, dance-oriented swing music-style with a new "musician's music" that was not as danceable and demanded close listening. As bebop was not intended for dancing, it enabled the musicians to play at faster tempos. Bebop musicians explored advanced harmonies, complex syncopation, altered chords, extended chords, chord substitutions, asymmetrical phrasing, and intricate melodies. Bebop groups used rhythm sections in a way that expanded their role. Whereas the key ensemble of the swing music era was the big band of up to fourteen pieces playing in an ensemble-based style, the classic bebop group was a small combo that consisted of saxophone (alto or tenor), trumpet, piano, guitar, double bass, and drums playing music in which the ensemble played a supportive role for soloists. Rather than play heavily arranged music, bebop musicians typically played the melody of a composition (called the "head") with the accompaniment of the rhythm section, followed by a section in which each of the performers improvised a solo, then returned to the melody at the end of the composition.

Some of the most influential bebop artists, who were typically composer-performers, are alto sax player Charlie Parker; tenor sax players Dexter Gordon, Sonny Rollins, and James Moody; clarinet player Buddy DeFranco; trumpeters Fats Navarro, Clifford Brown, Miles Davis, and Dizzy Gillespie; pianists Bud Powell, Barry Harris and Thelonious Monk; electric guitarist Charlie Christian; and drummers Kenny Clarke, Max Roach, and Art Blakey.

Etymology
The term "bebop" is derived from nonsense syllables (vocables) used in scat singing; the first known example of "bebop" being used was in McKinney's Cotton Pickers' "Four or Five Times", recorded in 1928. It appears again in a 1936 recording of "I'se a Muggin'" by Jack Teagarden. A variation, "rebop", appears in several 1939 recordings. The first known print appearance also occurred in 1939, but the term was little used subsequently until applied to the music now associated with it in the mid-1940s. Thelonious Monk claims that the original title "Bip Bop" for his composition "52nd Street Theme", was the origin of the name "bebop."

Some researchers speculate that it was a term used by Charlie Christian because it sounded like something he hummed along with his playing. Dizzy Gillespie stated that the audiences coined the name after hearing him scat the then-nameless compositions to his players and the press ultimately picked it up, using it as an official term: "People, when they'd wanna ask for those numbers and didn't know the name, would ask for bebop." Another theory is that it derives from the cry of "Arriba! Arriba!" used by Latin American bandleaders of the period to encourage their bands. At times, the terms "bebop" and "rebop" were used interchangeably. (Although rebop differed from bebop with its more impressionist use of discordant chords.) By 1945, the use of "bebop"/"rebop" as nonsense syllables was widespread in R&B music, for instance Lionel Hampton's "Hey! Ba-Ba-Re-Bop". The bebop musician or bopper became a stock character in jokes of the 1950s, overlapping with the beatnik.

Instrumentation
The classic bebop combo consisted of saxophone, trumpet, double bass, drums and piano. This was a format used (and popularized) by both Parker (alto sax) and Gillespie (trumpet) in their 1940s groups and recordings, sometimes augmented by an extra saxophonist or guitar (electric or acoustic), occasionally adding other horns (often a trombone) or other strings (usually violin) or dropping an instrument and leaving only a quartet. This was in stark contrast to the large ensembles favoured during the swing era.

Musical style
Bebop differed drastically from the straightforward compositions of the swing era and was instead characterized by fast tempos, asymmetrical phrasing, intricate melodies, and rhythm sections that expanded on their role as tempo-keepers. The music itself seemed jarringly different to the ears of the public, who were used to the bouncy, organized, danceable compositions of Benny Goodman and Glenn Miller during the swing era. Instead, bebop appeared to sound racing, nervous, erratic and often fragmented.

""Bebop" was a label that certain journalists later gave it, but we never labeled the music. It was just modern music, we would call it. We wouldn't call it anything, really, just music."

- Kenny Clarke

While swing music tended to feature orchestrated big band arrangements, bebop music highlighted improvisation. Typically, a theme (a "head," often the main melody of a pop or jazz standard of the swing era) would be presented together at the beginning and the end of each piece, with improvisational solos based on the chords of the compositions. Thus, the majority of a piece in bebop style would be improvisation, the only threads holding the work together being the underlying harmonies played by the rhythm section. Sometimes improvisation included references to the original melody or to other well-known melodic lines ("quotes," "licks" or "riffs"). Sometimes they were entirely original, spontaneous melodies from start to finish.

Chord progressions for bebop compositions were often taken directly from popular swing-era compositions and reused with a new and more complex melody, forming new compositions (see contrafact). This practice was already well-established in earlier jazz, but came to be central to the bebop style. The style made use of several relatively common chord progressions, such as blues (at base, I-IV-V, but infused with II-V motion) and "rhythm changes" (I-VI-II-V, the chords to the 1930s pop standard "I Got Rhythm"). Late bop also moved towards extended forms that represented a departure from pop and show compositions. Bebop chord voicings often dispensed with the root and fifth tones, instead basing them on the leading intervals that defined the tonality of the chord. That opened up creative possibilities for harmonic improvisation such as tritone substitutions and use of diminished scale based improvised lines that could resolve to the key center in numerous and surprising ways.

Bebop musicians also employed several harmonic devices not typical of previous jazz. Complicated harmonic substitutions for more basic chords became commonplace. These substitutions often emphasized certain dissonant intervals such as the flat ninth, sharp ninth or the sharp eleventh/tritone. This unprecedented harmonic development which took place in bebop is often traced back to a transcendent moment experienced by Charlie Parker while performing "Cherokee" at Clark Monroe's Uptown House, New York, in early 1942. As described by Parker:

"I'd been getting bored with the stereotyped changes that were being used ... and I kept thinking there's bound to be something else. I could hear it sometimes. I couldn't play it.... I was working over 'Cherokee', and, as I did, I found that by using the higher intervals of a chord as a melody line and backing them with appropriately related changes, I could play the thing I'd been hearing. It came alive."

Gerhard Kubik postulates that the harmonic development in bebop sprang from the blues, and other African-related tonal sensibilities, rather than twentieth century Western art music, as some have suggested. Kubik states: "Auditory inclinations were the African legacy in [Parker's] life, reconfirmed by the experience of the blues tonal system, a sound world at odds with the Western diatonic chord categories. Bebop musicians eliminated Western-style functional harmony in their music while retaining the strong central tonality of the blues as a basis for drawing upon various African matrices." Samuel Floyd states that blues were both the bedrock and propelling force of bebop, bringing about three main developments:
 * A new harmonic conception, using extended chord structures that led to unprecedented harmonic and melodic variety.
 * A developed and even more highly syncopated, linear rhythmic complexity and a melodic angularity in which the blue note of the fifth degree was established as an important melodic-harmonic device.
 * The reestablishment of the blues as the music's primary organizing and functional principle.

