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INXS

INXS (a phonetic play on "in excess") were an Australian rock band, formed as the Farriss Brothers in 1977 in Sydney. The founding members were bassist Garry Gary Beers, main composer and keyboardist Andrew Farriss, drummer Jon Farriss, guitarist Tim Farriss, lead singer and main lyricist Michael Hutchence, and guitarist and saxophonist Kirk Pengilly. For 20 years, INXS was fronted by Hutchence, whose magnetic stage presence made him the focal point of the band. Initially known for their new wave/pop style, the band later developed a harder pub rock style that included funk and dance elements.

In 1984, INXS had their first number-one hit in Australia with "Original Sin". The band achieved international success in the mid-to-late 1980s and early 1990s with the hit albums Listen Like Thieves, Kick, and X, and the singles "What You Need", "Need You Tonight" (the band's only US number-one single), "Devil Inside", "Never Tear Us Apart", "Suicide Blonde" and "New Sensation".

After Hutchence's death on 22 November 1997, INXS made appearances with several guest singers, and toured and recorded with Jon Stevens as lead singer, beginning in 2000. In 2005, members of INXS participated in Rock Star: INXS, a reality television series that culminated in the selection of Canadian J.D. Fortune as their new lead singer. Irish singer-songwriter Ciaran Gribbin replaced Fortune as lead singer in 2011. During a concert on 11 November 2012, INXS stated that the performance would be their last, although they did not announce the band's permanent retirement.

INXS has won six Australian Recording Industry Association (ARIA) awards, including three for "Best Group" in 1987, 1989 and 1992; the band was inducted into the ARIA Hall of Fame in 2001. INXS has sold over 50 million albums worldwide, making them one of Australia's highest selling music acts of all time.

Early years
The origins of the band began with Andrew Farriss convincing his fellow Davidson High School classmate, Michael Hutchence, to join his band, Doctor Dolphin. The band contained two further classmates, Kent Kerny and Neil Sanders, as well as Garry Beers and Geoff Kennely, both from a nearby high school, Forest High School. In 1977, Tim Farriss, Andrew's older brother, invited Andrew, Hutchence and Beers to join him and his schoolmate Kirk Pengilly. Tim and Pengilly had been playing together since 1971 as either an acoustic duo, Kirk and Tim, or as a four-piece band called Guinness (named after their bass player's dog). Together with younger brother Jon Farriss they formed "The Farriss Brothers", who consisted of Garry Beers on bass guitar, Andrew Farriss on keyboards, Jon Farriss on drums, Tim Farriss on lead guitar, Michael Hutchence on lead vocals and Kirk Pengilly on guitar and saxophone. The band made their debut on 16 August 1977 at Whale Beach, 40 km (25 mi) north of Sydney.

The parents of the Farriss boys relocated to Perth, Western Australia in 1978, taking Jon to continue his schooling and as soon as Hutchence and Andrew finished school, the rest of the band followed. They briefly performed as The Vegetables, singing "We Are the Vegetables", before returning to Sydney ten months later, where they recorded a set of demos. At a chance meeting in the car park of the Royal Antler, a pub in Narrabeen on the Northern Beaches of Sydney, New South Wales, Tim was approached by Gary Morris who was the manager of Midnight Oil.

The band began to regularly support Midnight Oil and other local bands. Morris advised that a member of the Oils crew had come up with a new name and suggested they change it to INXS. The name INXS was inspired by English band XTC and Australian jam makers IXL. Pengilly later explained that Morris was interested in turning the group into a Christian band, which the band briefly considered before rejecting the idea.

The band's first performance as INXS was on 1 September 1979 at the Ocean Beach Hotel in Umina on the Central Coast of New South Wales and by the end of 1979, after passing on the Christian band image, they hired Chris "CM" Murphy as their manager and continued taking on the Oz pub circuit. Murphy was an adept business manager and negotiator and by early 1980 the band had signed a five-album record deal with a Sydney independent label, Deluxe Records, run by Michael Browning, a former manager of AC/DC.

From "Simple Simon" to Shabooh Shoobah
INXS released their first single, "Simple Simon"/"We Are the Vegetables", in Australia and France in May 1980. The single had its debut TV performance on Simon Townsend's Wonder World. Their self-titled debut album, INXS, was recorded at Trafalgar Studios in Annandale, Sydney. It was co-produced by the band and Duncan McGuire (ex-Ayers Rock), with all songs attributed to the entire band, at the insistence of Murphy. Deluxe gave them a budget of $10,000 to record the album, so to keep within the budget they had to record from midnight to dawn, usually after doing one or more performances earlier that night. The album was released in October 1980. It featured "Just Keep Walking" which was their first Australian Top 40 single, with the album peaking in the Top 30 of the Kent Music Report for Australian albums. The album eventually went gold (selling over 35,000 units) but it took a number of years to do so.

These early records demonstrated their new wave/ska/pop style, and were followed by near constant touring with almost 300 shows during 1981 as the band developed their status as a live act. In 1981, they signed Gary Grant as their tour manager, who then became co-manager a year later. Between touring commitments, the band released their third single in May 1981, "The Loved One", which was a cover of a 1966 song by Australian group The Loved Ones. The song was recorded at Studios 301 in Sydney; it was produced by Richard Clapton and peaked in the Top 20.

The success of the single led to Clapton and the band returning to Studios 301 between July and August 1981 to create an album. In October 1981, their second album Underneath the Colours was released and became a hit in Australia peaking at No. 15.

Soon after recording sessions had finished, band members started work on outside projects. Beers, Jon and Andrew Farriss played on Clapton's solo album, The Great Escape. Hutchence recorded "Speed Kills", written by Don Walker of Cold Chisel for the soundtrack of the film Freedom directed by Scott Hicks. It was his first solo single and was released by WEA in early 1982. In January, INXS toured New Zealand as support act for Cold Chisel. Murphy eventually became convinced their future no longer lay with Deluxe Records.

RCA (who distributed Deluxe) had employed music lover Rockin Rod Woods, who had been promoting Eric Clapton, Split Enz and some of the world's biggest acts. Woods was passionate about the band and brought key music people along to their gigs. He encouraged RCA to sign them worldwide because Murphy had played him some demos. Deluxe had been unable to attract international interest so the band decided to record a new song, "The One Thing" at their own expense, with Mark Opitz at Paradise Studios. The song turned out so well that Murphy hired Opitz to produce three more songs. Murphy approached WEA Australia with copies of the song, leading to INXS signing a recording deal in July 1982 with WEA for releases in Australia, South East Asia, Japan, New Zealand, Atco Records (a subsidiary of Atlantic Records) for North America, and PolyGram for Europe including the UK.

Murphy and the band were not entirely convinced that Opitz could produce an entire album that would attract international interest, so before recording their third album Pengilly, Hutchence, and Andrew Farriss visited the United Kingdom and USA, with a view to selecting a suitable producer, only to find that no one they wanted was available and that most people advised them that Opitz's work on their single was as good as they could wish for.

To complete the band's contract with DeLuxe Records, INXS produced their first compilation album, INXSIVE, released in early 1982 for the Australian market only, featuring highlights from the band's first two studio albums, related B-sides, and two non-album singles.

In mid-1982 they began recording at Rhinoceros Studios with Opitz. In October 1982, Shabooh Shoobah was released internationally on Atlantic/Atco Records, peaking at No. 52 on the US Billboard 200 and No. 46 on the Hot Pop Albums chart. In Australia it peaked at No. 5 and remained in the albums charts for 94 weeks. The single "The One Thing" brought them their first Top 30 hit in United States peaking at No. 30 on 28 May 1983, It was also a Top 20 hit in Canada, and peaked at No. 14 in Australia on 23 August 1982. "One Thing" was their first video to air on the fledgling MTV and significantly added to the ultimate success of the single. 13 February 1983, saw INXS play the Stop The Drop nuclear disarmament concert to 14,000 at the Myer Music Bowl in Melbourne, alongside Midnight Oil, Colin Hay, Redgum and Goanna. It was simulcast on Australian TV by Channel 10 and Radio 2MMM.

INXS undertook their first US performance in San Diego in March 1983, to a crowd of 24 patrons. Their first tour was as support for Adam and the Ants, then support for Stray Cats, The Kinks, and Hall & Oates followed by The Go-Go's. INXS played alongside many of their contemporaries on New Wave Day in May 1983 at the US Festival in Devore, San Bernardino, California. During that time, their co-manager Gary Grant relocated permanently to New York City to ensure a continual presence in the northern hemisphere. The band remained on the road in the US for most of the year, including support for Men at Work and by mid-1983 were headlining venues such as The Ritz in New York.

From "Original Sin" to Listen Like Thieves
After a performance in Toronto the band was approached by producer Nile Rodgers; by September 1983, the band had recorded "Original Sin" (originally entitled "Brand New Day") at New York's Power Station Studios. Three tracks from Shabooh Shoobah were featured in the soundtrack for the 1984 film Reckless. The band then travelled to the UK to begin sessions on their fourth album with Nick Launay at the Manor Studios in Oxford.

The album The Swing, released in April 1984, received significant attention from around the world, as "Original Sin" became the band's first No. 1 single in Australia and was popular worldwide with fans and reviewers. During 1984, the single reached no. 1 in Australia (for two weeks in January), Argentina, and France; No. 6 in New Zealand; No. 11 in Canada; No. 23 in Switzerland; No. 31 in the Netherlands; and No. 58 in the U.S. However, "Original Sin" was largely ignored in the U.K., and INXS would not have any Top 50 chart success in the United Kingdom until the 1985 album Listen Like Thieves.

During 1984, INXS toured non-stop, performing across Europe, the UK, the US and Australia. By December 1984, The Swing had gone double platinum, making it one of the five biggest domestic albums in the history of Australian music at the time.

In March 1985, the band returned to Sydney's Rhinoceros Studios and recorded the Listen Like Thieves album along with producer Chris Thomas (Sex Pistols, Pink Floyd, The Pretenders, Elton John). As the band was finishing the recording sessions, Thomas stated that the album was not good enough and still had no "killer" track. Andrew produced a demo tape of a funk song he had been working on called "Funk Song No. 13" and evolved it into "What You Need".

While the band was recording, WEA released Dekadance, a limited edition 12" Vinyl and cassette only EP of INXS remixes from their albums The Swing and Shabooh Shoobah.

On 19 May 1985, INXS won seven awards at the 1984 Countdown Music and Video Awards ceremony. They performed "Burn for You", dressed in Akubras (hats) and Drizabones (outdoor coats/oilskin jackets). The band performed five songs for the July 1985 Oz for Africa concert, in conjunction with the Live Aid benefit. Two INXS songs, "What You Need" and "Don't Change", were also in the BBC broadcast and are contained on Live Aid's four DVD boxed set released in 2004.

