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Rock music in Belgium

Belgian rock refers to rock music produced in Belgium or written and performed by Belgian musicians. It was originally inspired by rock and roll music from America and the United Kingdom in the 1960s, but later evolved to be influenced by other genres including alternative rock and electronic music. Because Belgium is a federal state with strong cultural identities - a French-speaking area in the southern region of Wallonia as well as a Dutch-speaking population in the north region of Flanders - Belgian rock music uses these two national languages, as well as the English language.

The history of Belgian rock echoes that of European rock: after the 1950s, during which rock pioneers introduced the new genre, rock evolved further under the influences of beat music and pop music. During the 1970s, hard rock and progressive rock expressed new forms of rock, and punk rock signalled a return to the simplicity of rock and roll with Belgian bands like The Kids, Red Zebra, and Hubble Bubble. During the 1980s and 90s, indie rock and alternative rock developed with an important scene in Antwerp; Deus was a particularly successful band from the Antwerp alternative scene.

1955-1963: The introduction of rock and roll to Belgium
In Belgium, as in Europe in general, rock and roll began to spread at the end of the 1950s, in part due to the presence of American troops stationed in Europe in the post-war period. Among the first rock and roll songs to arrive in Belgium was Rock Around the Clock (Decca, 1954) by Bill Haley & His Comets. In 1956 the film of the same name was released in Belgium, which kicked off a rock and roll craze. Among the new pioneers of rock in Belgium there were Rocking Harry and Shorty Lee Smith and the Wildcats who began playing between 1956 and 1957. In issue 25 of the newly formed music magazine Juke Box the first concert of Bill Haley & His Comets at the Palais des Beaux-Arts in Brussels was announced on October 30, 1958. In 1959, Burt Blanca and the King Creoles released their "Oh, Carol! / I Love You So" (Hebra Records), Big Brown & The Gamblers followed this hit with "My Testament" (Palette, 1961), Clark Richard and his Tropical Stars released "Queen Of Love / Hot Rock Beat" (His Master's Voice, 1961) and Les Frangins released "Ye Youpi / Changhai" (Barclay, 1961).

Surf music and instrumental rock were influential for early Belgian rock music, brought to Belgium by UK bands like The Shadows. In 1957, the Belgian band The Jokers published their first 7" entitled "Drie Dagen En Drie Nachten" (CID). This was followed by the remake of the Belgian folk song Ik zag Cecilia komen with the new title Cecilia Rock (Philips, 1960). Among the many songs by the Jokers that later achieved popular success in Belgium were Ronny Boy (Discostar, 1963), Tabou (Discostar, 1964), and Gemini Boogie (Arcade Records, 1965). An instrumental rock band, The Cousins, released a rock version of the folk song Kili Watch (Palette, 1960). Other important releases of this period include the Shakespears ("Shake it over", 1965), the Pebbles ("Seven horses in the sky", 1968), and the Wallace Collection ("Daydream", 1969). Other notable artists got evolved in the rock scene, including blues and folk musicians like the Antwerps protest singer Ferre Grignard who released the songs Ring Ring and Drunken Sailor in 1966.

Between Rhythm & Blues, Beat, and Garage rock
In the mid-1960s, as a result of the British invasion, Belgian bands began to create a homegrown version of garage rock. The beat band The Pebbles were one of the most iconic bands of this movement. In 1965, they released a series of 7" singles -- Let's Say Goodbye / Love Me Again (CBS), Love Me Again / It's Alright With Me Now (Dot Records), It's Allright With Me / Forever More (CBS), and Huma - La La La La (Président) -- which were also popular in Spain, France, and Italy. The Pebbles performed on the Dutch TV show Fenklup on June 7, 1968.

In 1965 Les Godasses Verte released the 7" La Salade / Le Panier A Salade (CBS). Les Night Rockers released En Public Du Golf Drouot (Golf Drouot), I Can Tell (Barclay, 1965), and Dance To The Rock (Golf Drouot, 1966). The band Sylvester's Team released It Reminds Me (Louis XVI) (Roover Records, 1965) and Beautiful Day / Hurt Me No More (Roover Records, 1966). In 1968 they changed their name to Bird and the Bees and released their 7" Tiger Dans (Disques Vogue).

Born from the offshoot of the Belgian rock band Les Ombres, a band named The Klan released a series of singles and an album entitled Join Us (Palette, 1967); The Klan opened for the Rolling Stones at their Paris concert on April 10, 1967.

Psychedelic rock
For Belgium, 1967 was also the year in which the new psychedelic rock developed, as evidenced by The Pebbles 7" release I Got To Sing / You're Better Believe It (Barclay, 1967), their single Seven Horses In The Sky (Barclay, 1968), and their self-titled album (1969). The band shared the stage with Jimi Hendrix and with the Small Faces in a concert in Paris. In 1967, The Shakes began to develop a blues sound with strong psychedelic influences, clearly seen in Come On-A My House / Dust My Blues (Voom) and Shoot Me Baby / You've Got To Hide Your Love Away (Ronnex Records, 1968). Waterloo released the 7" Meet Again (Disques Vogue) in 1969 and Plastic Mind (Disques Vogue) in 1970. The same year, Paul's Collection released Man / Music Is My Life (RCA, 1970) followed by four 7" singles.