Some of the harmonic innovations in bebop appear similar to innovations in Western "serious" music, from Claude Debussy to Arnold Schoenberg, although bebop has few direct borrowings from classical music and appears to largely revive tonal-harmonic ideas taken from the blues in a basically non-Western approach rooted in African traditions. However, bebop probably drew on many sources. An insightful YouTube video with Jimmy Raney, a jazz guitarist who played with Charlie Parker, describes how Parker would listen to the music of Béla Bartók, a leading 20th century classical composer. Raney describes Parker's knowledge of Bartók and Arnold Schoenberg, in particular Schoenberg's Pierrot Lunaire, and says that a section from Bartók's Fifth Quartet sounded a lot like some of Parker's jazz improvisation.

Swing era influences

Bebop grew out of the culmination of trends that had been occurring within swing music since the mid-1930s: less explicit timekeeping by the drummer, with the primary rhythmic pulse moving from the bass drum to the ride cymbal; a changing role for the piano away from rhythmic density towards accents and fills; less ornate horn section arrangements, trending towards riffs and more support for the underlying rhythm; more emphasis on freedom for soloists; and increasing harmonic sophistication in arrangements used by some bands. The path towards rhythmically streamlined, solo-oriented swing was blazed by the territory bands of the southwest with Kansas City as their musical capital; their music was based on blues and other simple chord changes, riff-based in its approach to melodic lines and solo accompaniment, and expressing an approach adding melody and harmony to swing rather than the other way around. Ability to play sustained, high energy, and creative solos was highly valued for this newer style and the basis of intense competition. Swing-era jam sessions and "cutting contests" in Kansas City became legendary. The Kansas City approach to swing was epitomized by the Count Basie Orchestra, which came to national prominence in 1937.

One young admirer of the Basie orchestra in Kansas City was a teenage alto saxophone player named Charlie Parker. He was especially enthralled by their tenor saxophone player Lester Young, who played long flowing melodic lines that wove in and out of the chordal structure of the composition but somehow always made musical sense. Young was equally daring with his rhythm and phrasing as with his approach to harmonic structures in his solos. He would frequently repeat simple two or three note figures, with shifting rhythmic accents expressed by volume, articulation, or tone. His phrasing was far removed from the two or four bar phrases that horn players had used until then. They would often be extended to an odd number of measures, overlapping the musical stanzas suggested by the harmonic structure. He would take a breath in the middle of a phrase, using the pause, or "free space", as a creative device. The overall effect was that his solos were something floating above the rest of the music, rather than something springing from it at intervals suggested by the ensemble sound. When the Basie orchestra burst onto the national scene with its 1937 recordings and widely broadcast New York engagements, it gained a national following, with legions of saxophone players striving to imitate Young, drummers striving to imitate Jo Jones, piano players striving to imitate Basie, and trumpet players striving to imitate Buck Clayton. Parker played along with the new Basie recordings on a Victrola until he could play Young's solos note for note.

In the late 1930s the Duke Ellington Orchestra and the Jimmie Lunceford Orchestra were exposing the music world to harmonically sophisticated musical arrangements by Billy Strayhorn and Sy Oliver, respectively, which implied chords as much as they spelled them out. That understatement of harmonically sophisticated chords would soon be used by young musicians exploring the new musical language of bebop.

The brilliant technique and harmonic sophistication of pianist Art Tatum inspired young musicians including Charlie Parker and Bud Powell. In his early days in New York, Parker held a job washing dishes at an establishment where Tatum had a regular gig.

One of the divergent trends of the swing era was a resurgence of small ensembles playing "head" arrangements, following the approach used with Basie's big band. The small band format lent itself to more impromptu experimentation and more extended solos than did the bigger, more highly arranged bands. The 1939 recording of "Body and Soul" by Coleman Hawkins with a small band featured an extended saxophone solo with minimal reference to the theme that was unique in recorded jazz, and which would become characteristic of bebop. That solo showed a sophisticated harmonic exploration of the composition, with implied passing chords. Hawkins would eventually go on to lead the first formal recording of the bebop style in early 1944.

Going beyond swing in New York
As the 1930s turned to the 1940s, Parker went to New York as a featured player in the Jay McShann Orchestra. In New York he found other musicians who were exploring the harmonic and melodic limits of their music, including Dizzy Gillespie, a Roy Eldridge-influenced trumpet player who, like Parker, was exploring ideas based on upper chord intervals, beyond the seventh chords that had traditionally defined jazz harmony. While Gillespie was with Cab Calloway, he practiced with bassist Milt Hinton and developed some of the key harmonic and chordal innovations that would be the cornerstones of the new music; Parker did the same with bassist Gene Ramey while with McShann's group. Guitarist Charlie Christian, who had arrived in New York in 1939 was, like Parker, an innovator extending a southwestern style. Christian's major influence was in the realm of rhythmic phrasing. Christian commonly emphasized weak beats and off beats and often ended his phrases on the second half of the fourth beat. Christian experimented with asymmetrical phrasing, which was to become a core element of the new bop style.

Bud Powell was pushing forward with a rhythmically streamlined, harmonically sophisticated, virtuosic piano style and Thelonious Monk was adapting the new harmonic ideas to his style that was rooted in Harlem stride piano playing.

Drummers such as Kenny Clarke and Max Roach were extending the path set by Jo Jones, adding the ride cymbal to the high hat cymbal as a primary timekeeper and reserving the bass drum for accents. Bass drum accents were colloquially termed "bombs", which referenced events in the world outside of New York as the new music was being developed. The new style of drumming supported and responded to soloists with accents and fills, almost like a shifting call and response. This change increased the importance of the string bass. Now, the bass not only maintained the music's harmonic foundation, but also became responsible for establishing a metronomic rhythmic foundation by playing a "walking" bass line of four quarter notes to the bar. While small swing ensembles commonly functioned without a bassist, the new bop style required a bass in every small ensemble.