Listen Like Thieves was released in October 1985 to critical approval, reaching No. 3 on the Australian charts and No. 11 on the US charts. With the release of Listen Like Thieves, the band developed a rock sound influenced by Led Zeppelin and XTC while remaining true to the band's original roots in Aussie pubs. It was also the first album to feature songs written by a combination of band members, with Andrew Farris and Hutchence becoming the primary songwriters in the years to follow. The first U.S. single from the album, "This Time", stalled at No. 81 in late 1985, but the next single, "What You Need"—released there in early 1986—became a top five Billboard hit, bringing INXS its first break-out US success. The single was also a top 20 hit in Canada and reached No. 2 in Australia (September 1985), but only reached No. 51 on the UK charts. The British press dismissed the album, with New Musical Express calling the band 'INX-cusable' and a reviewer declaring Listen Like Thieves to be a 'complete and utter turkey'. In the United States, however, Rolling Stone wrote, "INXS rocks with passion and seals the deal with a backbeat that'll blackmail your feet."

In August 1985, INXS toured ahead of the release of Listen Like Thieves, touring South America before returning to Melbourne to play for Prince Charles and Princess Diana of Wales at a concert. The concert was filmed and later released on a home video entitled Living INXS; an edited version of the concert was played on MTV in the U.S. in 1985 on its Saturday night concert series. INXS toured North America, Europe, and New Zealand from November 1985 to February 1986. Next the band took a two-month break, with Andrew Farriss writing and producing "You're Gonna Get Hurt" for Jenny Morris (who had previously been a backing vocalist with the band), and Hutchence featuring in Richard Lowenstein's second feature film Dogs in Space. Lowenstein had previously made the video clip for "Dancing on the Jetty". While a song from the movie, "Rooms for the Memory", written by Ollie Olsen, with vocals by Hutchence charted, the movie was received well by critics but was not a commercial success. Beginning in May 1986, the band performed 32 European shows (including support for Queen at their Live at Wembley '86 concert on 12 July), 42 U.S. shows, and 12 Australian shows. America's influential Musician magazine called INXS "the best live band in the world."

From "Good Times" to Kick
While on an eight-month break before beginning work on a new album, Murphy, their manager, decided to stage a series of major outdoor concerts across Australia, featuring INXS, Jimmy Barnes, Models, Divinyls, Mental as Anything, The Triffids and I'm Talking. To promote the tour, INXS recorded two songs with Jimmy Barnes of Cold Chisel: The Easybeats cover "Good Times" and "Laying Down the Law" which Barnes co-wrote with Beers, Andrew Farriss, Jon Farriss, Hutchence and Pengilly. "Good Times" was used as the theme song for the Australian Made series of concerts in the summer of 1986–1987. It peaked at No. 2 on the Australian charts, and months later was featured in the Joel Schumacher film The Lost Boys and its soundtrack, allowing it to peak at No. 47 in the US on 1 August 1987. After the success of "What You Need" and Listen Like Thieves, the band knew their new material would have to be even better and wanted every song on the album to be good enough to be a single. They recorded Kick in Sydney and Paris, produced by Chris Thomas. According to the 2005 official autobiography, Atlantic Records was not happy with the result; the label offered the band $1 million to go back to Australia and record another album, but the band declined.

Despite Atlantic's protests, Kick was released in October 1987 and provided the band with worldwide popularity. The album peaked at No. 1 in Australia, No. 3 on the US Billboard 200, No. 9 in UK, and No. 15 in Austria. It was an upbeat, confident album that yielded four Top 10 US singles: No. 1 single "Need You Tonight", "Devil Inside", "New Sensation", and "Never Tear Us Apart". "Need You Tonight" peaked No. 2 on the UK charts, No. 3 in Australia, and No. 10 in France. The band toured heavily behind the album throughout 1987 and 1988. The video for the 1987 INXS track "Mediate" (which played after the video for "Need You Tonight") replicated the format of Bob Dylan's video for "Subterranean Homesick Blues", even in its use of apparently deliberate errors. In September 1988, the band swept the MTV Video Music Awards with the video for "Need You Tonight/Mediate" winning in 5 categories. Kick was, by far, INXS's best-selling album of all time.

During 1989, Hutchence collaborated with Ian "Ollie" Olsen on a side project, Max Q, the two had previously worked together on Lowenstein's film Dogs in Space. The rest of the band also took a break to work on side projects, but soon returned to the studio to record their follow-up album to Kick.

1990–1997: From X to Elegantly Wasted
In October 1990, INXS released X which was produced by Chris Thomas. The album peaked at No. 3 in Australia, No. 5 in the US, No. 2 in the UK, No. 5 in Switzerland and No. 10 in Sweden. It followed in the same vein as Kick, and added harmonica to some songs. X scored hits with "Suicide Blonde" and "Disappear" (both Top 10 in the US). "Suicide Blonde" peaked at No. 2 in Australia, No. 11 in the UK and in Switzerland. Other singles from X were "Bitter Tears" and "By My Side", which had less chart success.

INXS performed at Wembley Stadium on 13 July 1991, during their "Summer XS" tour stop in London to a sold-out audience of 74,000 fans. This performance was recorded and filmed to become Live Baby Live, a live album that was released in November 1991 and peaked in the Top 30 in the Australia and UK album charts. The album had less success on The Billboard 200. A video version of the album was also released under the same title. This concert was the band's most well-attended show of all time; according to a 2017 article by Paul Donoughue of ABC.net.au, it "solidified [INXS's] place in pop history".

On 28 March 1992, INXS performed at the controversial Concert for Life at Centennial Park in Sydney (a fundraiser for the Victor Chang Cardiac Research Centre), and other performers included Crowded House, Yothu Yindi, Jenny Morris, Diesel, Ratcat, and Def FX. Due to inclement weather, the expected attendance of 100,000 never came through, and the event only raised $500,000.

Welcome to Wherever You Are, produced by Mark Opitz and released in August 1992, was an experimental album using sitars and a 60-piece orchestra while adding a more "raw" sound. It received good critical reviews reaching No. 1 in the UK and in Sweden; No. 2 in Australia and Switzerland, and No. 3 in Norway, but had less chart success in the US (peaking at No. 16). Singles from the album included "Taste It" and "Baby Don't Cry", which were Top 20 successes in UK but had less success in US and Australian markets.

Full Moon, Dirty Hearts, produced by Opitz, was released in November 1993 and peaked at No. 3 on the UK charts, No. 4 in Australia, No. 8 in Sweden, No. 9 in Switzerland, No. 14 in Norway; it did not reach the Top 50 in the US. The title track featured The Pretenders' Chrissie Hynde, and another track--"Please (You Got That)"—featured Ray Charles. The band made a full video album for the record using unknown Australian students to direct with help from Richard Lowenstein. Full Moon, Dirty Hearts received mixed reviews, and was the last record under INXS' contract with Atlantic in the States. The band took time off to rest and be with their families, while Hutchence remained in the public eye through modelling and film acting.

In 1997, the group released a comeback album titled Elegantly Wasted, which garnered mixed reviews. It fared respectably in Australia (No. 14), Canada (No. 14), France (No. 30), UK (No. 16) (where INXS had more success in the 1990s than in the 1980s), Belgium (No. 7), Switzerland (No. 13), but only No. 41 in US.

On 22 November 1997, Michael Hutchence was found dead in his Sydney Ritz-Carlton hotel room. On 6 February 1998, New South Wales State Coroner Derrick Hand presented his report, which ruled that Hutchence's death was a suicide while depressed and under the influence of drugs and alcohol. Despite the official coroner's report, there was continued speculation that Hutchence's death was accidental.

1997–2003: Transitional years
After Hutchence's death, INXS did not perform publicly for almost a year, and then only made a few one-off performances with different guest singers until 2000. On 14 November 1998, they played at the Mushroom 25 Concert with Jimmy Barnes fronting for two songs: "The Loved One" and "Good Times". On 12 June 1999, they headlined the opening of Stadium Australia in Sydney, with US singer-songwriter Terence Trent D'Arby and Russell Hitchcock as guest vocalists, they performed "New Sensation", "Kick", "Never Tear Us Apart" and "What You Need".

In December 2000, INXS performed a concert with singers Suze DeMarchi and Jon Stevens sharing the spotlight. DeMarchi was reportedly offered the role of permanent singer in the band. The former lead singer of Australian band Noiseworks, Jon Stevens began singing with INXS on a regular basis. INXS played as one of the headline acts at the Sydney 2000 Olympics and then toured through South America and Europe. Stevens was officially named a member of INXS in 2002, and the band started recording new material in November. He left the band in October 2003 to pursue a solo career, and only recorded a contractual obligation song called "I Get Up."

2004–2005: Rock Star: INXS
INXS returned to the news in 2004 when it was announced that a new reality television program titled Rock Star: INXS would feature a contest to find a new lead vocalist for the band. The show, which debuted on the CBS network on 11 July 2005, featured 15 contestants vying for the position of lead singer. The show was executive produced by Survivor's Mark Burnett and hosted by Brooke Burke and Jane's Addiction and former Red Hot Chili Peppers guitarist Dave Navarro.

On 20 September 2005, J.D. Fortune won the eleven-week competition, which culminated in his singing the Rolling Stones's "You Can't Always Get What You Want" and INXS' "What You Need" in the finale to become the new lead singer of INXS.

2005–2011: J.D. Fortune era
With Fortune as lead singer, INXS released the single "Pretty Vegas" on 4 October 2005. The single reached No. 5 on the iTunes Store ranking of daily most downloaded songs on its first day. It peaked at No. 9 in Australia and No. 37 on the Billboard Hot 100, and became a huge radio airplay hit in Fortune's native Canada. On 29 November 2005, Switch—the band's first album with Fortune as lead singer—was released in the United States via Epic Records. The band's new line-up started a world tour in support of Switch in January 2006. In September 2006, INXS and Epic Records parted ways. The band then performed at the 2006 NRL Grand Final.

INXS toured Australia and New Zealand in March 2007, with Simple Minds and support band Arrested Development. After the cancellation of a 31 August 2007 show in Cleveland, Ohio, INXS placed a statement on their website saying "Due to ongoing medical issues with Garry Beers' hand, the band's doctor has urged the band to not play more than three shows in a row or risk permanent damage to Garry's hand."

The band signed with Petrol Electric Records in December 2008, reuniting them with former manager Chris Murphy. On 16 February 2009, J.D. Fortune told Entertainment Tonight Canada that INXS had let him go from the band with a shake of the hand at an airport in Hong Kong. On 23 February 2009, Chris Murphy, INXS creative director and global business strategist and former manager, in an interview with The Daily Telegraph, said J.D. was not sacked and, in fact, "the band made it known to him that they had not ruled out seeing a return by Fortune." He also stated J.D. was next on his list to call regarding a major recording contract he was negotiating for the band. In an interview with Sun Media published on 6 March 2009, J.D. Fortune clarified his claim that he had been fired at an airport. After returning to Canada from Hong Kong, Fortune believed there were still two more legs of the INXS 2007 tour to complete. When the rest of the tour was cancelled and the band did not return his calls for 10 months, he believed he was out of the band.