Progressive rock
Indie rock bands like TC Matic and De Kreuners, and many punk rock-dark wave bands like Nacht und Nebel, the Paranoiacs and Siglo XX, began to draw a significant audience, and started to release songs in their mother language. Some, like the eurorock band Machiavel and the pop/punk singer Plastic Bertrand, were also managed in a more commercial approach.

Among the notable bands with a strong jazz rock influences are the Cos and the Kandahar. The Cos debuted in 1973 with the album Postaeolian Train Robbery (Plus Records, 1974). The Kandahar debuted with the 7" single Survivin' Boogie / The Dark Hole Rag (Dwarf, 1974) and then released their first album In The Court Of Catherina Squeezer (Dwarf, 1975). The Esperanto Rock Orchestra achieved international fame with a self-titled album released by A&M Records. Other notable bands include Tideline, Magenta, Machiavel, the Isopoda, the Nessie, the Phylter, the Flyte, and the Dragon. The symphonic prog rock band, Banzai released Hora Nata in 1974 on the Dutch label Delta.

Hard & heavy
At the end of the 1960s, a hard rock / heavy metal style of rock emerged that was characterized by a dense, powerful sound, with rhythmic bass lines in the foreground, highly amplified distortion, guitar solos, emphatic rhythms, and an overall high volume. Among the pioneer bands of this genre in Belgium are Jenghiz Khan who released the seminal album Well Cut (Barclay). In 1971, Irish Coffee released a single entitled Carry On / Child (Triangle) and then a self-titled album in the same year.

Punk rock
The Belgian rock scene spawned many proto-punk and glam rock bands including Vacation who released the singles I Can't Bear Pain (Sandro, 1975) and Whatch What You Do (Sandro, 1977). Another example of proto-punk in Belgium is the band Blast who released the 7" Damned Flame / Hope (Majestic, 1974). Beginning in 1976-77 a national punk rock scene began in Belgium. One of the first punk bands in Belgium were The Kids, who were founded in 1976, and released the single 7" No Monarchy / Rock Over Belgium / The City Is Dead in 1978; later that year they released the albums The Kids (Fontana, 1978) and Naughty kids (Fontana, 1978). Other bands of the first Belgian punk rock wave include Red Zebra, Hubble Bubble, Plastic Bertrand, The Employees, and Perverted by Desire.

New wave
Among the Belgian new wave bands that emerged following the first wave of punk were pop bands like TC Matic of the singer Arno, De Kreuners, The Bowling Balls, Nacht und Nebel and Walter Verdin. New wave also included electronic rock bands like Telex, as well as bands inspired by songwriting like Rick Tubbax And The Taxi's, and Bubblegum pop artists like Lio. This period also included funk wave bands like Allez Allez and 2 Belgen.

Post-punk
Following the first wave of punk, more politically motivated post-punk bands emerged. These bands tended to have a harder sound than new wave bands, or adopted darker formulas and often linked to countercultures. Examples of post-punk in Belgium include Aroma Di Amore, Lavvi Ebbel, De Brassers, Siglo XX, A Noh Rodeo, Company of State, Mensen Blaffen, The Names, Jo Lemaire + Flouze, The Breath of Life, and Poésie Noire.

Synth rock
Many of the progressive rock bands of the 70s carried out their first experiments with synthesizers. But it was in the late '70s that many bands began to develop a Synth pop and Synth rock sound. Among these, the most successful Belgian band was Machiavel, which was categorized at the time as Eu-rock.

Cold wave
The origins of cold wave lie in the first wave punk bands of France and Belgium; this distinctive post-punk sound was the result of these bands' use of cheap portable synthesizers. Coldwave bands often mixed Darkwave sounds with German-style Krautrock electronics, obtaining often cold and minimal sound results. The bands in this genre include Aimless Device, Parade Ground, Siglo XX, and Poésie Noire.

Gothic rock
From the darker side of the post-punk scene of the late '70s, between coldwave, darkwave and industrial music, an autonomous scene of gothic rock with its own subculture grew in popularity in the 1980s. Among the Belgian bands that contributed to this scene were The Breath of Life, Siglo XX, De Brassers, The Names, and Poésie Noire.

Electronic body music

Belgium played a fundamental role in the development of electronic body music (EBM), a musical genre of post music -industrial which mixed among other things industrial music, electronic music, dance music and Synthpunk. Among the synthesizers that defined the style in its early phase were the Korg MS-20, the Roland SH-101, the ARP Odyssey, the Emulator II, along with several Oberheim and Yamaha models. The most important bands of early Belgian EBM were Front 242, Klinik and The Neon Judgement.

Indie rock
With the emergence of new beat in the 1990s, Belgium, especially Flanders, experienced a profound turning point in electronic music. As a reaction to the mainstream attitude of the new beat scene, an alternative rock and indie rock scene developed, along with a series of festivals, often put on by local youth organizations. The festival Humo's Rock Rally became particularly prominent. Although "Radio 21" was created in 1981 (two years prior to its Flemish counterpart Studio Brussel), the Dour Festival has only turned into a resolutely indie festival in the middle of the nineties.