The kindred spirits developing the new music gravitated to sessions at Minton's Playhouse, where Monk and Clarke were in the house band, and Monroe's Uptown House, where Max Roach was in the house band. Part of the atmosphere created at jams like the ones found at Minton's Playhouse was an air of exclusivity: the "regular" musicians would often reharmonize the standards, add complex rhythmic and phrasing devices into their melodies, or "heads", and play them at breakneck tempos in order to exclude those whom they considered outsiders or simply weaker players. These pioneers of the new music (which would later be termed bebop or bop, although Parker himself never used the term, feeling it demeaned the music) began exploring advanced harmonies, complex syncopation, altered chords and chord substitutions. The bop musicians advanced these techniques with a more freewheeling, intricate and often arcane approach. Bop improvisers built upon the phrasing ideas first brought to attention by Lester Young's soloing style. They would often deploy phrases over an odd number of bars and overlap their phrases across bar lines and across major harmonic cadences. Christian and the other early boppers would also begin stating a harmony in their improvised line before it appeared in the song form being outlined by the rhythm section. This momentary dissonance creates a strong sense of forward motion in the improvisation. The sessions also attracted top musicians in the swing idiom such as Coleman Hawkins, Lester Young, Ben Webster, Roy Eldridge, and Don Byas. Byas became the first tenor saxophone player to fully assimilate the new bebop style in his playing. In 1944 the crew of innovators was joined by Dexter Gordon, a tenor saxophone player from the west coast in New York with the Louis Armstrong band, and a young trumpet player attending the Juilliard School of Music, Miles Davis.

Early recordings
Bebop originated as "musicians' music," played by musicians with other money-making gigs who did not care about the commercial potential of the new music. It did not attract the attention of major record labels nor was it intended to. Some of the early bebop was recorded informally. Some sessions at Minton's in 1941 were recorded, with Thelonious Monk alongside an assortment of musicians including Joe Guy, Hot Lips Page, Roy Eldridge, Don Byas, and Charlie Christian. Christian is featured in recordings from May 12, 1941 (Esoteric ES 548). Charlie Parker and Dizzy Gillespie were both participants at a recorded jam session hosted by Billy Eckstine on February 15, 1943, and Parker at another Eckstine jam session on February 28, 1943 (Stash ST-260; ST-CD-535).

Formal recording of bebop was first performed for small specialty labels, who were less concerned with mass-market appeal than the major labels, in 1944. On February 16, 1944, Coleman Hawkins led a session including Dizzy Gillespie and Don Byas, with a rhythm section consisting of Clyde Hart (piano), Oscar Pettiford (bass) and Max Roach (drums) that recorded "Woody'n You" (Apollo 751), the first formal recording of bebop. Charlie Parker and Clyde Hart were recorded in a quintet led by guitarist Tiny Grimes for the Savoy label on September 15, 1944 (Tiny's Tempo, I'll Always Love You Just the Same, Romance Without Finance, Red Cross). Hawkins led another bebop-influenced recording session on October 19, 1944, this time with Thelonious Monk on piano, Edward Robinson on bass, and Denzil Best on drums (On the Bean, Recollections, Flyin' Hawk, Driftin' on a Reed; reissue, Prestige PRCD-24124-2).

Parker, Gillespie, and others working the bebop idiom joined the Earl Hines Orchestra in 1943, then followed vocalist Billy Eckstine out of the band into the Billy Eckstine Orchestra in 1944. The Eckstine band was recorded on V-discs, which were broadcast over the Armed Forces Radio Network and gained popularity for the band showcasing the new bebop style. The format of the Eckstine band, featuring vocalists and entertaining banter, would later be emulated by Gillespie and others leading bebop-oriented big bands in a style that might be termed "popular bebop". Starting with the Eckstine band's session for the De Luxe label on December 5, 1944 (If That's the Way You Feel, I Want to Talk About You, Blowing the Blues Away, Opus X, I'll Wait and Pray, The Real Thing Happened to Me), bebop recording sessions grew more frequent. Parker had left the band by that date, but it still included Gillespie along with Dexter Gordon and Gene Ammons on tenor, Leo Parker on baritone, Tommy Potter on bass, Art Blakey on drums, and Sarah Vaughan on vocals. Blowing the Blues Away featured a tenor saxophone duel between Gordon and Ammons.

On January 4, 1945, Clyde Hart led a session including Parker, Gillespie, and Don Byas recorded for the Continental label (What's the Matter Now, I Want Every Bit of It, That's the Blues, G.I. Blues, Dream of You, Seventh Avenue, Sorta Kinda, Ooh Ooh, My My, Ooh Ooh). Gillespie recorded his first session as a leader on January 9, 1945, for the Manor label, with Don Byas on tenor, Trummy Young on trombone, Clyde Hart on Piano, Oscar Pettiford on bass, and Irv Kluger on drums. The session recorded I Can't Get Started, Good Bait, Be-bop (Dizzy's Fingers), and Salt Peanuts (which Manor wrongly named "Salted Peanuts"). Thereafter, Gillespie would record bebop prolifically and gain recognition as one of its leading figures. Gillespie featured Gordon as a sideman in a session recorded on February 9, 1945 for the Guild label (Groovin' High, Blue 'n' Boogie). Parker appeared in Gillespie-led sessions dated February 28 (Groovin' High, All the Things You Are, Dizzy Atmosphere) and May 11, 1945 (Salt Peanuts, Shaw 'Nuff, Lover Man, Hothouse) for the Guild label. Parker and Gillespie were sidemen with Sarah Vaughan on May 25, 1945, for the Continental label (What More Can a Woman Do, I'd Rather Have a Memory Than a Dream, Mean to Me). Parker and Gillespie appeared in a session under vibraphonist Red Norvo dated June 6, 1945, later released under the Dial label (Hallelujah, Get Happy, Slam Slam Blues, Congo Blues). Sir Charles Thompson's all-star session of September 4, 1945 for the Apollo label (Takin' Off, If I Had You, Twentieth Century Blues, The Street Beat) featured Parker and Gordon. Gordon led his first session for the Savoy label on October 30, 1945, with Sadik Hakim (Argonne Thornton) on piano, Gene Ramey on bass, and Eddie Nicholson on drums (Blow Mr Dexter, Dexter's Deck, Dexter's Cuttin' Out, Dexter's Minor Mad). Parker's first session as a leader was on November 26, 1945, for the Savoy label, with Miles Davis and Gillespie on trumpet, Hakim/Thornton and Gillespie on piano, Curley Russell on bass and Max Roach on drums (Warming Up a Riff, Now's the Time, Billie's Bounce, Thriving on a Riff, Ko-Ko, Meandering). After appearing as a sideman in the R&B-oriented Cootie Williams Orchestra through 1944, Bud Powell was in bebop sessions led by Frankie Socolow on May 2, 1945 for the Duke label (The Man I Love, Reverse the Charges, Blue Fantasy, September in the Rain), then Dexter Gordon on January 29, 1946 for the Savoy label (Long Tall Dexter, Dexter Rides Again, I Can't Escape From You, Dexter Digs In). The growth of bebop through 1945 is also documented in informal live recordings.