On 30 November 2009, Andrew Farriss, Jon Farriss, and Kirk Pengilly performed an acoustic version of "Don't Change" with the Qantas Choir at the Pride of Australia Awards. On 8 December 2009, INXS announced they would be embarking on a world tour commencing with a performance in Vancouver for the 2010 Olympic Winter Games. The band announced on 11 February 2010 that J.D. Fortune would be vocalist for the performance at the 2010 Winter Olympics, but that it would be a one-off performance; they added that a vocalist for the upcoming world tour had yet to be announced. The band performed at the Vancouver 2010 Winter Olympics on 24 February 2010 with guest singers J.D. Fortune and Argentine singer Deborah de Corral. On 22 April 2010, INXS announced that Fortune would again front the band for a performance on 10 July 2010 at Townsville, Queensland and also on 16 July 2010 in Broome, Western Australia. During a radio interview with Kirk Pengilly and J.D. Fortune in July 2010 just before the Broome concert, Pengilly confirmed that Fortune had returned as the band's permanent singer. In August 2010, Petrol Records issued Australian radio stations with a one-track promo "Never Tear Us Apart" featuring Ben Harper on vocals, a preview from the upcoming INXS Michael Hutchence tribute album Original Sin. On 25 September 2010, the band performed before the 2010 AFL Grand Final. On 19 October 2010, it was announced in the Courier Mail that INXS, fronted by J.D. Fortune, would tour as part of the A Day on the Green winery concerts in February."

The band recorded an album in memory of Michael Hutchence titled Original Sin. Released in November 2010, the album featured well-known singers from Australia and around the world, including Ben Harper, Patrick Monahan, and Rob Thomas.

In March 2011, INXS confirmed they would return to the UK and headlining with support from New Zealand band Shihad for an outdoor event called Southern Sounds on Clapham Common, London on Saturday 11 June. The event was an all-Australian, New Zealand and South African celebration lineup, with INXS fronted by J.D. Fortune. INXS toured extensively throughout 2011 with singer J.D. Fortune to support the album Original Sin.

2011–2019: Later activities
The band released a demo of a song, called "Tiny Summer" in streaming format on their official website in September 2011; they also announced that J.D. Fortune had again left the band and Northern Irish singer-songwriter Ciaran Gribbin was the band's frontman for their forthcoming tour of Australia, South America, and Europe in November and December 2011. On 6 October 2012, INXS were the headline act at the annual charity ball organised by the Hong Kong Foreign Correspondent's Club.

During a concert on 11 November 2012 at the newly opened Perth Arena, while supporting Matchbox Twenty, INXS announced that they would no longer be touring. Kirk Pengilly stated that it was appropriate to finish where they had started 35 years earlier. Jon Farriss admitted that he was "getting teary" before the band performed their biggest hit, "Need You Tonight". In 2014, INXS released a tell-all history of the band on an Australian television interview special, The Story Behind INXS. During the interview, Jon Farriss made the statement, "Never say never" regarding the possibility that the band could record and perform more music in the future.

In 2013, Australian TV network Seven Network announced that it would produce a miniseries focusing on the band's behind-the-scenes stories called INXS: Never Tear Us Apart. Band member Tim Farriss was a pre-production consultant on the show. The miniseries commenced production at the end of June 2013 and premiered on 9 February 2014; the finale aired the following Sunday night (16 February 2014). The miniseries rated very highly for both nights and created a renewed interest in the band, which translated to a resurgence in sales of their music that brought them once again to the number one position on the Australian popular music charts. Luke Arnold was cast as Michael Hutchence, Alex Williams as Kirk Pengilly, Nicholas Masters as Tim Farriss, Hugh Sheridan as bass guitarist Gary Beers, Ido Drent as Jon Farriss and Andy Ryan as Andrew Farriss. In addition, Damon Herriman played band manager CM Murphy and Samantha Jade played Kylie Minogue. Given the popularity of this TV miniseries, there was talk of a Broadway musical and a feature film about INXS in the future.

In 2019, a documentary film was released about Michael Hutchence titled Mystify. A soundtrack was also released featuring INXS tracks.

Band members
Founding members Other members Touring members
 * Tim Farriss – lead guitar (1977–2012)
 * Kirk Pengilly – rhythm and lead guitar, saxophones, backing vocals (1977–2012)
 * Garry Gary Beers – bass, backing vocals (1977–2012)
 * Andrew Farriss – keyboards, rhythm guitar, harmonica, percussion, backing vocals (1977–2012)
 * Jon Farriss – drums, percussion, backing vocals (1977–2012)
 * Michael Hutchence – lead and backing vocals (1977–1997; his death)
 * Jon Stevens – lead vocals (2000–2003)
 * J.D. Fortune – lead vocals (2005–2011)
 * Ciaran Gribbin – lead vocals, rhythm and lead guitar (2011–2012)
 * Jenny Morris – backing vocals (1985–1986)
 * Jimmy Barnes – lead vocals (1998)
 * Terence Trent D'Arby – lead vocals (1999)
 * Russell Hitchcock – lead vocals (1999)
 * Suze DeMarchi – lead vocals (2000)

Discography

 * INXS (1980)
 * Underneath the Colours (1981)
 * Shabooh Shoobah (1982)
 * The Swing (1984)
 * Listen Like Thieves (1985)
 * Kick (1987)
 * X (1990)
 * Welcome to Wherever You Are (1992)
 * Full Moon, Dirty Hearts (1993)
 * Elegantly Wasted (1997)
 * Switch (2005)
 * Original Sin (2010)

Legacy
INXS has been cited as an influence by several acts, such as the 1975, Maroon 5 and Savage Garden.

Recognition, awards, and nominations
According to the Recording Industry Association of America (RIAA), INXS has sold over 15 million units in the United States alone, making them the third-highest selling Australian music act in the United States behind AC/DC and The Bee Gees. INXS has sold over 50 million records worldwide.

INXS has been nominated for numerous music awards, including ARIA Awards, Grammy Awards, and MTV Video Music Awards.

APRA Music Awards
!Ref.
 * 1988
 * "What You Need"
 * rowspan=4|Gold Award
 * Won
 * 1989
 * "Need You Tonight"
 * Won
 * rowspan=2|1990
 * "Devil Inside"
 * Won
 * rowspan=2|
 * "New Sensation"
 * Won
 * 1991
 * "Suicide Blonde"
 * rowspan=2|Most Performed Australian Work Overseas
 * Won
 * 1992
 * "Disappear"
 * Won
 * 2002
 * "Precious Heart" (with Tall Paul)
 * Most Performed Dance Work
 * Nominated
 * 1992
 * "Disappear"
 * Won
 * 2002
 * "Precious Heart" (with Tall Paul)
 * Most Performed Dance Work
 * Nominated
 * 2002
 * "Precious Heart" (with Tall Paul)
 * Most Performed Dance Work
 * Nominated

ARIA Awards
INXS has won seven Australian Recording Industry Association (ARIA) Awards. The band was inducted into the ARIA Hall of Fame in 2001 alongside The Saints. The induction recognised their achievement of a "significant body of recorded work" and that they "had a cultural impact within Australia". INXS has won six other ARIA Awards, including three for 'Best Group' in 1987, 1989 and 1992.

 * rowspan="3"| 1987 ||| "Listen Like Thieves" || Best Group || Won
 * rowspan="2"|"Good Times" (INXS & Jimmy Barnes) || Single of the Year || Nominated
 * Highest Selling Single || Nominated
 * 1988 || INXS || Best Group || Nominated
 * rowspan="4"| 1989 |||INXS || Outstanding Achievement Award || awarded
 * rowspan="3"| "Never Tear Us Apart" || Best Video || Won
 * Best Group || Won
 * Single of the Year|| Nominated
 * rowspan="2"| 1991 ||rowspan="2"|X || Album of the Year || Nominated
 * Best Group || Nominated
 * 1992 ||| Live Baby Live || Best Group || Won
 * rowspan="2"| 1993 ||| "Baby Don't Cry", "Heaven Sent", "Taste It" || Engineer of the Year || Nominated
 * Welcome to Wherever You Are || Best Group || Nominated
 * rowspan="3"| 1994 ||| "The Gift" || Best Video || Won
 * "The Gift" || Highest Selling Single || Nominated
 * | Full Moon, Dirty Hearts || Best Group || Nominated
 * 2001 || INXS || Hall of Fame || inducted
 * 2004 || I'm Only Looking || Best Music DVD || Nominated
 * Best Group || Nominated
 * 1992 ||| Live Baby Live || Best Group || Won
 * rowspan="2"| 1993 ||| "Baby Don't Cry", "Heaven Sent", "Taste It" || Engineer of the Year || Nominated
 * Welcome to Wherever You Are || Best Group || Nominated
 * rowspan="3"| 1994 ||| "The Gift" || Best Video || Won
 * "The Gift" || Highest Selling Single || Nominated
 * | Full Moon, Dirty Hearts || Best Group || Nominated
 * 2001 || INXS || Hall of Fame || inducted
 * 2004 || I'm Only Looking || Best Music DVD || Nominated
 * rowspan="3"| 1994 ||| "The Gift" || Best Video || Won
 * "The Gift" || Highest Selling Single || Nominated
 * | Full Moon, Dirty Hearts || Best Group || Nominated
 * 2001 || INXS || Hall of Fame || inducted
 * 2004 || I'm Only Looking || Best Music DVD || Nominated
 * 2001 || INXS || Hall of Fame || inducted
 * 2004 || I'm Only Looking || Best Music DVD || Nominated
 * 2004 || I'm Only Looking || Best Music DVD || Nominated
 * 2004 || I'm Only Looking || Best Music DVD || Nominated

ASCAP Pop Music Awards
!Ref.
 * 1987
 * "What You Need"
 * rowspan=6|Most Performed Songs
 * Won
 * rowspan=4|1989
 * "Devil Inside"
 * Won
 * rowspan=4|
 * "New Sensation"
 * Won
 * "Never Tear Us Apart"
 * Won
 * "Need You Tonight"
 * Won
 * 1991
 * "Disappear"
 * Won
 * "Need You Tonight"
 * Won
 * 1991
 * "Disappear"
 * Won
 * "Disappear"
 * Won

Countdown Awards
Countdown was an Australian pop music TV series on national broadcaster ABC-TV from 1974 to 1987, it presented music awards from 1979 to 1987, initially in conjunction with magazine TV Week but then independently. The Countdown Music and Video Awards were succeeded by the ARIA Awards. INXS won seven awards at the 1984 awards ceremony, which was broadcast on 25 May 1985. On 20 April 1986 they won three further Countdown awards for 1985. They won further award in the final awards in 1986, from five nominations.