A particularly rich indie rock scene emerged in Antwerp, where dEUS became a highly successful band. Mauro Pawlowski and Rudy Trouvé, members of dEUS, are key figures of the Antwerp scene. Pawlowski has played in numerous bands, including Mitsoobishy Jacson, Kiss My Jazz, Shadowgraphic City, The Love Substitutes, Othin Sake, The Parallels, Club Moral, Archetipi of the MultiSabanas, I Hate Camera, and Evil Superstars, as well as pursuing a solo career. Trouvé played with Dead Man Ray, Gore Slut, I Hate Camera, Kiss My Jazz, The Love Substitutes, Rudy Trouvé Sextet/Settet, Rudy and the Unforgettable Wally's. Other well-known indie rock bands from Antwerp include Zita Swoon, Dead Man Ray, K's Choice, Admiral Freebee, A Brand, and Die Anarchistische Abendunterhaltung.

The indie rock scene spread throughout Belgium. Notable musicians and groups in Belgian indie rock include Zita Swoon, Noordkaap, Venus, Sharko, Dead Man Ray, Admiral Freebee, A Brand, Die Anarchistische Abendunterhaltung, Gorki, Millionaire, Soulwax, An Pierlé, The Black Box Revelation, Novastar, Milow, Arid, An Pierlé, Das Pop, Admiral Freebee, Goose, Ozark Henry, and Hooverphonic.

In 1981, the pioneer noise band Club Moral formed in Antwerp.

As in most northern Europe countries, the hard rock-metal scene was maturing. In Belgium its first iconic groups were Kleptomania and Irish Coffee. In the 1990s, the metal band Channel Zero achieved wide success.

From 2000 onwards
The 2000s mark the arrival of a new uninhibited Belgian (mainly French) scene started by Venus, and then by Girls in Hawaii, Ghinzu, The Telrs, Hollywood Porn Stars, and Sharko. Other notable Belgian bands active during this period include Arid, Vive la Fête, Triggerfinger, and Absynthe Minded.

Belgian bands and artists

 * List of Belgian bands and artists

title: Rock music in Belgium


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Monellin

Monellin, a sweet protein, was discovered in 1969 in the fruit of the West African shrub known as serendipity berry (Dioscoreophyllum cumminsii); it was first reported as a carbohydrate. The protein was named in 1972 after the Monell Chemical Senses Center in Philadelphia, U.S.A., where it was isolated and characterized.

Protein composition
Monellin's molecular weight is 10.7 kDa. It has two noncovalently associated polypeptide chains: an A chain sequence with 44 amino acid residues, and a B chain with 50 residues. Monellin chain A (44 AA):

REIKGYEYQL YVYASDKLFR ADISEDYKTR GRKLLRFNGP VPPP

Monellin chain B (50 AA):

GEWEIIDIGP FTQNLGKFAV DEENKIGQYG RLTFNKVIRP CMKKTIYEEN

Amino acid sequence of the sweet protein monellin adapted from Swiss-Prot biological database of protein.

Monellin has a secondary structure consisting of five beta-strands that form an antiparallel beta-sheet and a 17-residue alpha-helix.

In its natural form, monellin is composed of the two chains shown above, but the protein is unstable at high temperatures or at extremes of pH. To enhance its stability, single-chain monellin proteins were created in which the two natural chains are joined via a Gly-Phe dipeptide linker. This modified version of the protein (MNEI) has been studied using NMR and X-ray diffraction.

In addition to its secondary structure, four stably bound sulfate ions were located on the monellin protein, three on the concave face of the protein and one on the convex face of the protein. The sulfate ion on the convex face of the protein is of particular interest because it lies adjacent to a patch of positive surface potential, which may be important in electrostatic interactions with the negative T1R2-T1R3 sweet taste protein receptor.

Sweetness properties
Monellin is perceived as sweet by humans and some Old World primates, but is not preferred by other mammals. The relative sweetness of monellin varies from 800 to 2000 times sweeter than sucrose, depending on the sweet reference against which it is assessed. It is reported to be 1500-2000 times sweeter than a 7% sucrose solution on a weight basis and 800 times sweeter than sucrose when compared with a 5% sucrose solution on a weight basis.

Monellin has a slow onset of sweetness and lingering aftertaste. Like miraculin, monellin's sweetness is pH-dependent; the protein is tasteless below pH 2 and above pH 9. Blending the sweet protein with bulk and/or intense sweeteners reduces the persistent sweetness and shows a synergistic sweet effect. Heat over 50 °C at low pH denatures monellin proteins, causing a loss of the sweetness.

So far, five high-intensity sweet proteins have been reported: monellin (1969), thaumatin (1972), pentadin (1989), mabinlin (1983) and brazzein (1994).

As a sweetener
Monellin can be useful for sweetening some foods and drinks, as it is a protein readily soluble in water due to its hydrophilic properties. However, it may have limited application because it denatures under high temperature conditions, which makes it unsuitable for processed food. It may be relevant as noncarbohydrate tabletop sweetener, especially for individuals such as diabetics who must control their sugar intake.

In addition, monellin is costly to extract from the fruit and the plant is difficult to grow. Alternative production such as chemical synthesis and expression in micro-organisms are being investigated. For instance, monellin has been expressed successfully in yeast (Candida utilis) and synthesised by solid-phase method. The synthetic monellin produce by yeast was found to be 4000 times sweeter than sucrose when compared to 0.6% sugar solution.