Breakout
By 1946 bebop was established as a broad-based movement among New York jazz musicians, including trumpeters Fats Navarro and Kenny Dorham, trombonists J. J. Johnson and Kai Winding, alto saxophonist Sonny Stitt, tenor saxophonist James Moody, baritone saxophonists Leo Parker and Serge Chaloff, vibraphonist Milt Jackson, pianists Erroll Garner and Al Haig, bassist Slam Stewart, and others who would contribute to what would become known as "modern jazz". The new music was gaining radio exposure with broadcasts such as those hosted by "Symphony Sid" Torin. Bebop was taking root in Los Angeles as well, among such modernists as trumpeters Howard McGhee and Art Farmer, alto players Sonny Criss and Frank Morgan, tenor players Teddy Edwards and Lucky Thompson, trombonist Melba Liston, pianists Dodo Marmarosa, Jimmy Bunn and Hampton Hawes, guitarist Barney Kessel, bassists Charles Mingus and Red Callender, and drummers Roy Porter and Connie Kay. Gillespie's "Rebop Six" (with Parker on alto, Lucky Thompson on tenor, Al Haig on piano, Milt Jackson on vibes, Ray Brown on bass, and Stan Levey on drums) started an engagement in Los Angeles in December 1945. Parker and Thompson remained in Los Angeles after the rest of the band left, performing and recording together for six months before Parker suffered an addiction-related breakdown in July. Parker was again active in Los Angeles in early 1947. Parker and Thompson's tenures in Los Angeles, the arrival of Dexter Gordon and Wardell Gray later in 1946, and the promotional efforts of Ross Russell, Norman Granz, and Gene Norman helped solidify the city's status as a center of the new music.

Gillespie landed the first recording date with a major label for the new music, with the RCA Bluebird label recording Dizzy Gillespie And his Orchestra on February 22, 1946 (52nd Street Theme, A Night in Tunisia, Ol' Man Rebop, Anthropology). Later Afro-Cuban styled recordings for Bluebird in collaboration with Cuban rumberos Chano Pozo and Sabu Martinez, and arrangers Gil Fuller and George Russell (Manteca, Cubana Be, Cubana Bop, Guarache Guaro) would be among his most popular, giving rise to the Latin dance music craze of the late 1940s and early 1950s. Gillespie, with his extroverted personality and humor, glasses, lip beard and beret, would become the most visible symbol of the new music and new jazz culture in popular consciousness. That of course slighted the contributions of others with whom he had developed the music over the preceding years. His show style, influenced by black vaudeville circuit entertainers, seemed like a throwback to some and offended some purists ("too much grinning" according to Miles Davis), but it was laced with a subversive sense of humor that gave a glimpse of attitudes on racial matters that black musicians had previously kept away from the public at large. Before the Civil Rights Movement, Gillespie was confronting the racial divide by lampooning it. The intellectual subculture that surrounded bebop made it something of a sociological movement as well as a musical one.

With the imminent demise of the big swing bands, bebop had become the dynamic focus of the jazz world, with a broad-based "progressive jazz" movement seeking to emulate and adapt its devices. It was to be the most influential foundation of jazz for a generation of jazz musicians.

Beyond
By 1950, bebop musicians such as Clifford Brown and Sonny Stitt began to smooth out the rhythmic eccentricities of early bebop. Instead of using jagged phrasing to create rhythmic interest, as the early boppers had, these musicians constructed their improvised lines out of long strings of eighth notes and simply accented certain notes in the line to create rhythmic variety. The early 1950s also saw some smoothing in Charlie Parker's style.

During the early 1950s bebop remained at the top of awareness of jazz, while its harmonic devices were adapted to the new "cool" school of jazz led by Miles Davis and others. It continued to attract young musicians such as Jackie McLean, Sonny Rollins, and John Coltrane. As musicians and composers began to work with expanded music theory during the mid-1950s, its adaptation by musicians who worked it into the basic dynamic approach of bebop would lead to the development of post-bop. Around that same time, a move towards structural simplification of bebop occurred among musicians such as Horace Silver and Art Blakey, leading to the movement known as hard bop. Development of jazz would occur through the interplay of bebop, cool, post-bop, and hard bop styles through the 1950s.

Influence
The musical devices developed with bebop were influential far beyond the bebop movement itself. "Progressive jazz" was a broad category of music that included bebop-influenced "art music" arrangements used by big bands such as those led by Boyd Raeburn, Charlie Ventura, Claude Thornhill, and Stan Kenton, and the cerebral harmonic explorations of smaller groups such as those led by pianists Lennie Tristano and Dave Brubeck. Voicing experiments based on bebop harmonic devices were used by Miles Davis and Gil Evans for the groundbreaking "Birth of the Cool" sessions in 1949 and 1950. Musicians who followed the stylistic doors opened by Davis, Evans, Tristano, and Brubeck formed the core of the cool jazz and "west coast jazz" movements of the early 1950s.

By the mid-1950s musicians began to be influenced by music theory proposed by George Russell. Those who incorporated Russell's ideas into the bebop foundation defined the post-bop movement that later incorporated modal jazz into its musical language.

Hard bop was a simplified derivative of bebop introduced by Horace Silver and Art Blakey in the mid-1950s. It became a major influence until the late 1960s when free jazz and fusion jazz gained ascendancy.

The neo-bop movement of the 1980s and 1990s revived the influence of bebop, post-bop, and hard bop styles after the free jazz and fusion eras.

Bebop style also influenced the Beat Generation whose spoken-word style drew on African-American "jive" dialog, jazz rhythms, and whose poets often employed jazz musicians to accompany them. Jack Kerouac would describe his writing in On the Road as a literary translation of the improvisations of Charlie Parker and Lester Young. The "beatnik" stereotype borrowed heavily from the dress and mannerisms of bebop musicians and followers, in particular the beret and lip beard of Dizzy Gillespie and the patter and bongo drumming of guitarist Slim Gaillard. The bebop subculture, defined as a non-conformist group expressing its values through musical communion, would echo in the attitude of the psychedelia-era hippies of the 1960s. Fans of bebop were not restricted to the United States; the music also gained cult status in France and Japan.

More recently, hip-hop artists (A Tribe Called Quest, Guru) have cited bebop as an influence on their rapping and rhythmic style. As early as 1983, Shawn Brown rapped the phrase "Rebop, bebop, Scooby-Doo" toward the end of the hit "Rappin' Duke". Bassist Ron Carter collaborated with A Tribe Called Quest on 1991's The Low End Theory, and vibraphonist Roy Ayers and trumpeter Donald Byrd were featured on Guru's Jazzmatazz, Vol. 1 in 1993. Bebop samples, especially bass lines, ride cymbal swing clips, and horn and piano riffs are found throughout the hip-hop compendium.

title: Bebop


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Fossil fuel

A fossil fuel is a carbon compound- or hydrocarbon-containing material such as coal, oil, and natural gas, formed naturally in the Earth's crust from the remains of prehistoric organisms (animals, plants and planktons), a process that occurs within geological formations. Reservoirs of such compound mixtures can be extracted and burned as a fuel for human consumption to provide heat for direct use (such as for cooking or heating), to power heat engines (such as steam or internal combustion engines) that can propel vehicles, or to generate electricity via steam turbine generators. Some fossil fuels are further refined into derivatives such as kerosene, gasoline and diesel.