 * 1980 ||| INXS || Johnny O'Keefe New Talent || Nominated
 * rowspan="3" | 1982 ||| Shabooh Shoobah || Best Australian Album || Nominated
 * | "One Thing" || Best Australian Single || Nominated
 * | INXS || Most Popular Group || Nominated
 * rowspan="9" | 1984 ||| "Burn for You" || Best Group Performance in a Video || Won
 * | The Swing || Best Album || Won
 * | INXS || Most Popular Australian Group || Won
 * | Andrew Farriss, Michael Hutchence || Best Songwriter || Won
 * | "Burn for You" || Best Promotional Video || Won
 * "Burn for You" || Best Single || Nominated
 * "I Send a Message" || Best Single || Nominated
 * INXS || Most Outstanding Achievement || Won
 * | Michael Hutchence || Most Popular Male || Won
 * rowspan="3" | 1985 ||"What You Need" || Best Video || Won
 * INXS || Most Popular Australian Group || Won
 * INXS || Most Outstanding Achievement || Won
 * rowspan="5" | 1986 ||"Kiss the Dirt" || Best Group Performance in a Video || Won
 * "Good Times" (with Jimmy Barnes)|| Best Group Performance in a Video || Nominated
 * "Kiss the Dirt"|| Best Video || Nominated
 * "Listen Like Thieves"|| Best Video || Nominated
 * INXS || Most Popular Australian Group || Nominated
 * "I Send a Message" || Best Single || Nominated
 * INXS || Most Outstanding Achievement || Won
 * | Michael Hutchence || Most Popular Male || Won
 * rowspan="3" | 1985 ||"What You Need" || Best Video || Won
 * INXS || Most Popular Australian Group || Won
 * INXS || Most Outstanding Achievement || Won
 * rowspan="5" | 1986 ||"Kiss the Dirt" || Best Group Performance in a Video || Won
 * "Good Times" (with Jimmy Barnes)|| Best Group Performance in a Video || Nominated
 * "Kiss the Dirt"|| Best Video || Nominated
 * "Listen Like Thieves"|| Best Video || Nominated
 * INXS || Most Popular Australian Group || Nominated
 * rowspan="5" | 1986 ||"Kiss the Dirt" || Best Group Performance in a Video || Won
 * "Good Times" (with Jimmy Barnes)|| Best Group Performance in a Video || Nominated
 * "Kiss the Dirt"|| Best Video || Nominated
 * "Listen Like Thieves"|| Best Video || Nominated
 * INXS || Most Popular Australian Group || Nominated
 * "Kiss the Dirt"|| Best Video || Nominated
 * "Listen Like Thieves"|| Best Video || Nominated
 * INXS || Most Popular Australian Group || Nominated
 * INXS || Most Popular Australian Group || Nominated
 * INXS || Most Popular Australian Group || Nominated

Grammy Awards
INXS received three Grammy Award nominations.

 * 1988 || Kick || Best Rock Performance by a Duo or Group with Vocal || Nominated
 * 1990 || "Suicide Blonde" || Best Rock Performance by a Duo or Group with Vocal || Nominated
 * 1994 || "Beautiful Girl" || Best Short Form Music Video || Nominated
 * 1990 || "Suicide Blonde" || Best Rock Performance by a Duo or Group with Vocal || Nominated
 * 1994 || "Beautiful Girl" || Best Short Form Music Video || Nominated
 * 1994 || "Beautiful Girl" || Best Short Form Music Video || Nominated

International Rock Awards
The International Rock Awards (1989–91) was a music award ceremony broadcast on ABC Television, to honour the top musicians in the genre of rock music.

 * 1989
 * Themselves
 * Artist of the Year
 * Nominated
 * Nominated

Mo Awards
The Australian Entertainment Mo Awards (commonly known informally as the Mo Awards), were annual Australian entertainment industry awards. They recognise achievements in live entertainment in Australia from 1975 to 2016. INXS won two awards in that time. (wins only)
 * 1986
 * INXS
 * Rock Group of the Year
 * Won
 * 1988
 * INXS
 * Rock Group of the Year
 * Won
 * Rock Group of the Year
 * Won

MTV Video Music Awards
INXS won five MTV Video Music Awards for their 1988 video "Need You Tonight/Mediate".

 * 1986 ||| "What You Need" || Best Group Video || Nominated
 * rowspan="9"| 1988 ||rowspan="8"|"Need You Tonight/Mediate" || Viewer's Choice || Won
 * Video of the Year || Won
 * Best Group Video || Won
 * Best Concept Video || Nominated
 * Breakthrough Video || Won
 * Best Special Effects in a Video || Nominated
 * Best Art Direction in a Video || Nominated
 * Best Editing in a Video || Won
 * "Devil Inside" || Best Editing in a Video || Nominated
 * 1989 || "New Sensation" || Best Art Direction in a Video || Nominated
 * Breakthrough Video || Won
 * Best Special Effects in a Video || Nominated
 * Best Art Direction in a Video || Nominated
 * Best Editing in a Video || Won
 * "Devil Inside" || Best Editing in a Video || Nominated
 * 1989 || "New Sensation" || Best Art Direction in a Video || Nominated
 * Best Editing in a Video || Won
 * "Devil Inside" || Best Editing in a Video || Nominated
 * 1989 || "New Sensation" || Best Art Direction in a Video || Nominated
 * 1989 || "New Sensation" || Best Art Direction in a Video || Nominated
 * 1989 || "New Sensation" || Best Art Direction in a Video || Nominated

Pollstar Concert Industry Awards
The Pollstar Concert Industry Awards is an annual award ceremony to honour artists and professionals in the concert industry.

 * rowspan="2" | 1986
 * Themselves
 * Next Major Arena Headliner
 * Nominated
 * rowspan="2" | Tour
 * Small Hall/Club of the Year
 * Nominated
 * 1989
 * Most Creative Stage Production
 * Nominated
 * 1989
 * Most Creative Stage Production
 * Nominated

Brit Awards

 * 1989 || INXS || Best International Group || Nominated
 * rowspan="2"| 1991 ||| INXS || Best International Group || Won
 * | Michael Hutchence || Best International Male || Won
 * 1992 || INXS || Best International Group || Nominated
 * | Michael Hutchence || Best International Male || Won
 * 1992 || INXS || Best International Group || Nominated
 * 1992 || INXS || Best International Group || Nominated
 * 1992 || INXS || Best International Group || Nominated

Juno Awards

 * 1989
 * INXS
 * International Entertainer of the Year
 * Nominated
 * Nominated

World Music Awards

 * 1993
 * INXS
 * World's Best Selling Australian Artist
 * Won
 * Won

Žebřík Music Awards
!Ref.
 * rowspan=3|1997
 * Michael Hutchence
 * Best International Personality
 * Nominated
 * rowspan=3|
 * "Elegantly Wasted"
 * Best International Video
 * Nominated
 * The Death of Michael Hutchence
 * Best International Průser
 * Nominated
 * The Death of Michael Hutchence
 * Best International Průser
 * Nominated

title: INXS


text:
Dredg

Dredg (stylized as dredg) is an American rock band formed in 1993 in Los Gatos, California. The band's lineup consists of vocalist Gavin Hayes, guitarist Mark Engles, bassist Drew Roulette and drummer and pianist Dino Campanella.

Originally starting out as an alternative metal outfit, Dredg established themselves in the indie scene with their debut album Leitmotif (1999), which showed the band stylistically moving into progressive rock and art rock; the album's local success landed them a deal with Interscope Records in 2001, who re-released the album later in the year. Dredg's major label debut, El Cielo (2002), was lauded by critics and helped establish a wider cult following for the band. The band experienced mainstream success with Catch Without Arms (2005), which became the band's first album to chart in the United States, and the band received exposure on MTV with the single "Bug Eyes". Following their departure from Interscope in 2009, Dredg independently released The Pariah, the Parrot, the Delusion, which saw the band reach their highest charting positions yet. The band's fifth album, Chuckles and Mr. Squeezy (2011), was a stylistic departure for the band and received a negative response from the band's fanbase. Following the conclusion of the album's promotional tour in May 2014, the band went on an "extended hiatus".

In January 2018, the band announced that they had reunited and have since been writing material for their sixth studio album; they are planning to record the album in the winter of 2022.

Early years (1993–1998)
While attending middle school in Los Gatos, Engles and Campanella started playing together. After they graduated to Los Gatos High School, older friends Hayes and Roulette joined the group.

In a 2005 interview, when asked about the origin of the band's name, Campanella said, "It was so long ago that we named it I can't even remember. Honestly, we don't even like the name anymore. We mostly don't like the way it sounds. It doesn't roll off the tongue well."

In 1996, Dredg recorded and released their first demos of original material, the Conscious EP, garnering them exposure as far away as Boston. Currently, very little information has ever been released about these demos. In 1997, they released what would become the early stages of their musical transition, the Orph EP. It includes the group's first instrumental track, "Orph". Additionally, the track "Kayasuma" shares its title with the name of the shaman in Leitmotif's liner notes for "Lechium". With the release, Dredg slowly built a name for themselves in the Bay Area, as well as on the East Coast, such as in Boston and New York.

Leitmotif (1999–2001)
In May 1999, Dredg independently released their first full-length, Leitmotif, a concept album about a man traveling the world to cure his moral disease. The story was included in the liner notes, in lieu of the actual lyrics. Written by Roulette, the band had planned to release a movie of the story; however, upon the death of the lead actor, the project was scrapped.

Over the next two years, Dredg toured mostly within California, slowly expanding their fan base. The band began sending out a demo tape to several labels with four new songs intended for their next album, "Of the Room", "Redrawing the Island Map", "Running Through Propellers" and "The Papal Insignia". In January 2001, Dredg was offered a deal by Interscope Records, and the band signed to the label in February 2001. As part of the deal, Leitmotif was re-released by Interscope on September 11, 2001.

With the re-release of Leitmotif, Dredg toured nationally and internationally in support of the record with bands such as Alien Ant Farm, Pressure 4-5, the Apex Theory, Taproot, Deadsy and Onesidezero.

El Cielo (2002–2004)
After signing to Interscope Records, the band began work on their major label debut, El Cielo. Like its predecessor, El Cielo was a concept album. Initially intended to revolve around Salvador Dalí's Dream Caused by the Flight of a Bumblebee around a Pomegranate One Second Before Awakening, the band expanded the focus to include sleep paralysis after learning of Dalí's own influences. As they had done with the liner notes of Leitmotif, Dredg chose not to include the lyrics; instead, they printed letters sent to them by people suffering from sleep paralysis. Several songs on the album even included lyrics taken directly from the letters.

When the band began writing material for the new album, they secluded themselves in the deserts around Palm Desert. The majority of the album was recorded at Skywalker Ranch. The band used three producers, Ron Saint Germain, Tim Palmer and Jim Scott, on the record, adding another layer of diversity to the album. Completed in May 2002, the album was widely available on the internet before being released on October 8, 2002. Dredg made music videos for two of the album's tracks, "Same Ol' Road" and "Of The Room".

Upon releasing the album, the band once again returned to their hectic touring schedule, including their first national headline tour with Codeseven, a then-unsigned Strata and either STUN or Woven supporting. They also toured with acts such as Ozomatli, Deftones, Chevelle, Hoobastank and Phantom Planet, as well as earning a spot on the Sno-Core Tour with Sparta, Glassjaw and Hot Water Music.

Catch Without Arms (2005–2006)
While touring in support of El Cielo, Dredg began work on their third album, Catch Without Arms, spending 8 months writing material before taking another 10 months to record and mix the album. Like their previous albums, Catch Without Arms was a concept album; however, differing from the concrete stories and events surrounding their earlier releases, Catch Without Arms was about opposites, mainly focused on positives and negatives. Produced by Terry Date, Catch Without Arms was Dredg's most successful album, debuting at 123 on the Billboard album charts, selling over 9,000 copies, and eventually reaching the top of the Heatseekers chart. The only single on the album, "Bug Eyes", was made into a music video directed by Philip Andelman.