Legal issues are the main barrier in its widespread use as a sweetener, as monellin has no legal status in the European Union or the United States. However, it is approved in Japan as a harmless additive, according to the List of Existing Food Additives issued by the Ministry of Health and Welfare (published in English by JETRO).

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

title: Monellin


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America Undercover

America Undercover is a series of documentaries that aired on the cable television network HBO from 1983 through 2006. Within the series are several sub-series, such as Autopsy, Real Sex, and Taxicab Confessions.

History
The series began in 1983 and, after a brief time being broadcast weekly in 2001, was later broadcast once per month. In 2006, episodes began being rebroadcast on A&E Network.

Over the years, episodes have covered numerous subjects such as abortion, organized crime, and pedophilia. The show won several awards for the 1998 production of Strippers: The Naked Stages.

Episodes

 * Hooker (1983) - Directed by Robert Niemack
 * When Women Kill (1983) - Directed by Lee Grant
 * The Nightmare of Cocaine (1984) - Directed by Fleming B. Fuller
 * Toxic Time Bomb: The Fight Against Deadly Pollution (1984) - Directed by August Cinquegrana
 * Acts of Violence (1985) - Directed by Imre Horvath
 * Soldiers in Hiding (1985) - Directed by Malcolm Clarke
 * UFO's: What's Going On? (1985) - Directed by Robert Guenette
 * The Gift of Life (1986) - Directed by Bill Couturié
 * And the Pursuit of Happiness (1986) - Directed by Louis Malle
 * Kids in Crisis (1986) - Directed by Robert Niemack
 * Kids in Sports: The Price of Glory (1986) - Directed by Dennis Lofgren
 * Surveillance: No Place to Hide  (1986) - Directed by Joseph Angier
 * Drunk & Deadly: A Day on America's Highways (1987) - Directed by Robert Niemack
 * Murder or Mercy: Five American Families (1988) - Directed by Terry Dunn Meurer
 * Execution: Fourteen Days in May (1988) - Directed by Paul Hamann
 * Confessions of an Undercover Cop (1988) - Directed by Chris Jeans
 * Warning: Medicine May Be Hazardous to Your Health (1988) - Directed by Veronica L. Young
 * Why Did Johnny Kill? (1988) - Directed by Robert Niemack
 * Transplant (1988) - Directed by Vincent Stafford
 * Into Madness (1989) - Directed by Susan Raymond
 * Battered (1989) - Directed by Lee Grant
 * Crack USA: County Under Siege (1989) - Directed by Vince DiPersio and Bill Guttentag
 * One Year in a Life of Crime (1989) - Directed by Jon Alpert
 * Convicts on the Street: One Year on Parole (1990) - Directed by Robert Niemack
 * Doing Time: Life Inside the Big House (1991) - Directed by Alan Raymond
 * Rape: Cries from the Heartland (1991) - Directed by Maryann DeLeo
 * Attempted Murder: Confrontation (1991) - Directed by Tom Spain
 * Death on the Job (1991) - Directed by Vince DiPersio and Bill Guttentag
 * The Iceman Tapes: Conversations with a Killer (1992) - Directed by Arthur Ginsberg and Tom Spain
 * Suicide Notes (1992) - Directed by Robert Niemack
 * Asylum (1992) - Directed by Joan Churchill
 * Abortion: Desperate Choices (1992) - Directed by Deborah Dickson, Susan Froemke, and Albert Maysles
 * My Mother's Murder (1992) - Directed by Charles C. Stuart
 * Never Say Die: The Search for Eternal Youth (1992) - Directed by Antony Thomas
 * Women on Trial (1992) - Directed by Lee Grant
 * I Am a Promise: The Children of Stanton Elementary School (1993)
 * Gang War: Bangin' In Little Rock (1994)
 *  High on Crack Street: Lost Lives in Lowell  (1995) - Directed by Jon Alpert, Maryann DeLeo and Richard Farrell
 * The Celluloid Closet (1995)
 * Fetishes (1996) - Directed by Nick Broomfield
 * Dragtime (1997) - Directed by Patti Kaplan
 * Thug Life in DC (1999) - Directed by Marc Levin
 * Life Afterlife (2000) - Directed by Lisa F. Jackson
 * Bellevue: Inside Out (2001) - Directed by Maryann DeLeo
 * Blue Vinyl (2002)
 * My Flesh and Blood (2003)
 * Shelter Dogs (2003)
 * Middle Sexes: Redefining He and She (2005)
 * Dealing Dogs (2006)

title: America Undercover


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Talk:Air force officer ranks

Untitled
For US officers, this article is somewhat confusing, because the OF scale is different from the O scale used in all branches of the US military. I don't know what OF means, but clearly OF-9 is equivalent to O-10 (US), and so on down the line, all being off by one. Sivamo 08:24, 2 Dec 2004 (UTC)
 * Correct. Both ranks of lieutenant are OF-1 on the NATO scale. OF stands for 'officer'. Using the NATO scale prevents US-centrism. -- Necrothesp 11:29, 2 Dec 2004 (UTC)
 * Surely you are correct about avoiding US-centrism. But, for the poor ignorant US-ians, of whom there may be a number, could we have some sort of clarifying comment to explain what the "OF" scale is -- maybe a nice wikilink to a page explaining it would be apropos :) Sivamo 03:47, 3 Dec 2004 (UTC)

Someone needs to make a list of countries that follow the British model due to its unique and scarce nature. So far, I've confirmed Australia, New Zealand, and India, any more?