The origin of fossil fuels is the anaerobic decomposition of buried dead organisms containing organic molecules created by photosynthetic carbon fixation. The conversion from these materials to high-carbon fossil fuels typically requires a geological process of millions of years. Due to the length of time it takes nature to form them, fossil fuels are considered non-renewable resources.

In 2022, over 80% of primary energy consumption in the world and over 60% of its electricity was from fossil fuels. The large-scale burning of fossil fuels causes serious environmental damage. Over 70% of the greenhouse gas emissions due to human activity in 2022 was CO2 from burning them. Natural processes on Earth, mostly absorption by the ocean, can remove only a small part of this CO2. Therefore, there is a net increase of many billion tonnes of atmospheric carbon dioxide per year. Although methane leaks are significant, the burning of fossil fuels is the main source of greenhouse gas emissions causing global warming and ocean acidification. Additionally, most air pollution deaths are due to fossil fuel particulates and noxious gases. It is estimated that this costs over 3% of the global gross domestic product and that fossil fuel phase-out will save millions of lives each year.

Recognition of the climate crisis, pollution and other negative impacts caused by fossil fuels has led to a widespread policy transition and activist movement focused on ending their use in favor of sustainable energy. Because the fossil-fuel industry is so heavily integrated in the global economy and heavily subsidized, this transition is expected to have significant economic impacts. Many stakeholders argue that this change needs to be a just transition and create policy that addresses the societal burdens created by the stranded assets of the fossil fuel industry.

International policy, in the form of United Nations sustainable development goals for affordable and clean energy and climate action, as well as the Paris Climate Agreement, is designed to facilitate this transition at a global level. In 2021, the International Energy Agency concluded that no new fossil fuel extraction projects could be opened if the global economy and society wants to avoid the worst impacts of climate change and meet international goals for climate change mitigation.

Origin

The theory that fossil fuels formed from the fossilized remains of dead plants by exposure to heat and pressure in Earth's crust over millions of years was first introduced by Andreas Libavius "in his 1597 Alchemia [Alchymia]" and later by Mikhail Lomonosov "as early as 1757 and certainly by 1763". The first use of the term "fossil fuel" occurs in the work of the German chemist Caspar Neumann, in English translation in 1759. The Oxford English Dictionary notes that in the phrase "fossil fuel" the adjective "fossil" means "[o]btained by digging; found buried in the earth", which dates to at least 1652, before the English noun "fossil" came to refer primarily to long-dead organisms in the early 18th century.

Aquatic phytoplankton and zooplankton that died and sedimented in large quantities under anoxic conditions millions of years ago began forming petroleum and natural gas as a result of anaerobic decomposition. Over geological time this organic matter, mixed with mud, became buried under further heavy layers of inorganic sediment. The resulting high temperature and pressure caused the organic matter to chemically alter, first into a waxy material known as kerogen, which is found in oil shales, and then with more heat into liquid and gaseous hydrocarbons in a process known as catagenesis. Despite these heat-driven transformations, the energy released in combustion is still photosynthetic in origin.

Terrestrial plants tended to form coal and methane. Many of the coal fields date to the Carboniferous period of Earth's history. Terrestrial plants also form type III kerogen, a source of natural gas. Although fossil fuels are continually formed by natural processes, they are classified as non-renewable resources because they take millions of years to form and known viable reserves are being depleted much faster than new ones are generated.

Importance

Fossil fuels have been important to human development because they can be readily burned in the open atmosphere to produce heat. The use of peat as a domestic fuel predates recorded history. Coal was burned in some early furnaces for the smelting of metal ore, while semi-solid hydrocarbons from oil seeps were also burned in ancient times, they were mostly used for waterproofing and embalming.

Commercial exploitation of petroleum began in the 19th century.

Natural gas, once flared-off as an unneeded byproduct of petroleum production, is now considered a very valuable resource. Natural gas deposits are also the main source of helium.

Heavy crude oil, which is much more viscous than conventional crude oil, and oil sands, where bitumen is found mixed with sand and clay, began to become more important as sources of fossil fuel in the early 2000s. Oil shale and similar materials are sedimentary rocks containing kerogen, a complex mixture of high-molecular weight organic compounds, which yield synthetic crude oil when heated (pyrolyzed). With additional processing, they can be employed instead of other established fossil fuels. During the 2010s and 2020s there was disinvestment from exploitation of such resources due to their high carbon cost relative to more easily-processed reserves.

Prior to the latter half of the 18th century, windmills and watermills provided the energy needed for work such as milling flour, sawing wood or pumping water, while burning wood or peat provided domestic heat. The wide-scale use of fossil fuels, coal at first and petroleum later, in steam engines enabled the Industrial Revolution. At the same time, gas lights using natural gas or coal gas were coming into wide use. The invention of the internal combustion engine and its use in automobiles and trucks greatly increased the demand for gasoline and diesel oil, both made from fossil fuels. Other forms of transportation, railways and aircraft, also require fossil fuels. The other major use for fossil fuels is in generating electricity and as feedstock for the petrochemical industry. Tar, a leftover of petroleum extraction, is used in the construction of roads.

The energy for the Green Revolution was provided by fossil fuels in the form of fertilizers (natural gas), pesticides (oil), and hydrocarbon-fueled irrigation. The development of synthetic nitrogen fertilizer has significantly supported global population growth; it has been estimated that almost half of the Earth's population are currently fed as a result of synthetic nitrogen fertilizer use. According to head of a fertilizers commodity price agency, "50% of the world's food relies on fertilisers."

Environmental effects

The burning of fossil fuels has a number of negative externalities – harmful environmental impacts where the effects extend beyond the people using the fuel. These effects vary between different fuels. All fossil fuels release when they burn, thus accelerating climate change. Burning coal, and to a lesser extent oil and its derivatives, contributes to atmospheric particulate matter, smog and acid rain.

Climate change is largely driven by the release of greenhouse gases like, and the burning of fossil fuels is the main source of these emissions. In most parts of the world climate change is negatively impacting ecosystems. This includes contributing to the extinction of species and reducing people's ability to produce food, thus adding to the problem of world hunger. Continued rises in global temperatures will lead to further adverse effects on both ecosystems and people; the World Health Organization has said that climate change is the greatest threat to human health in the 21st century.