With the release of Catch Without Arms, Dredg began a treasure hunt based around the Bay Area. The three winners each received a painting from Catch Without Arms, as well as the opportunity to name a song for the next album, "Vague Clues and Long Days".

Dredg headlined several tours in support of Catch Without Arms, playing with bands such as Circa Survive, Day One Symphony, Delta Activity, Vedera, Ours and Ambulette. They played the Taste of Chaos tour in 2006 with Deftones, Atreyu, Thrice and Story of the Year, as well as shows with Coheed and Cambria, the Blood Brothers and MewithoutYou. Engles and Campanella also took some time to record the soundtrack for the 2005 independent film, Waterborne.

On May 11, 2006, Dredg recorded their concert in San Francisco for a live CD entitled Live at the Fillmore. Released on November 7, 2006, Live at the Fillmore contained songs from all three studio albums, as well as a new song titled "The Warbler". A remix of "Sang Real" by Dan the Automator was released with purchase of the album on iTunes.

On September 14 and 15, 2006, Dredg played two special shows at the Catalyst in Santa Cruz, California, playing Leitmotif and El Cielo in their entirety on separate nights. During these shows the band played songs from Catch Without Arms before diving into the full album of the night. Of note, each night they played a very early version of "It's Not Worth It" (a song that did not make it into the final album) at about the midpoint of each album. On the second night, as a segue into El Cielo, they performed an early instrumental version of "Wonderous Miracle" (another song that did not make it into the final album).

Exit from Interscope and The Pariah, the Parrot, the Delusion (2007–2009)
On February 14, 2007, Dredg issued an update indicating production had begun on their next album and released several new song titles as part of the update. Gavin Hayes posted a Myspace blog on July 8, 2007, with new information that the band had 12-15 songs that might or might not make the final cut. Of the songs previously written, only a few were being worked on from prior updates. Hayes stated that on December 21, 2007, the writing process for their new album was almost done, and they planned to enter the studio in early 2008 to start recording. This would be followed by extensive touring in the spring. The songs that were played at live shows during the writing process but were not released on the album include: "Wondrous Miracle", "It's Not Worth It", "Push Away", "Holding a Remedy Potion", "Hurricane Felix", "Pieces of Gold", "Fleeing to Mexico", "2001", "MacGuffin" and "Fucking Smile Pt. 2".

The band played at the Coachella Valley Music and Arts Festival in California on April 26, 2008, during their tour to introduce the new tracks to their fans, with the exception of a few past hits and some tracks already performed such as "Long Days and Vague Clues". After Coachella, Dredg released demos for songs rumored to be on their upcoming album up to February 2009. They also added a song entitled "entire new album", which was a track consisting of every song played simultaneously. Also on February 23, 2009, Dredg announced their exit from Interscope Records as well their new record's title, The Pariah, the Parrot, the Delusion. They confirmed joining with Independent Label Group (ILG, which is a part of Warner Music Group), and Ohlone Recordings. The album was released on June 9, 2009, with a Limited Edition release with alternate artwork (as well as a Vinyl recording) made available to the public. Music videos have been made for "Information" and "I Don't Know". The album reached number 71 on the Billboard 200, selling 7,492 copies in its first week.

The album was inspired by the essay "Imagine There Is No Heaven: A Letter to the Six Billionth Citizen". The essay was written by British-Indian novelist Salman Rushdie, who found controversy in 1988 over one of his books gaining him a religious fatwa for Rushdie's death from Ayatollah Ruhollah Khomeini which ultimately resulted in United Kingdom and Iran breaking diplomatic ties to each other a year later. In consideration of the essay, the album has common themes in agnosticism and the questioning of beliefs and society. Album and liner notes artwork resembled an Air Mail letter (addressed to "SEVEN BILLIONTH") and was done by Rohner Segnitz of the band Division Day. Segue tracks on the album are called "Stamps of Origin", and unlike prior albums a few of these segue tracks contain lyrics.

Chuckles and Mr. Squeezy (2010–2014)
Dredg suggested on their Twitter account that they began recording their fifth album on June 23, 2010.

On August 17, 2010, Dredg announced via their official website that they had begun the process of recording a new album. Unlike the long gaps between their last two efforts, the band expected an early 2011 release. The announcement was posted in the news section and reads as follows: "Yesterday, we began working on our fifth record with musician/producer Dan the Automator. We will be writing and recording it in San Francisco for the next month and a half and are hoping for an early 2011 release. Stay tuned as there will be more updates and studio footage in the coming months."

On February 18, 2011, Dredg announced via Twitter that their fifth studio album, Chuckles and Mr. Squeezy, was to be released on May 3, 2011, in the United States and April 29 everywhere else. The album received a negative response from the band's fans, many who derided the album's production and sound.

In February 2014, Dredg released a non-album track, "I Left My Heart In San Francisco", in conjunction with a stop-motion music video touring the city. Touring in support of the album took place from 2011, until May 2014.

Hiatus and side projects (2014–2017)
After the release of Chuckles and Mr. Squeezy, Dino Campanella stated in an interview in 2014 that Dredg was taking an indefinite hiatus: "'We didn’t want to be on a constant schedule of Dredg. We wanted to go out there and do things on our own, explore other things for a second. It was necessary to maintain our health individually and as a band. In a situation like this a lot of bands jump to conclusions and decide to break up, but we never had any intentions of breaking up. We love each other, love playing music together and we will as long as we want to, but at some point we felt we wanted to be in control of our own schedule. It was a very natural thing. We felt that’s what needed to happen.'"

Mark Engles joined the band Black Map during the hiatus.

"'Yeah, I think now we're writing throughout the end of the year and probably all the way till spring, where we'll release it next summer or next fall, but we'll maybe start touring spring next year.'"

Return (2018–present)
On January 27, 2018, it was announced that the band was working on their first release since Chuckles And Mr. Squeezy. In March 2019, vocalist-guitarist Gavin Hayes confirmed in an interview they were working on a new album originally planned to be released in 2019. In a late 2021 interview, Hayes said that work on new material had been delayed by the COVID-19 pandemic. He went on to note that they had "probably two albums worth" of new material to work through, and that their goal was to release an album in 2022. In June 2022, the band stated that they were now aiming to start recording the album in the winter of 2022.

Musical style
Dredg's early music in 1990s is rooted in alternative metal styles. Nevertheless, the band eschewed the nu metal style of the early EPs in favor of a progressive rock and art rock sound. The band was also labeled as alternative rock and experimental rock.

Members

 * Current members
 * Gavin Hayes - vocals, slide guitar, guitar (1993–present)
 * Drew Roulette - bass, synthesizer (1993–present)
 * Mark Engles - guitar, backing vocals (1993–present)
 * Dino Campanella - drums, piano, organ (1993–present)

Live albums

 * Live at the Fillmore, 2006

Soundtracks

 *  Waterborne soundtrack, 2005

EPs

 * Conscious EP, 1996
 * Orph, 1997
 * Extended Play for the Eastern Hemisphere, 2001
 * "Sony Connect Sets", 2005
 * "Napster Sessions", 2007

Singles and Music Videos

 * "Same Ol' Road" - El Cielo, 2002
 * "Of The Room" - El Cielo, 2003
 * "Bug Eyes" - Catch Without Arms, 2005
 * "Information" - The Pariah, the Parrot, the Delusion, 2009
 * "I Don't Know" - The Pariah, the Parrot, the Delusion, 2009
 * "Upon Returning" - Chuckles and Mr. Squeezy, 2011
 * "The Thought Of Losing You" - Chuckles and Mr. Squeezy, 2011

Other releases

 *  El Cielo Blueprints, 2000–2002
 * '' Industry Demos, 2001
 * Coquette Demo, 2004

DVDs

 * Crickets, 2003
 * Live from the Henry Fonda Theater, 2005

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

title: Dredg


text:
Local anesthesia

Local anesthesia is any technique to induce the absence of sensation in a specific part of the body, generally for the aim of inducing local analgesia, i.e. local insensitivity to pain, although other local senses may be affected as well. It allows patients to undergo surgical and dental procedures with reduced pain and distress. In many situations, such as cesarean section, it is safer and therefore superior to general anesthesia.

The following terms are often used interchangeably:
 * Local anesthesia, in a strict sense, is anesthesia of a small part of the body such as a tooth or an area of skin.
 * Regional anesthesia is aimed at anesthetizing a larger part of the body such as a leg or arm.
 * Conduction anesthesia encompasses a great variety of local and regional anesthetic techniques.

Medical
A local anesthetic is a drug that causes reversible local anesthesia and a loss of nociception. When it is used on specific nerve pathways (nerve block), effects such as analgesia (loss of pain sensation) and paralysis (loss of muscle power) can be achieved. Clinical local anesthetics belong to one of two classes: aminoamide and aminoester local anesthetics. Synthetic local anesthetics are structurally related to cocaine. They differ from cocaine mainly in that they have no abuse potential and do not act on the sympathoadrenergic system, i.e. they do not produce hypertension or local vasoconstriction, with the exception of Ropivacaine and Mepivacaine that do produce weak vasoconstriction. Unlike other forms of anesthesia, a local can be used for a minor procedure in a surgeon's office as it does not put you into a state of unconsciousness. However, the physician should have a sterile environment available before doing a procedure in their office.

Local anesthetics vary in their pharmacological properties and they are used in various techniques of local anesthesia such as:
 * Topical anesthesia (surface) - Similar to topical gel numbing before getting injected with Lidocaine.
 * Infiltration
 * Plexus block

Adverse effects depend on the local anesthetic method and site of administration discussed in depth in the local anesthetic sub-article, but overall, adverse effects can be:
 * 1) localized prolonged anesthesia or paresthesia due to infection, hematoma, excessive fluid pressure in a confined cavity, and severing of nerves & support tissue during injection.
 * 2) systemic reactions such as depressed CNS syndrome, allergic reaction, vasovagal episode, and cyanosis due to local anesthetic toxicity.
 * 3) lack of anesthetic effect due to infectious pus such as an abscess.

Non-medical local anesthetic techniques
Local pain management that uses other techniques than analgesic medication include:
 * Transcutaneous electrical nerve stimulation, which has been found to be ineffective for lower back pain, however, it might help with diabetic neuropathy.
 * Pulsed radiofrequency, neuromodulation, direct introduction of medication and nerve ablation may be used to target either the tissue structures and organ/systems responsible for persistent nociception or the nociceptors from the structures implicated as the source of chronic pain.

title: Local anesthesia


text:
InterNetNews

InterNetNews (INN) is a Usenet news server package, originally released by Rich Salz in 1991, and presented at the Summer 1992 USENIX conference in San Antonio, Texas. It was the first news server with integrated NNTP functionality.

While previous servers processed articles individually or in batches, innd is a single continuously running process that receives articles from the network, files them, and records what remote hosts should receive them. Readers can access articles directly from the disk in the same manner as B News and C News, but an included program, called nnrpd, also serves newsreaders that employ NNTP.

A later improvement was the Cyclical News Filesystem (CNFS), which sequentially stores articles in large on-disk buffers. This method, implemented by Scott Fritchie, greatly increased performance by eliminating the operating system overhead needed to deal with thousands of individual article files.