 * Royal Australian Air Force, Royal New Zealand Air Force, Nigerian Air Force, Indian Air Force, Pakistan Air Force, Bangladesh Air Force and Sri Lanka Air Force for definite. The Ghana Air Force and Air Force of Zimbabwe (previously Royal Rhodesian Air Force) also use the same basic system, but replace Pilot Officer and Flying Officer with Air Sub Lieutenant and Air Lieutenant. The Royal Canadian Air Force and Royal Malaysian Air Force used to use the system, but have since switched to army ranks. I suspect the system is or was also used elsewhere in Africa. -- Necrothesp 11:39, 8 Jun 2005 (UTC)

Arthurus
Arthurus seems to be a new sockpuppet of Roitr. He recreates article Chief Marshal of the Air Force of the Russia in spite this rank does not exist.--Nixer 17:52, 24 March 2006 (UTC)

title: Talk:Air force officer ranks


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USS Springer

USS Springer (SS-414) was a Balao-class submarine of the United States Navy, named after the springer, a Grampus.

Springer was laid down on 3 October 1943 at Vallejo, Calif., by the Mare Island Navy Yard; launched on 3 August 1944, sponsored by Mrs. M. S. Tisdale; and commissioned on 18 October 1944.

Springer sailed for San Diego on 3 December to conduct sea trials and shakedown training. After availability, she departed Mare Island for Hawaii on 8 January 1945 and arrived at Pearl Harbor the following week. On 4 February, she steamed to Guam; topped off her stores and oil; and, on 17 February, sailed for the Ryukyu Islands to begin her first war patrol.

First patrol, February – March 1945
Springer rode out several heavy storms and was driven down many times by enemy aircraft, but she finally spotted two Japanese warships on 11 March. The ships were at a range of 22,000 yards (20 km), steaming at 17 kn, so the submarine surfaced to give chase. She was forced to submerge immediately by planes, and the pursuit was abandoned.

Later in the month, the submarine made radar contact with three ships, and she tracked the largest for three hours. When it was within torpedo range, she made a surface attack with four torpedoes. She scored two hits and the target began to burn. An hour later, Transport No. 18 was still afloat so she sank it with another torpedo. The submarine returned to Guam on 25 March and was refitted by USS Proteus (AS-19).

Second patrol, April – May 1945
Springer, USS Trepang (SS-412), and USS Raton (SS-270) sailed on 20 April for the Yellow Sea where they were to operate as a wolfpack. Eight days later, the pack checked Tomei Harbor on Fukue Shima. At 05:15, Springer sighted two ships hugging the coastline, but she found it impossible to close nearer than 6500 yd. She heard 14 explosions at approximately 06:30. Trepang had sunk Transport No. 146 and was being depth charged by the victim's escort. Springer headed out of the harbor, and sighted the escort returning alone. At 08:30, the submarine launched three torpedoes. The target went dead in the water; and, as the crew was abandoning ship, Springer fired another torpedo. It hit under the target's No. 1 turret and blew off her bow. Two planes and two patrol craft approached, so Springer went deep and cleared the area, leaving Japan's Submarine Chaser No. 17 to sink.

Springer and Trepang contacted three targets on 30 April. The morning was very foggy, and the submarines decided to make a surface attack. Just as Springer reached a favorable firing position around noon, the fog suddenly lifted and left her exposed to a destroyer escort crossing her stern. The escort turned toward the submarine with all guns firing. Springer submerged, went deep, and rigged for silent running. Soon the first of 27 depth charges came down, and all were uncomfortably close. Speakers were knocked off the bulkhead, bulbs were smashed, and valves were lifted off their seats. When all was quiet, the submarine surfaced for a look as the fog closed in again. One more explosion was heard as Trepang sank the cargo ship Miho Maru.

On the night of 2 May, Springer attacked a ship and two small escorts with a spread of four torpedoes. She heard the first explode and then saw and heard two more hits which blew up and sank the frigate Ojika. The next night, she fired a spread of torpedoes at a ship making an antisubmarine sweep and sank the Japanese Coast Defense Vessel No. 25.

On 4 May, Springer sailed toward Honshū for lifeguard duty. No American pilots were sighted but, on 14 May, after watching a dogfight between a Japanese fighter and four of American carrier planes, she fished the dead enemy pilot from the water. After removing his papers, the submarine's commanding officer returned his body to the sea. The submarine concluded her patrol at Guam, on 18 May, and was refitted by Proteus.

Third patrol, June – July 1945
Springer sailed to Saipan on 16 June and began her third war patrol the next day. This was a combination offensive and life guard patrol in the Tokyo Bay area. On 26 June, she rescued eight men from a downed B-29 and transferred them to USS Tigrone (SS-419). Springer and Trepang were notified that there was another crew down about 50 mi distant. They raced to the scene and Springer rescued one airman while Trepang picked up seven. The airman was transferred to USS Devilfish (SS-292) several days later. After an uneventful patrol in Kii Suido from 17 July to 23 July, the submarine sailed for Guam.