Combustion of fossil fuels generates sulfuric and nitric acids, which fall to Earth as acid rain, impacting both natural areas and the built environment. Monuments and sculptures made from marble and limestone are particularly vulnerable, as the acids dissolve calcium carbonate.

Fossil fuels also contain radioactive materials, mainly uranium and thorium, which are released into the atmosphere. In 2000, about 12,000 tonnes of thorium and 5,000 tonnes of uranium were released worldwide from burning coal. It is estimated that during 1982, US coal burning released 155 times as much radioactivity into the atmosphere as the Three Mile Island accident.

Burning coal also generates large amounts of bottom ash and fly ash. These materials are used in a wide variety of applications (see Fly ash reuse), utilizing, for example, about 40% of the United States production.

In addition to the effects that result from burning, the harvesting, processing, and distribution of fossil fuels also have environmental effects. Coal mining methods, particularly mountaintop removal and strip mining, have negative environmental impacts, and offshore oil drilling poses a hazard to aquatic organisms. Fossil fuel wells can contribute to methane release via fugitive gas emissions. Oil refineries also have negative environmental impacts, including air and water pollution. Coal is sometimes transported by diesel-powered locomotives, while crude oil is typically transported by tanker ships, requiring the combustion of additional fossil fuels.

A variety of mitigating efforts have arisen to counter the negative effects of fossil fuels. This includes a movement to use alternative energy sources, such as renewable energy. Environmental regulation uses a variety of approaches to limit these emissions; for example, rules against releasing waste products like fly ash into the atmosphere.

In December 2020, the United Nations released a report saying that despite the need to reduce greenhouse emissions, various governments are "doubling down" on fossil fuels, in some cases diverting over 50% of their COVID-19 recovery stimulus funding to fossil fuel production rather than to alternative energy. The UN secretary general António Guterres declared that "Humanity is waging war on nature. This is suicidal. Nature always strikes back – and it is already doing so with growing force and fury." He also claimed there is still cause for hope, anticipating the US plan to join other large emitters like China and the EU in adopting targets to reach net zero emissions by 2050.

Illness and deaths

Environmental pollution from fossil fuels impacts humans because particulates and other air pollution from fossil fuel combustion cause illness and death when inhaled. These health effects include premature death, acute respiratory illness, aggravated asthma, chronic bronchitis and decreased lung function. The poor, undernourished, very young and very old, and people with preexisting respiratory disease and other ill health are more at risk. Global air pollution deaths due to fossil fuels have been estimated at over 8 million people (2018, nearly 1 in 5 deaths worldwide) at 10.2 million (2019), and 5.13 million excess deaths from ambient air pollution from fossil fuel use (2023).

While all energy sources inherently have adverse effects, the data show that fossil fuels cause the highest levels of greenhouse gas emissions and are the most dangerous for human health. In contrast, modern renewable energy sources appear to be safer for human health and cleaner. The death rates from accidents and air pollution in the EU are as follows per terawatt-hour (TWh):

As the data shows, coal, oil, natural gas, and biomass cause higher death rates and higher levels of greenhouse gas emissions than hydropower, nuclear energy, wind, and solar power. Scientists propose that 1.8 million lives have been saved by replacing fossil fuel sources with nuclear power.

Industrial sector
In 2019, Saudi Aramco was listed and it reached a US$2 trillion valuation on its second day of trading, after the world's largest initial public offering.

Economic effects
Air pollution from fossil fuels in 2018 has been estimated to cost US$2.9 trillion, or 3.3% of the global gross domestic product (GDP).

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Fossil fuel


text:
Art rock

Art rock is a subgenre of rock music that generally reflects a challenging or avant-garde approach to rock, or which makes use of modernist, experimental, or unconventional elements. Art rock aspires to elevate rock from entertainment to an artistic statement, opting for a more experimental and conceptual outlook on music. Influences may be drawn from genres such as experimental music, avant-garde music, classical music, and jazz.

Art rock was created with the intention of listening and contemplation rather than for dancing, and is often distinguished by the use of electronic effects and easy listening textures far removed from the propulsive rhythms of early rock. The term may sometimes be used interchangeably with "progressive rock", though the latter is instead characterised in particular by its employment of classically trained instrumental technique and symphonic textures.

The genre's greatest level of popularity was in the early 1970s through British artists. The music, as well as the theatrical nature of performances associated with the genre, was able to appeal to artistically inclined adolescents and younger adults, especially due to its virtuosity and musical/lyrical complexity. Art rock is most associated with a certain period of rock music, beginning in 1966–67 and ending with the arrival of punk rock in the mid-1970s. After, the genre would be infused within later popular music genres of the 1970s–90s.

Definitions

Critic John Rockwell says that art rock is one of rock's most wide-ranging and eclectic genres with its overt sense of creative detachment, classical music pretensions, and experimental, avant-garde proclivities. In the rock music of the 1970s, the "art" descriptor was generally understood to mean "aggressively avant-garde" or "pretentiously progressive". "Art rock" is often used synonymously with progressive rock. Historically, the term has been used to describe at least two related, but distinct, types of rock music. The first is progressive rock, while the second usage refers to groups who rejected psychedelia and the hippie counterculture in favour of a modernist, avant-garde approach defined by the Velvet Underground. Essayist Ellen Willis compared these two types:

"From the early sixties … there was a counter-tradition in rock and roll that had much more in common with high art—in particular avant-garde art—than the ballyhooed art-rock synthesis [progressive rock]; it involved more or less consciously using the basic formal canons of rock and roll as material (much as pop artists used mass art in general) and refining, elaborating, playing off that material to produce … rockand-roll art. While art rock was implicitly based on the claim that rock and roll was or could be as worthy as more established art forms, rock-and-roll art came out of an obsessive commitment to the language of rock and roll and an equally obsessive disdain for those who rejected that language or wanted it watered down, made easier … the new wave has inherited the counter-tradition."

Art rock emphasises Romantic and autonomous traditions, in distinction to the aesthetic of the everyday and the disposable embodied by art pop. Larry Starr and Christopher Waterman's American Popular Music defines art rock as a "form of rock music that blended elements of rock and European classical music", citing the English rock bands King Crimson, Emerson, Lake & Palmer, and Pink Floyd as examples. Common characteristics include album-oriented music divided into compositions rather than songs, with usually complicated and long instrumental sections and symphonic orchestration. Its music was traditionally used within the context of concept records, and its lyrical themes tended to be "imaginative" and politically oriented.