James Brister's innfeed program was also added to the package. Like innd, innfeed operates continuously to feed articles out to other servers, while the earlier innxmit processed them in batches. This combination allows articles to be received and redistributed with virtually no latency, and has substantially changed the nature of Usenet interaction by reducing the time for messages to be posted, read across the network and answered, from hours or days, to seconds or minutes. A similar earlier program, called nntplink, provided a comparable function, but it was produced independently.

INN is under active development. The package is maintained by volunteers, and development is hosted by the Internet Systems Consortium. The current maintainer of INN is Russ Allbery and the ISC.

title: InterNetNews


text:
Leo Brouwer

Juan Leovigildo Brouwer Mezquida (born March 1, 1939) is a Cuban composer, conductor, and classical guitarist. He is a Member of Honour of the International Music Council.

Family
He is the grandson of Cuban composer Ernestina Lecuona y Casado. His great-uncle, Ernesto Lecuona, composed "La Malagueña" and his second cousin, Margarita Lecuona, composed "Babalú", which was popularized by Cuban musician and actor Desi Arnaz.

Early years
Brouwer was born in Havana. When he was 13, he began classical guitar with the encouragement of his father, who was an amateur guitarist. His teacher was Isaac Nicola, who was a student of Emilio Pujol, who was himself a student of Francisco Tárrega. At age 17 he performed publicly for the first time and began composing.

Brouwer went to the United States to study music at the Hartt College of Music of the University of Hartford, and later at the Juilliard School, where he studied under Vincent Persichetti and took composition classes with Stefan Wolpe.

In 1970 Brouwer played in the premiere of El Cimarrón by Hans Werner Henze in Berlin. Together with Morton Feldman, he was awarded a 1972 scholarship by the DAAD (German Academic Exchange Service) and to work as a guest composer and lecturer at the Academy of Science and Arts of Berlin. In Germany Brouwer also recorded a number of LPs for Deutsche Grammophon.

Composing and performing
In his early compositions, Brouwer remained close to the rhythms of Cuban music, while later he was drawn to aleatoric music. During the 1960s and 70s, he became interested in the music of modernist composers such as Luigi Nono and Iannis Xenakis, using indeterminacy in works such as Sonograma I. Other works from this period include the guitar pieces Canticum (1968), La espiral eterna (1971), Parábola (1973) and Tarantos (1974). More recently, Brouwer's works have leaned towards tonality and modality. The solo guitar works El Decamerón Negro (1981), Paisaje cubano con campanas (1986), and the Sonata (1990; for Julian Bream) exemplify this tendency. His playing career ended in the early 1980s due to an injury to a tendon in his right hand middle finger.

Brouwer has written for guitar, piano, and percussion, and has composed orchestral works, ballet, and music for over one hundred movies, including the film Like Water for Chocolate. For a guitar competition in Hungary in 1979, he wrote a composition that employed 200 guitarists. He is known for a series of studies called the Etudes Simples. Brouwer has also transcribed Beatles songs for classical guitar.

He has performed and recorded works by Sylvano Bussotti, Hans Werner Henze, Maurice Ohana, Cristóbal Halffter, Leni Alexander, Cornelius Cardew, and Heitor Villa-Lobos.

Other activities
He has been a conductor for many symphony orchestras, including the BBC Concert Orchestra, the Berlin Philharmonic, and the Cordoba Symphony in Spain.

Brouwer is involved in the Concurso y Festival Internacional de Guitarra de la Habana (Havana International Guitar Festival and Competition). He frequently travels to attend guitar festivals throughout the world, and especially to other Latin American countries.

Brouwer, according to the composer himself, has never been a member of the Communist Party of Cuba, but has nevertheless held a number of official posts in Cuba, including with the music department of the Cuban Institute of Cinematographic Art and Industry.

Brouwer is the great-uncle of Al Jourgensen of Ministry fame. Brouwer is the brother of Jourgensen's maternal grandfather.

Selected compositions
Chamber and solo instrumental
 * 2009 Mitología de las Aguas (Sonata No. 1 for flute and guitar)

Film scores
 * 1968: Lucía
 * 1992: Like Water for Chocolate (film)

Other sources

 * Andy Daly, Leo Brouwer. Music Web International, accessed June 9, 2011

title: Leo Brouwer


text:
Hattieville

Hattieville is a village in the Belize District of the nation of Belize. It is located at 17N 88W, at an elevation of 196 ft above mean sea level, and has a population of about 1,300 people. Hattieville was established as a refugee camp after Hurricane Hattie made many people homeless in Belize City when it hit in 1961, but it became a permanent town.

Operation New Horizons 2007 built two additional school rooms onto the Hattieville government school between 17 March - 12 May 2007. This mission was under the command of the Louisiana Army National Guard.

Belize Central Prison (formerly Hattieville Prison) is in Hattieville. It is the only prison in Belize.

Demographics
At the time of the 2010 census, Hattieville had a population of 2,344. Of these, 73.7% were Creole, 9.8% Mixed, 8.2% Mestizo, 3.6% Garifuna, 1.4% East Indian, 1.2% Mopan Maya, 0.6% Ketchi Maya, 0.2% African, 0.1% Caucasian and 0.2% others.

title: Hattieville


text:
User:Guerby

fr:Utilisateur:Guerby

 * [mailto:laurent@guerby.net laurent@guerby.net]
 * Laurent GUERBY Home Page
 * Le Blog de Laurent GUERBY

 * French Engineer from ENST Bretagne year 1996
 * Worked on GNAT, the GNU Ada compiler based on GCC at Ada Core Technologies and ACT Europe
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Klezmer

Klezmer (קלעזמער or כּלי־זמר) is an instrumental musical tradition of the Ashkenazi Jews of Central and Eastern Europe. The essential elements of the tradition include dance tunes, ritual melodies, and virtuosic improvisations played for listening; these would have been played at weddings and other social functions. The musical genre incorporated elements of many other musical genres including Ottoman (especially Greek and Romanian) music, Baroque music, German and Slavic folk dances, and religious Jewish music. As the music arrived in the United States, it lost some of its traditional ritual elements and adopted elements of American big band and popular music. Among the European-born klezmers who popularized the genre in the United States in the 1910s and 1920s were Dave Tarras and Naftule Brandwein; they were followed by American-born musicians such as Max Epstein, Sid Beckerman and Ray Musiker.

After the destruction of Jewish life in Eastern Europe during the Holocaust, and a general fall in the popularity of klezmer music in the United States, the music began to be popularized again in the late 1970s in the so-called Klezmer Revival. During the 1980s and onwards, musicians experimented with traditional and experimental forms of the genre, releasing fusion albums combining the genre with jazz, punk, and other styles.

Etymology
The term, as used in the Yiddish language, has a Hebrew etymology: klei, meaning "tools, utensils or instruments of" and zemer, "melody"; leading to k'lei zemer , meaning "musical instruments". This expression would have been familiar to literate Jews across the diaspora, not only Ashkenazi Jews in Eastern Europe. Over time the usage of "" in a Yiddish context evolved to describe musicians instead of their instruments, first in Bohemia in the second half of the sixteenth century and then in Poland, possibly as a response to the new status of the musicians who were at that time forming professional guilds. Previously the musician may have been referred to as a (לץ) or other terms. After the term became the preferred term for these professional musicians in Yiddish-speaking Eastern Europe, other types of musicians were more commonly known as  or.

It was not until the late 20th century that the word "klezmer" became a commonly known English-language term. During that time, through metonymy it came to refer not only to the musician but to the musical genre they played, a meaning which it had not had in Yiddish. Early 20th century recording industry materials and other writings had referred to it as Hebrew, Jewish, or Yiddish dance music, or sometimes using the Yiddish term Freilech music ("Cheerful music").

Twentieth century Russian scholars sometimes used the term klezmer; Ivan Lipaev did not use it, but Moisei Beregovsky did when publishing in Yiddish or Ukrainian.

The first postwar recordings to use the term "klezmer" to refer to the music were The Klezmorim's East Side Wedding and Streets of Gold in 1977/78, followed by Andy Statman and Zev Feldman's Jewish Klezmer Music in 1979.

Style
The traditional style of playing klezmer music, including tone, typical cadences, and ornamentation, sets it apart from other genres. Although klezmer music emerged from a larger Eastern European Jewish musical culture that included Jewish cantorial music, Hasidic Niguns, and later Yiddish theatre music, it also borrowed from the surrounding folk musics of Central and Eastern Europe and from cosmopolitan European musical forms. Therefore it evolved into an overall style which has recognizable elements from all of those other genres.

Few klezmer musicians before the late nineteenth century had formal musical training, but they inherited a rich tradition with its own advanced musical techniques. Each musician had their understanding of how the style should be "correctly" performed. The usage of these ornaments was not random; the matters of "taste", self-expression, variation and restraint were and remain important elements of how to interpret the music.

Klezmer musicians apply the overall style to available specific techniques on each melodic instrument. They incorporate and elaborate the vocal melodies of Jewish religious practice, including khazones, davenen, and paraliturgical song, extending the range of human voice into the musical expression possible on instruments. Among those stylistic elements that are considered typically "Jewish" in klezmer music are those which are shared with cantorial or Hasidic vocal ornaments, including imitations of sighing or laughing. Various Yiddish terms were used for these vocal-like ornaments such as קרעכץ (Krekhts, "groan" or "moan"), קנײטש (, "wrinkle" or "fold"), and קװעטש (, "pressure" or "stress"). Other ornaments such as trills, grace notes, appoggiaturas, glitshn (glissandos), tshoks (a kind of bent notes of cackle-like sound), flageolets (string harmonics), pedal notes, mordents, slides and typical klezmer cadences are also important to the style. In particular, the cadences which draw on religious Jewish music identify a piece more strongly as a klezmer tune, even if its broader structure was borrowed from a non-Jewish source. Sometimes the term dreydlekh is used only for trills, while other use it for all klezmer ornaments. Unlike in Classical music, vibrato is used sparingly, and is treated as another type of ornament.

In an article about Jewish music in Romania, Bob Cohen of Di Naye Kapelye describes krekhts as "a sort of weeping or hiccoughing combination of backwards slide and flick of the little finger high above the base note, while the bow does, well, something – which aptly imitates Jewish liturgical singing style." He also noted that the only other place he has heard this particular ornamentation is in Turkish music on the violin. Yale Strom wrote that the use of dreydlekh by American violinists gradually diminished since the 1940s, but with the klezmer revival in 1970, dreydlekh had become prominent again.

The accompaniment style of the accompanist or orchestra could be fairly impromptu, called צוהאַלטן (, holding onto).

Historical repertoire
The repertoire of klezmer musicians was very diverse and tied to specific social functions and dances, especially of the traditional wedding. These melodies might have a non-Jewish origin, or have been composed by a klezmer, but only rarely are they attributed to a specific composer. Generally klezmer music can be divided into two broad categories: music for specific dances, and music for listening (at the table, in processions, ceremonial, etc.).