Springer was at Guam when hostilities with Japan ceased. She departed there on 17 August and headed for the west coast of the United States. She arrived at Mare Island on 5 September 1945 and shortly thereafter was attached to Mare Island Group, Pacific Reserve Fleet. In January 1947, her status was changed to in reserve, out of commission.

Honors and awards
Springer earned three battle stars for World War II service.

Thomson (SS-22)

In April 1960, Springer was moved from Mare Island to the San Francisco Naval Shipyard to be modernized in preparation for her transfer to the Republic of Chile. She was recommissioned on 24 September and the overhaul completed on 15 November. From 19 December 1960 to 19 January 1961, she held alongside and underway training for the Chilean crew.

Springer was decommissioned on 23 January 1961, transferred to the Republic of Chile, and commissioned in the Armada de Chile as Thomson (SS-22) on that date.

Springer was struck from the US Navy list on 1 September 1972, and sold to the government of Chile; she was stripped for spare parts for other submarines and her hulk sold for scrapping.

title: USS Springer


text:
User:Brinkost

Basics

 * my school
 * my town
 * my personal info
 * What-I-do-1
 * What-I-do-2
 * What-I-do-3
 * What-I-do-4
 * Bands that I like
 * Talk-to-me

title: User:Brinkost


text:
Michael Schudson

Michael S. Schudson (born November 3, 1946) is professor of journalism in the graduate school of journalism of Columbia University and adjunct professor in the department of sociology. He is professor emeritus at the University of California, San Diego. He is an expert in the fields such as journalism history, media sociology, political communication, and public culture.

Biography
Schudson grew up in Milwaukee, Wisconsin. He received his BA from Swarthmore College (1969) and his MA (1970) and PhD (1976) from Harvard University in sociology. He taught at the University of Chicago from 1976 to 1980 and the University of California, San Diego, from 1980 to 2009. From 2006 to 2009, he was on the faculty of both University of California, San Diego, and Columbia. He has been working full-time at Columbia since 2009.

Schudson has received major awards such as a Guggenheim Fellowship, a residential fellowship at the Center for Advanced Study in the Behavioral Sciences at Stanford University, and a MacArthur "genius" fellowship. On being named a MacArthur fellow in 1990, the foundation identified him as "an interpreter of public culture and of collective or civic memory". He was awarded an honorary doctorate from the University of Groningen in 2014.

Schudson lives in New York City and is married to communication scholar Julia Sonnevend.

Work
Schudson is the author of seven books and editor of three others concerning the history and sociology of American journalism, the history of United States citizenship and political participation, advertising, popular culture, book publishing, and cultural memory. His books, Discovering the News (Basic Books, 1978), Advertising, the Uneasy Persuasion (Basic Books, 1984), The Good Citizen: A History of American Civic Life (Free Press, 1998), The Sociology of News (W. W. Norton, 2003, 2011), and Why Democracies Need an Unlovable Press (Polity Press, 2008); all have been published in Chinese translation. His other works include Watergate in American Memory (Basic Books, 1992); The Power of News (Harvard University Press, 1995), Reading the News (Pantheon, 1986), co-edited with Robert K. Manoff; Rethinking Popular Culture (University of California Press, 1991), co-edited with Chandra Mukerji; and The Enduring Book (vol. 5 of The History of the Book in America, University of North Carolina Press, 2009), co-edited with David Paul Nord and Joan Shelley Rubin.

His books are reviewed in both specialized and general publications. The Journal of American History judged The Good Citizen (1998) to be "relevant, imaginative, and determined to face facts" and The Economist urged all Americans to read it. Times Higher Education (UK) called Why Democracies Need an Unlovable Press (2008) "eloquent and wise".

Schudson publishes in both academic and general-interest journals. In the Winter 2019 edition of the Columbia Journalism Review he authored a history of "trust" issues related to journalistic reporting in the United States, a historical review of such issues, and the origin of the term, "the media", that is entitled, The Fall, Rise, and Fall of Media Trust. He offered an assessment of whether and how trust may be cultivated by journalists and publishers. Its subtitle is, "There are worse things than being widely disliked".

He is co-author, with Leonard Downie Jr., of a report on the future of news, The Reconstruction of American Journalism (2009), that was sponsored by the Columbia Journalism School.

Books

 * Discovering the News: A Social History of American Newspapers (1978) ISBN 978-0-465-01666-2
 * Advertising, the Uneasy Persuasion (1984) ISBN 978-0-465-00079-1
 * Reading the News (1986) editor with Robert K. Manoff ISBN 978-0-394-74649-4
 * Rethinking Popular Culture: Contemporary Perspectives in Cultural Studies (1991) editor with Chandra Mukerji ISBN 978-0-520-06893-3
 * Watergate in American Memory: How We Remember, Forget and Reconstruct the Past (1992) ISBN 978-0-465-09084-6
 * The Power of News (1995) ISBN 978-0-674-69587-0
 * The Good Citizen: A History of American Civic Life (1998) ISBN 978-0-674-35640-5
 * The Sociology of News (2003, 2011) ISBN 978-0-393-97513-0
 * Why Democracies Need an Unlovable Press (2008) ISBN 978-0745-64452-3
 * The Enduring Book (vol. 5 of The History of the Book in America) (2009) editor with David Paul Nord and Joan Shelley Rubin ISBN 978-0-807-83285-1

title: Michael Schudson


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title: User talk:82.46.99.16


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Chilean rock

Chilean rock is rock music and its corresponding subgenres produced in Chile or by Chileans. Chilean rock lyrics are usually sung in Spanish so can be considered as part of rock en español, although they are sometimes sung in English as well.