Differences have been identified between art rock and progressive rock, with art rock emphasising avant-garde or experimental influences and "novel sonic structure", while progressive rock has been characterised as putting a greater emphasis on classically trained instrumental technique, literary content, and symphonic features. Compared to progressive rock, art rock is "more challenging, noisy and unconventional" and "less classically influenced", with more of an emphasis on avant-garde music. Similarities are that they both describe a mostly British attempt to elevate rock music to new levels of artistic credibility, and became the instrumental analogue to concept albums and rock operas, which were typically more vocal oriented.

Art rock can also refer to either classically driven rock, or to a progressive rock-folk fusion. Bruce Eder's essay The Early History of Art-Rock/Prog Rock states that progressive rock,' also sometimes known as 'art rock,' or 'classical rock is music in which the "bands [are] playing suites, not songs; borrowing riffs from Bach, Beethoven, and Wagner instead of Chuck Berry and Bo Diddley; and using language closer to William Blake or T. S. Eliot than to Carl Perkins or Willie Dixon."

Background
The boundaries between art and pop music became increasingly blurred throughout the second half of the 20th century. The first usage of the term "art rock", according to Merriam-Webster Online Dictionary, was in 1968. As pop music's dominant format transitioned from singles to albums, many rock bands created works that aspired to make grand artistic statements, where art rock would flourish. As it progressed in the late 1960s – in tandem with the development of progressive rock – art rock acquired notoriety alongside experimental rock.

Proponents

The earliest figure of art rock has been assumed to be record producer and songwriter Phil Spector, who became known as an auteur for his Wall of Sound productions that aspired to a "classical grandiosity". According to biographer Richard Williams: "[Spector] created a new concept: the producer as the overall director of the creative process, from beginning to end. He took control of everything, he picked the artists, wrote or chose the material, supervised the arrangements, told the singers how to phrase, masterminded all phases of the recording process with the most painful attention to detail, and released the result on his own label." Williams also says that Spector transformed rock music from a performing art into an art that could only exist in the recording studio, which "paved the way for art rock". The Beach Boys' leader Brian Wilson is also cited as one of the first examples of the auteur music producer. Like Spector, Wilson was known as a reclusive studio obsessive who laboriously produced fantastical soundscapes through his mastery of recording technology. Biographer Peter Ames Carlin wrote that Wilson was the forerunner of "a new kind of art-rock that would combine the transcendent possibilities of art with the mainstream accessibility of pop music". Drawing from the influence of Wilson's work and the work of the Beatles' producer George Martin, music producers after the mid 1960s began to view the recording studio as a musical instrument used to aid the process of composition. Critic Stephen Holden says that mid-1960s recordings by the Beatles, Spector and Wilson are often identified as marking the start of art pop, which preceded the "bombastic, classically inflected" art rock that started in the late 1960s.

Many of the top British groups during the 1960s – including members of the Beatles, the Rolling Stones, the Kinks, the Who, 10cc, the Move, the Yardbirds and Pink Floyd – came to music via art school. This institution differed from its US counterpart in terms of having a less industry-applicable syllabus and in its focus on furthering eccentric talent. By the mid-1960s, several of these acts espoused an approach based on art and originality, where previously they had been absorbed solely in authentic interpretation of US-derived musical styles, such as rock 'n' roll and R&B.

According to journalist Richard Goldstein, many popular musicians from California (like Wilson) desired to be acknowledged as artists, and struggled with this aspiration. Goldstein says that the line between violating musical conventions and making "truly popular music" caused those who did not have "strong enough egos" (in contrast to Bob Dylan and the Beatles) to be "doomed to a respectful rejection, and a few albums with disappointing sales usually meant silence. ... They yearned for fame, as only needy people can, but they also wanted to make art, and when both of those impulses couldn't be achieved they recoiled in a ball of frantic confusion."

Author Matthew Bannister traces "the more self-conscious, camp aesthetic of art rock" to pop artist Andy Warhol and the Velvet Underground, who emulated Warhol's art/pop synthesis. Accordingly: "Warhol took Spector's combination of the disembodiment, 'distance' and refinement of high culture with the 'immediacy' of mass cultural forms like rock and roll several stages further ... But Warhol's aesthetic was more thoroughly worked out than Spector's, which represented a transitional phase between old-fashioned auteurism and the thoroughly postmodern, detached tenets of pop art. ... Warhol's approach reverberates throughout art rock, most obviously in his stance of distance and disengagement." In 1969, the Doors also explored art rock genre on their fourth album, The Soft Parade.

1965–66
The December 1965 release of the Beatles' Rubber Soul signified a watershed for the pop album, transforming it in scope from a collection of singles with lesser-quality tracks to a distinct art form, filled with high-quality original compositions. The album garnered recognition for the Beatles as artists from the American mainstream press, anticipating rock music's cultural legitimisation as an art form. Writing in 1968, Gene Sculatti of Jazz & Pop recognised Rubber Soul as "the definitive 'rock as art' album" and "the necessary prototype" that major artists such as the Rolling Stones (with Aftermath) and the Beach Boys had felt compelled to follow.

The period when rock music became most closely aligned with art began in 1966 and continued until the mid 1970s. Academic Michael Johnson associates "the first documented moments of ascension in rock music" to the Beach Boys' Pet Sounds and the Beatles' Sgt. Pepper's Lonely Hearts Club Band (1967). Released in May 1966, Pet Sounds came from Wilson's desire to make a "complete statement", as he believed the Beatles had previously done with Rubber Soul. In 1978, biographer David Leaf wrote that the album heralded art rock, while according to The New York Observer, "Pet Sounds proved that a pop group could make an album-length piece comparable with the greatest long-form works of Bernstein, Copland, Ives, and Rodgers and Hammerstein." Pet Sounds is also noted as the first rock concept album. In 1971, Cue magazine described the Beach Boys as having been "among the vanguard" with regard to art rock, among many other aspects relating to the counterculture, over the period up to late 1967.

Jacqueline Edmondson's 2013 encyclopaedia Music in American Life states that, although it was preceded by earlier examples, Frank Zappa and the Mothers of Invention's debut album Freak Out! (June 1966) came to be seen as "the first successful incorporation of art music in a pop context". With Los Angeles as his base since the early 1960s, Zappa was able to work in an environment where student radicalism was closely aligned with an active avant-garde scene, a setting that placed the city ahead of other countercultural centres at the time and would continue to inform his music. Writer and pianist Michael Campbell comments that the album "contains a long noncategorical list of Zappa's influences, from classical avant-garde composers to obscure folk musicians".