Dances

 * Freylekhs. The simplest and most widespread type of klezmer dance tunes are those played in and intended for group circle dances. Depending on the location this basic dance may also have been called a  (circle),,  (round dance, literally the Belarusian translation of the Russian khorovod), , , etc.
 * Bulgar, or Bolgar, became the most popular klezmer dance form in the United States. Its origin is thought to be in Moldavia and with a deep connection to the Sârbă genre there.
 * Sher is a contra dance in . Beregovsky, writing in the 1930s, noted that despite the dance being very commonly played across a wide area, he suspected that it had its roots in an older German dance. This dance continued to be known in the United States even after other complex European klezmer dances had been forgotten. In some regions the music of a Sher could be interchangeable with a Freylekhs.
 * Khosidl, or Khosid, named after Hasidic Jews, is a more dignified embellished dance in or . The dance steps can be performed in a circle or in a line.
 * Hora or Zhok (from the Romanian Joc) is a circle dance in . In the United States, it came to be one of the main dance types after the Bulgar.
 * Kolomeike is a fast and catchy dance in time, which originated in Ukraine, and is prominent in the folk music of that country.
 * Skotshne is generally thought to be a more elaborate which could be played either for dancing or listening.
 * Nigun, a very broad term which can refer to melodies for listening, singing or dancing. Usually a mid-paced song in.
 * Waltzes were very popular, whether classical, Russian, or Polish. A padespan was a sort of Russian/Spanish waltz known to klezmers.
 * Mazurka and polka, Polish and Czech dances, respectively, were often played for both Jews and Gentiles.
 * Sirba – a Romanian dance in or  (Romanian sârbă). It features hopping steps and short bursts of running, accompanied by triplets in the melody.
 * Sirba – a Romanian dance in or  (Romanian sârbă). It features hopping steps and short bursts of running, accompanied by triplets in the melody.

Non-dance repertoire

 * The is a freeform instrumental form borrowed from the Romanian shepherd's doina. Although there are many regional types of doina in Romania and Moldova, the Jewish form is typically simpler, with a minor key theme which is then repeated in a major key, followed by a . A  is a related genre.
 * (table tune)
 * , a type of Nigun, called Devekut in Hebrew, which inspires spiritual arousal or a pious mood.
 * A (Waltz), pieces in  especially in the Hasidic context, may be slower than non-Jewish waltzes and intended for listening while the wedding parties are seated at their tables.
 * Forms centering on bridal rituals, including (seating of the bride)
 * A (March) can be non-Jewish march melodies adapted into joyful singing or playing contexts.
 * Processional melodies, including (street tunes),  (to the table). According to Beregovski the  was always in  time.
 * The, whose name is borrowed from the Ottoman/Arab Taqsim is a freeform fantasy on a particular motif, ornamented with trills, roulades and so on; it usually ends with a . By the twentieth century it had mostly become obsolete and was replaced by the doina.
 * Fantazi or fantasy is a freeform song, traditionally played at Jewish weddings to the guests as they dined. It resembles the fantasia of "light" classical music.
 * A is a type of virtuosic solo piece in  performed by leading klezmorim such as Dave Tarras and Naftule Brandwein. There is no dance for this type of melody, rather it references an Ottoman or "oriental" style, and melodies may incorporate references to Greek Hasapiko into an Ashkenazic musical aesthetic.
 * Parting melodies played at the beginning or end of a wedding day, such as the (be healthy),,  (good day),  or  (good night) etc. These types of pieces were sometimes in  which may have given an air of dignity and seriousness.

Orchestration
Klezmer music is an instrumental tradition, without much of a history of songs or singing. In Eastern Europe, Klezmers did traditionally accompany the vocal stylings of the Badchen (wedding entertainer), although their performances were typically improvised couplets and the calling of ceremonies rather than songs. (The importance of the Badchen gradually decreased by the twentieth century, although they still continued in some traditions. )

As for the klezmer orchestra, its size and composition varied by time and place. The klezmer bands of the eighteenth and early nineteenth century were small, with roughly three to five musicians playing woodwind or string instruments. Another common configuration in that era was similar to Hungarian bands today, typically a lead violinist, second violin, cello, and cimbalom. In the mid-nineteenth century, the Clarinet started to appear in those small Klezmer ensembles as well. By the last decades of the century, in Ukraine, the orchestras had grown larger, averaging seven to twelve members, and incorporating brass instruments and up to twenty for a prestigious occasion. (However, for poor weddings a large klezmer ensemble might only send three or four of its junior members. ) In these larger orchestras, on top of the core instrumentation of strings and woodwinds, cornets, C clarinets, trombones, a contrabass, a large Turkish drum, and several extra violins. The inclusion of Jews in tsarist army bands during the 19th century may also have led to the introduction of typical military band instruments into klezmer. With such large orchestras, the music was arranged so that the bandleader soloist could still be heard at key moments. In Galicia, and Belarus, the smaller string ensemble with cimbalom remained the norm into the twentieth century. American klezmer as it developed in dancehalls and wedding banquets of the early twentieth century had a more complete orchestration not unlike those used in popular orchestras of the time. They use a clarinet, saxophone, or trumpet for the melody, and make great use of the trombone for slides and other flourishes.

The melody in klezmer music is generally assigned to the lead violin, although occasionally the flute and eventually clarinet. The other instrumentalists provide harmony, rhythm, and some counterpoint (the latter usually coming from the second violin or viola). The clarinet now often plays the melody. Brass instruments—such as the French valved cornet and keyed German trumpet—eventually inherited a counter-voice role. Modern klezmer instrumentation is more commonly influenced by the instruments of the 19th century military bands than the earlier orchestras.

Percussion in early 20th-century klezmer recordings was generally minimal—no more than a wood block or snare drum. In Eastern Europe, percussion was often provided by a drummer who played a frame drum, or poyk, sometimes called baraban. A poyk is similar to a bass drum and often has a cymbal or piece of metal mounted on top, which is struck by a beater or a small cymbal strapped to the hand.

Western, Cantorial, and Ottoman music terminology
Klezmer music is a genre that developed partly in the Western musical tradition but also in the Ottoman Empire, and is primarily an oral tradition which does not have a well-established literature to explain its modes and modal progression. But, as with other types of Ashkenazic Jewish music, it has a complex system of modes which were used in its compositions. Many of its melodies do not fit well in the major and minor terminology used in Western music, nor is the music systematically microtonal in the way that Middle Eastern music is. Nusach terminology, as developed for Cantorial music in the nineteenth century, is often used instead, and indeed many klezmer compositions draw heavily on religious music. But it also incorporates elements of Baroque and Eastern European folk musics, making description based only on religious terminology incomplete. Still, since the Klezmer revival of the 1970s, the terms for Jewish prayer modes are the most common to describe those used in klezmer. The terms used in Yiddish for these modes include nusach (נוסח); (שטײגער), "manner, mode of life", which describes the typical melodic character, important notes and scale; and  (גוסט), a word meaning "taste" which was commonly used by Moisei Beregovsky.

Beregovsky, who was writing in the Stalinist era and was constrained by having to downplay klezmer's religious aspects, did not use the terminology of synagogue modes, except in some early work in 1929. Instead, he relied on German-inspired musical terminology of major, minor, and "other" modes, which he described in technical terms. In his 1940s works he noted that the majority of the klezmer repertoire seemed to be in a minor key, whether natural minor or others, that around a quarter of the material was in Freygish, and that around a fifth of the repertoire was in a major key.

Another set of terminology sometimes used to describe klezmer music is that of the Makams used in Ottoman and other Middle Eastern music. This approach dates back to Idelsohn in the early twentieth century, who was very familiar with Middle Eastern music, and has been developed in the past decade by Joshua Horowitz.

Finally, some Klezmer music, and especially that composed in the United States from the mid-twentieth century onwards, may not be composed with these traditional modes, but rather built around chords.

Description
Because there is no agreed-upon, complete system for describing modes in Klezmer music, this list is imperfect and may conflate concepts which some scholars view as separate. Another problem in listing these terms as simple eight-note (octatonic) scales is that it makes it harder to see how Klezmer melodic structures can work as five-note pentachords, how parts of different modes typically interact, and what the cultural significance of a given mode might be in a traditional Klezmer context.

 * ,, or Phrygian dominant scale resembles the Phrygian mode, having a flat second but also a permanent raised third. It is among the most common modes in Klezmer and is closely identified with Jewish identity; Beregovsky estimated that roughly a quarter of the Klezmer music he had collected was in Freygish. Among the most well-known pieces composed in this mode are "Hava Nagila" and "". It is comparable to the Maqam Hijaz found in Arabic music.

 * , Av HaRachamim, "altered Dorian" or Ukrainian Dorian scale is a minor mode which has a raised fourth. It is sometimes compared to Nikriz Makamı. It is closely related to since they share the same pitch intervals. This mode is often encountered in  and other Klezmer forms with connections to Romanian or Ukrainian music.

 * or a synagogue mode with a flatted seventh. It is sometimes called the "Jewish major". It has some similarities to the Mixolydian mode.

 * is a synagogue mode which resembles the Western natural minor. In klezmer music, it is often found in greeting and parting pieces, as well as dance tunes. It has some similarities to the Bayati maqam used in Arabic and Turkish music.
 * resembles and . It is a variant of the Mogen Ovos scale that frequently flattens the second and fifth degrees.

Development of the genre
The Bible has several descriptions of orchestras and Levites making music, but after the destruction of the Second Temple in 70 CE, many rabbis discouraged musical instruments. Therefore, while there may have been Jewish musicians in different times and places since then, the "Klezmer" arose much more recently. The earliest written record of the use of the word was identified by Isaac Rivkind as being in a Jewish council meeting from Kraków in 1595. They may have existed even earlier in Prague, as references to them have been found as early as 1511 and 1533. It was in the 1600s that the situation of Jewish musicians in Poland improved, as they gained the right to form Guilds (Khevre), and therefore to set their own fees, hire Christians, and so on. Therefore over time this new form of professional musician developed new forms of music and elaborated this tradition across a wide area of Eastern European Jewish life. The rise of Hasidic Judaism in the late eighteenth century and onwards also contributed to the development of klezmer, due to their emphasis on dancing and wordless melodies as a component of Jewish practice.

The Eastern European klezmer profession (1700–1930s)

The nineteenth century also saw the rise of a number of klezmer violin virtuosos who combined the techniques of classical violinists such as Ivan Khandoshkin and of Bessarabian folk violinists, and who composed dance and display pieces that became widespread even after the composers were gone. Among these figures were Aron-Moyshe Kholodenko "Pedotser", Yosef Drucker "Stempenyu", Alter Goyzman "Alter Chudnover" and Josef Gusikov.

Unlike in the United States, where there was a robust Klezmer recording industry, there was relatively less recorded in Europe in the early twentieth century. The majority of European recordings of Jewish music consisted of Cantorial and Yiddish Theatre music, with only a few dozen known to exist of Klezmer music. These include violin pieces by artists such as Oscar Zehngut, H. Steiner, Leon Ahl, and Josef Solinski; flute pieces by S. Kosch, and ensemble recordings by Belf's Romanian Orchestra, the Russian-Jewish Orchestra, Jewish Wedding Orchestra, and Titunshnayder's Orchestra.