Rock music was first produced in Chile in the late 1950s by bands that imitated, and sometimes translated, international rock and roll hits from the U.S. This movement was known as the Nueva Ola (New Wave). Although original bands started to emerge as well in the early 1960s.

During the second half of the 1960s, after the success of rock and roll music, the Nueva Canción Chilena (New Chilean Song) and Fusión latinoamericana (Latin American fusion) genres were born in Chile, bringing to fame artists like Violeta Parra and Victor Jara as extremely influential folk singers, or Los Jaivas and Congreso who were more instrumentally elaborated.

In the 1970s, however, there was a decline in the country's rock scene as a result of the military dictatorship imposed by the 1973 coup d'état. From 1973 to 1990, all forms of rock music were prohibited (along with an important part of the cultural life), causing stagnation in the music industry. Nevertheless, an underground scene grew up with new genres such as heavy metal, punk and new wave music. Los Prisioneros were the most outstanding band of this era.

The 1990s saw the beginning of a revival for Chilean rock music, with several Chilean bands finding international success along with the growth of many rock subgenres such as alternative rock, pop rock, funk rock, reggae, grunge, britpop or latin rock becoming commercially successful. Los Tres became the most iconic rock band of this era, alongside La Ley in pop.

In the early 21st century, many more independent artists have become increasingly popular, while the previous ones have consolidated generating a cultural legacy of wide variety and trajectory. Synth pop, neo-folk rock, latin rock, alternative rock and pop rock are among the most successful subgenres of our times, although increasingly harder to categorize due to his indie and fusion nature.

Although frequently omitted from mass media preferring commercial foreign music instead, Chile has an extensive and rich rock culture, a permanent underground scene with hundreds of recognized bands, many niches of varied alternative sub-genres, as well as powerful regional scenes in Concepción and Valparaíso.

Early rock and roll and Nueva Ola (1955–1965)
Rock and roll originated in the United States in the late 1940s and 1950s and expanded rapidly around the world. In the late 1950s, the first Chilean rock and roll bands emerged, largely imitating popular North American bands and performing rock and roll songs they were already hits in the U.S. Some of the first Chilean rock and roll bands included William Reb y sus Rock Kings, Harry Shaw y Los Truenos, which performed versions of Elvis Presley tracks in 1956–57 and would later go on to record versions of Beatles songs. However, William Reb felt he never received the credit he deserved for his part in Chilean rock and roll.

Chile's first solo rock and roll artists were Peter Rock, with his Elvis Presley cover Baby, I Don't Care/Something Happened (1959), and Nadia Milton, with her single Scobidou/Un poco (1960). The twist was also very popular in the 1950s, imported to Chile by the band Los Twisters with the singles Penas juveniles, Caprichitos, Me recordarás, Sueña and Mi secreto. In 1963, Los Twisters were voted the most popular band in Chile.

What began in the 1950s with imitations of American rock and roll soon developed into original music. La Orquesta Huambaly, with its roots in tropical music and jazz, were the first Chilean rock and roll band to compose original songs, including Huambaly rock (1957) and Rock del mono (Monkey Rock, 1958).

However, the first real commercial success story of the Nueva Ola scene was Los Ramblers, with their El Rock del Mundial (World Cup Rock) album released in May 1962 for the 1962 FIFA World Cup in Chile. Los Ramblers opened the door to many other successful Nueva Ola artists. Some of the most well-known were: Peter Rock, Alan y sus Bates, Los Rockets, Buddy Richard, José Alfredo Fuentes, Antonio Prieto, Antonio Zabaleta, Cecilia Pantoja, Germán Casas, Ginette Acevedo, Gloria Benavides, Jorge Pedreros, Luis Dimas, Maitén Montenegro, Marcelo Hernández, Mirella Gilbert, Osvaldo Díaz, Germaín de la Fuente, Paolo Salvatore, Pat Henry, and Roberto Vicking Valdés. The Nueva Ola movement spread out of Santiago and throughout Chile, with bands like The New Demons forming in the northern city of Iquique, and The Blue Splendor, who formed – and still perform today – in Valparaíso.

The success of the Chilean Nueva Ola lasted until the mid-1960s, led by a second generation of musicians characterized by their original compositions, such as Buddy Richard, Patricio Renán, Los Ángeles Negros, José Alfredo Fuentes and Cecilia, considered by some critics as the greatest teen star of the mid-1960s.

The Nueva Ola has been criticized for foreignizing Chilean music because the style, lyrics and even names were heavily lifted from American and British culture. For some, the Nueva Ola movement is not considered the true origin of Chilean rock. They point instead to groups like Los Mac's, Los Jockers and Los Vidrios Quebrados, who modelled themselves more on bands like The Rolling Stones and The Beatles, and "were the first groupings who can really be identified as ‘rock made in Chile’, going further than the pop figures of the Nueva Ola." Bands that followed them were Los Picapiedras, Los Beat 4, Los Lark's and Los Sonny's one of the bands of future Florcita Motuda.