The Beatles' Revolver (August 1966) furthered the album-as-art perspective and continued pop music's evolution. Led by the art-rock single "Eleanor Rigby", it expanded the genre's scope in terms of the range of musical styles, which included Indian, avant-garde and classical, and the lyrical content of the album, and also in its departure from previous notions of melody and structure in pop songwriting. According to Rolling Stone, "Revolver signaled that in popular music, anything – any theme, any musical idea – could now be realized." As with Rubber Soul, the album inspired many of the progressive rock artists of the 1970s, and each of its songs has been recognised as anticipating a new subgenre or style.

1967
Clash Music names the Velvet Underground's debut March 1967 album The Velvet Underground & Nico "the original art-rock record". Bannister writes of the Velvet Underground: "no other band exerted the same grip on the minds of 1970s/1980s art/alternative rock artists, writers and audiences." Their influence would recur from the 1970s onwards to various worldwide indie scenes, and in 2006, The Velvet Underground & Nico was inducted into the Library of Congress' National Recording Registry, who commented: "For decades [it] has cast a huge shadow over nearly every sub-variety of avant-garde rock, from 70s art-rock to no-wave, new-wave, and punk." However, when the Velvet Underground first appeared in the mid 1960s, they faced rejection and were commonly dismissed as a "fag" band. In 1982, musician Brian Eno famously stated that while The Velvet Underground & Nico initially sold just 30,000 copies, "everyone who bought one of those 30,000 copies started a band."

The Beatles' Paul McCartney deemed Pet Sounds "the record of the time", and in June 1967, the band responded with their own album: Sgt. Pepper's, which was also influenced by Freak Out! AllMusic states that the first wave of art rock musicians were inspired by Sgt. Pepper's and believed that for rock music to grow artistically, they should incorporate elements of European and classical music to the genre. Many British groups flowered in the album's wake; those who are listed in Music in American Life include the Moody Blues, the Strawbs, Genesis, and "most notably", Pink Floyd. The band's Roger Waters later stated that both Sgt. Pepper and Pet Sounds "completely changed everything about records" for him.

1970s–1990s
Art rock's greatest level of popularity was in the early 1970s through British artists including King Crimson and Queen.

Early in the decade, Pink Floyd released Atom Heart Mother, with the 23-minute title track taking up the entire first side of the LP. This experiment with collaborator Ron Geesin yielded the longest unbroken Pink Floyd song on record, a suite divided into six parts, which required the band at times to utilise a choir and brass section on tour. The album was a commercial success, giving the band to its first number one record in the UK. It signalled a shift in their music from the psychedelic forays of their late '60s albums and into a period of renewed creativity in the form of longer and more progressive rock music.

Enthusiasm for art rock explorations waned in the mid 1970s. From then to the 1990s, art rock was infused within various popular music genres. Encyclopædia Britannica states that its genre's tendencies were continued by some British and American hard rock and pop rock artists, and that Brian Eno's late 1970s and early 1980s collaborations with David Bowie and Talking Heads are exemplary of "the successful infusion of art rock tendencies into other popular music genres". Bowie and Eno collaborated on a series of consecutive albums called the "Berlin Trilogy", characterised as an "art rock trifecta" by Consequence of Sound, who noted that at the time of their release, "The experimental records weren't connecting with audiences on the scale Bowie was used to. ... New Wave had exploded, and a generation of Bowie descendants had taken the stage."

In the 1980s, a new generation of English art rockers took the place of 1970s bands such as Roxy Music, Yes, Genesis, Jethro Tull and Emerson, Lake & Palmer. Journalist Roy Trakin says: "Of course, these stalwarts can still fill Madison Square Garden and sell a great many records, as they always have, but their days of adventurous risk-taking and musical innovation are long gone – replaced by the smug satisfaction of commercial success."

title: Art rock


text:
Talk:Tram

"sometimes simply strung, sometimes on a catenary.[2"
This line seems wrong. A catenary is the shape in which a uniform chain or flexible wire hangs between points of support. So a "simply strung" copper wire at rest will closely approximate a catenary, unless the wire or wires are very thick and stiff. Of course it will be distorted by contact with the trolley and by wind. — Preceding unsigned comment added by David R. Ingham (talk • contribs) 00:55, 23 August 2011 (UTC)

 * Technically, you are correct. But in tramway overhead consisting of a single wire (the trolley/contact wire), the mass per unit length and the tension in the wire are such that it does not really appear to have any significant drop between supports. When the trolley/contact wire is supported from another wire (sometimes on tramways but almost always on railways), that upper wire does have the form of a visible catenary. In that case, the word "catenary" is applied to the supporting wire, and the whole arrangement is referred to as "catenary overhead" or, sometimes, just "catenary". — Preceding unsigned comment added by Shrdlu junction (talk • contribs) 00:16, 4 October 2016 (UTC)

Article Division?
This article is waaay too long. Perhaps we could consider moving sections to new articles (which I've done for the "Design" section) and providing a summary in their place, or removing information that is already present in existing articles. There are two things we could do: Jh15s (talk) 08:09, 18 May 2020 (UTC)
 * The history section should be checked to see if it shares the same information as the History of Trams article, and vice versa. If there are differences in the two articles, the differences should be merged into the History of Trams article and a summary left instead in the "History" section of the main Trams article (this one).
 * The lists of trams systems and statistics should similarly be checked for differences and be merged with their respective main articles. Similarly a summary should also be provided.

Main photo
The quaint picture of a Tatra T3 - doesn't really showcase the current state of trams/streetcars in 2020 - most of which are now low floor, contemporary vehicles. Any suggestions on a main photo replacement? Turini2 (talk) 13:39, 11 June 2020 (UTC)

Melbourne Trams
The article states that the Melbourne tram system is "generally recognised as one of the largest in the world". This is not true, it is generally recognised as THE largest system in the world. — Preceding unsigned comment added by 121.45.209.198 (talk) 13:24, 21 July 2020 (UTC)

Trams and light rail
There is the list headed "Other large transit networks that operate streetcar and light rail systems include". At least for some of them, I wonder what the "light rail systems" included are. This is true for example for Leipzig, which has classic tramways and railway trains, and nothing else. Perhaps the S-Bahn is included here, but that is definitely heavy rail (legally, an S-Bahn train is a railway train like any other in Germany). Plus if S-Bahn is included, cities like Berlin should show up as well. The list contains Riga, but in Riga there are trams and railways (and trolleybuses, but these can't count as "light rail", since they have no rails). The railways, being broad gauge, are actually pretty heavy, nobody would describe them as "light rail". The same is true for Iasi (not broad gauge, but still nothing resembling light rail in Iasi). So many inclusions in this list seem dubious.91.125.192.100 (talk) 21:36, 11 August 2021 (UTC)

title: Talk:Tram