Klezmer in the late Russian empire and Soviet era
The loosening of restrictions on Jews in the Russian Empire, and their newfound access to academic and conservatory training, created a class of scholars who began to reexamine and evaluate klezmer using modern techniques. Abraham Zevi Idelsohn was one such figure, who sought to find an ancient Middle Eastern origin for Jewish music in the diaspora. There was also new interest in collecting and studying Jewish music and folklore, including Yiddish songs, folk tales, and instrumental music. An early expedition was by Joel Engel, who collected folk melodies in his birthplace of Berdyansk in 1900. The first figure to collect large amounts of klezmer music was Susman Kiselgof, who made several expeditions to the Pale of Settlement from 1907 to 1915. He was soon followed by other scholars such as Moisei Beregovsky and Sofia Magid, Soviet scholars of Yiddish and klezmer music. Most of the materials collected in those expeditions are now held by the Vernadsky National Library of Ukraine. Beregovsky, writing in the late 1930s, lamented how little scholars knew about the range of playing technique and social context of Klezmers from past eras, except for the late nineteenth century which could be investigated through elderly musicians who still remembered it.

Jewish music in the Soviet Union, and the continued use of klezmer music, went through several phases of official support or censorship. The officially supported Soviet Jewish musical culture of 1920s involved works based on or satirizing traditional melodies and themes, whereas those of the 1930s were often "Russian" cultural works translated into a Yiddish context. After 1948, Soviet Jewish culture entered a phase of repression, meaning that Jewish music concerts, whether tied to Hebrew, Yiddish, or instrumental klezmer, were no longer allowed to be performed. Moisei Beregovsky's academic work was shut down in 1949 and he was arrested and deported to Siberia in 1951. The repression was eased in the mid-1950s as some Jewish and Yiddish performances were allowed to return to the stage once again. However, the main venue for klezmer has always been traditional community events and weddings, not the concert stage or academic institute; those traditional venues were repressed along with Jewish culture in general, according to anti-religious Soviet policy.

Early American klezmer (1880s–1910s)
The first klezmers to arrive in the United States followed the first large waves of Eastern European Jewish immigration which began after 1880, establishing themselves mainly in large cities like New York, Philadelphia and Boston. Klezmers—often younger members of klezmer families, or less established musicians—started to arrive from the Russian Empire, the Kingdom of Romania and Austria-Hungary. Some of them found work in restaurants, dance halls, union rallies, wine cellars, and other modern venues in places like New York's Lower East Side. But the major source of income for klezmer musicians seems to have remained weddings and Simchas, as in Europe. Those early generations of klezmers are much more poorly documented than those working in the 1910s and 1920s; many never recorded or published music, although some are remembered through family or community history, such as the Lemish klezmer family of Iași, Romania, who arrived in Philadelphia in the 1880s and established a klezmer dynasty there.

Big band klezmer orchestras (1910s–1920s)

The vitality of the Jewish music industry in major American cities attracted ever more klezmers from Europe in the 1910s. This coincided with the development of the recording industry, which recorded a number of these klezmer orchestras. By the time of the First World War, the industry turned its attention to ethnic dance music and a number of bandleaders were hired by record companies such as Edison Records, Emerson Records, Okeh Records, and the Victor Recording Company to record 78 rpm discs. The first of these was Abe Elenkrig, a barber and cornet player from a klezmer family in Ukraine whose 1913 recording (From the Wedding) has been recognized by the Library of Congress.

Among the European-born klezmers recording during that decade were some from the Ukrainian territory of the Russian Empire (Abe Elenkrig, Dave Tarras, Shloimke Beckerman, Joseph Frankel, and Israel J. Hochman), some from Austro-Hungarian Galicia (Naftule Brandwein, Harry Kandel and Berish Katz), and some from Romania (Abe Schwartz, Max Leibowitz, Max Yankowitz, Joseph Moskowitz).

The mid-1920s also saw a number of popular novelty "Klezmer" groups which performed on the radio or vaudeville stages. These included Joseph Cherniavsky's Yiddish-American Jazz Band, whose members would dress as parodies of Cossacks or Hasidim. Another such group was the Boibriker Kapelle, which performed on the radio and in concerts trying to recreate a nostalgic, old-fashioned Galician Klezmer sound. With the passing of the Immigration Act of 1924, which greatly restricted Jewish immigration from Europe, and then the onset of the Great Depression by 1930, the market for Yiddish and klezmer recordings in the United States saw a steep decline, which essentially ended the recording career of many of the popular bandleaders of the 1910s and 1920s, and made the large klezmer orchestra less viable.

Celebrity clarinetists
Along with the rise of klezmer "big bands" in the 1910s and 1920s, a handful of Jewish clarinet players who had led those bands became celebrities in their own right, with a legacy that lasted into subsequent decades. The most popular among these were Naftule Brandwein, Dave Tarras, and Shloimke Beckerman.

Klezmer revival
In the mid-to-late 1970s there was a klezmer revival in the United States and Europe, led by Giora Feidman, The Klezmorim, Zev Feldman, Andy Statman, and the Klezmer Conservatory Band. They drew their repertoire from recordings and surviving musicians of U.S. klezmer. In particular, clarinetists such as Dave Tarras and Max Epstein became mentors to this new generation of klezmer musicians. In 1985, Henry Sapoznik and Adrienne Cooper founded KlezKamp to teach klezmer and other Yiddish music.

The 1980s saw a second wave of revival, as interest grew in more traditionally inspired performances with string instruments, largely with non-Jews of the United States and Germany. Musicians began to track down older European klezmer, by listening to recordings, finding transcriptions, and making field recordings of the few klezmorim left in Eastern Europe. Key performers in this style are Joel Rubin, Budowitz, Khevrisa, Di Naye Kapelye, Yale Strom, The Chicago Klezmer Ensemble, The Maxwell Street Klezmer Band, the violinists Alicia Svigals, Steven Greenman, Cookie Segelstein and Elie Rosenblatt, flutist Adrianne Greenbaum, and tsimbl player Pete Rushefsky. Bands like Brave Old World, Hot Pstromi and The Klezmatics also emerged during this period.

In the 1990s, musicians from the San Francisco Bay Area helped further interest in klezmer music by taking it into new territory. Groups such as the New Klezmer Trio inspired a new wave of bands merging klezmer with other forms of music, such as John Zorn's Masada and Bar Kokhba, Naftule's Dream, Don Byron's Mickey Katz project and violinist Daniel Hoffman's klezmer/jazz/Middle-Eastern fusion band Davka. The New Orleans Klezmer All-Stars also formed in 1991 with a mixture of New Orleans funk, jazz, and klezmer styles.

Starting in 2008, "The Other Europeans" project, funded by several EU cultural institutions, spent a year doing intensive field research in the region of Moldavia under the leadership of Alan Bern and scholar Zev Feldman. They wanted to explore klezmer and lăutari roots, and fuse the music of the two "other European" groups. The resulting band now performs internationally.

A separate klezmer tradition had developed in Israel in the 20th century. Clarinetists Moshe Berlin and Avrum Leib Burstein are known exponents of the klezmer style in Israel. To preserve and promote klezmer music in Israel, Burstein founded the Jerusalem Klezmer Association, which has become a center for learning and performance of klezmer music in the country.

Since the late 1980s, an annual klezmer festival is held every summer in Safed, in the north of Israel.

In music
While traditional performances may have been on the decline, many Jewish composers who had mainstream success, such as Leonard Bernstein and Aaron Copland, continued to be influenced by the klezmeric idioms heard during their youth (as Gustav Mahler had been). George Gershwin was familiar with klezmer music, and the opening clarinet glissando of "Rhapsody in Blue" suggests this influence, although the composer did not compose klezmer directly. Some clarinet stylings of swing jazz bandleaders Benny Goodman and Artie Shaw can be interpreted as having been derived from klezmer, as can the "freilach swing" playing of other Jewish artists of the period such as trumpeter Ziggy Elman.

At the same time, non-Jewish composers were also turning to klezmer for a prolific source of fascinating thematic material. Dmitri Shostakovich in particular admired klezmer music for embracing both the ecstasy and the despair of human life, and quoted several melodies in his chamber masterpieces, the Piano Quintet in G minor, op. 57 (1940), the Piano Trio No. 2 in E minor, op. 67 (1944), and the String Quartet No. 8 in C minor, op. 110 (1960).

The compositions of Israeli-born composer Ofer Ben-Amots incorporate aspects of klezmer music, most notably his 2006 composition Klezmer Concerto. The piece is for klezmer clarinet (written for Jewish clarinetist David Krakauer), string orchestra, harp and percussion.

In visual art
The figure of the klezmer, as a romantic symbol of nineteenth century Jewish life, appeared in the art of a number of twentieth century Jewish artists such as Anatoli Lvovich Kaplan, Issachar Ber Ryback, Marc Chagall, and Chaim Goldberg. Kaplan, making his art in the Soviet Union, was quite taken by the romantic images of the Klezmer in literature, and in particular in Sholem Aleichem's Stempenyu, and depicted them in rich detail.

In film

 * Yidl Mitn Fidl (1936), directed by Joseph Green
 * Fiddler on the Roof (1971), directed by Norman Jewison
 * Les Aventures de Rabbi Jacob (1973), directed by Gérard Oury
 * Jewish Soul Music: The Art of Giora Feidman (1980), directed by Uri Barbash
 * A Jumpin' Night in the Garden of Eden (1988), directed by Michal Goldman
 * Fiddlers on the Hoof (1989), directed by Simon Broughton
 * The Last Klezmer: Leopold Kozlowski: His Life and Music (1994), directed by Yale Strom
 * Beyond Silence (1996), about a klezmer-playing clarinetist, directed by Charlotte Link
 * A Tickle in the Heart (1996), directed by Stefan Schwietert
 * Itzhak Perlman: In the Fiddler's House (1996), aired 29 June 1996 on Great Performances (PBS/WNET television series)
 * L'homme est une femme comme les autres (1998, directed by Jean-Jacques Zilbermann with soundtrack by Giora Feidman)
 * Dummy (2002), directed by Greg Pritikin
 * Klezmer on Fish Street (2003), directed by Yale Strom
 * Le Tango des Rashevski (2003) directed by Sam Garbarski
 * Klezmer in Germany (2007), directed by Kryzstof Zanussi and C. Goldie
 * A Great Day on Eldridge Street (2008), directed by Yale Strom
 * The "Socalled" Movie (2010), directed by Garry Beitel

In literature
In Jewish literature, the klezmer was often represented as a romantic and somewhat unsavory figure. However, in nineteenth century works by writers such as Mendele Mocher Sforim and Sholem Aleichem they were also portrayed as great artists and virtuosos who delighted the masses. Klezmers also appeared in non-Jewish Eastern European literature, such as in the epic poem Pan Tadeusz, which depicted a character named Jankiel Cymbalist, or in the short stories of Leopold von Sacher-Masoch. In George Eliot's Daniel Deronda (1876), the German Jewish music teacher is named Herr Julius Klesmer. The novel was later adapted into a Yiddish musical by Avram Goldfaden titled (1908).

title: Klezmer