New chilean song
During the second half of the 1960s and early 1970s, after the strong American and British influences of the Nueva Ola, the Chilean rock movement began to return to the country's indigenous and Latin American sounds looking for his own identity. A neo-folk movement developed with the aim of recovering traditional Chilean folk music and merging it with Latin American rhythms such as andean music. This would have its fullest expression in the Nueva Canción Chilena (the New Chilean Song), which grew up in parallel to other nueva canción movements across Latin America.

The Nueva Canción Chilena was characterized by a rediscovery of the instruments and sounds of historic Latin American traditions, and in particular the work of the artists Violeta Parra and Victor Jara. Despite being mainly acoustic, both Parra and Jara were extremely influential in the development of a new, socially aware folk culture, and rock culture as well, which looked beyond traditional peasants themes and drew in contemporary issues from across Chile and Latin America. They tried to represent the reality of life for working-class people, instead of the idealized portrait traditionally seen in older folk music.

Fusión Latinoamericana
After the singer-songwriter approach of the Nueva Canción, Los Jaivas would lead the movement to a more progressive rock style. Forming in 1963 in Viña del Mar, Los Jaivas mixed rock with South American ancestral music to form what became known as folk progressive rock or Fusión Latinoamericana. The 1981 album Alturas de Macchu Picchu (based on lyrics from The Heights of Macchu Picchu by Pablo Neruda) is considered a South American rock masterpiece. Congreso and Los Blops would follow this more elaborated way to make music and all three would be considered cornerstones in the definitive "Chilenization of Rock". Congreso would last more than 50 years creating new music and becoming an iconic Chilean band. En Busca del Tiempo Perdido, Congregación, Combo Xingú, Sol y Medianoche, Kissing Spell/Embrujo, Frutos del País and Panal made the rest of the scene. Their style would be later known as Fusión latinoamericana.

Psychedelic rock and Piedra Roja festival
Psychedelic rock and blues rock came to Chile in the 1970s as it did elsewhere, influencing bands like Aguaturbia, Escombros and Sacros. Escombros contained former members of Los Mac's and Los Jockers and sung in English, producing covers of Jimi Hendrix and Led Zeppelin among others. Sacros have been compared to The Byrds and Bob Dylan, with traces of, and released their first album, Sacros, days before the 1973 military coup. The album is now a collector's item.

The famous Woodstock Festival in the U.S. inspired a similar event in Santiago, the Piedra Roja Festival of October 1970. The festival attracted many followers of the hippie movement and included performances by Los Blops and Los Jaivas, but poor organization led to a chaotic event which included sound problems and the presence of drugs and crime. The festival was, according to the National Digital Library of Chile, "the moment in which the youth subculture, represented by rock, became a public issue and was reported in the media as a latent social problem. Young people were shown as liberal, drug-taking, long-haired rebels who were affecting mainstream society."

Major music festivals of the time were Primer Encuentro de Música de Vanguardia (January 1970), Primer Festival de Rock Progresivo (October 1971) and Los Caminos Que Se Abren (February 1973). All three happened at Quinta Vergara (Viña del Mar).

Underground scene during the dictatorship (1973–1989)
The proliferation of Chilean rock bands in the early 1970s ended with the military coup of 11 September 1973. The repressive military regime prohibited all manifestations of rock music, along with many other forms of culture (see Military government of Chile (1973–1990): cultural life). This brought about a decline of the music industry in Chile and a deterioration of the Chilean rock scene. Some Latin American fusion bands broke up, like Los Blop's, while others fled abroad, like Los Jaivas, who emigrated to Argentina. Others, like Congreso, were forced to radically change their music to a progressive rock style. By the late 1970s, an underground scene gradually began to emerge with punk rock, heavy metal, and later new wave music becoming increasingly popular.

Los Prisioneros
However, one of the most well-known and influential bands since the 1980s, and from all history of Chilean rock, was Los Prisioneros, who were especially known for their outspoken songwriter and lead vocalist, Jorge González. The trio was also conformed by Claudio Narea on guitar and second voices, and Miguel Tapia on drums. Musically ranged from rockabilly, to reggae, ska, punk and later synth pop. Jorge Leiva of Musica Popular describes Los Prisioneros as "by far the most representative Chilean rock group. Their stripped-down rock, free from virtuoso pretensions, and their lyrics, full of acute social observation, were the voice of youth disenchantment during the dictatorship of Augusto Pinochet." Their albums La voz de los '80, Pateando piedras and Corazones are considered among the best of Chilean popular musical history. On 1 October 1993 MTV's Latin Channel (MTV Latino) debuted and they chose as their first video broadcast the Los Prisioneros music video We are sudamerican rockers.

Punk and Hardcore
Chile's first contribution to punk rock can be found abroad. In the mid-1970s Alvaro Peña, better known as "The Chilean with the Singing Nose", joined Joe Strummer in the band The 101'ers, one of the world's first punk bands and a precursor to the legendary band The Clash. From 1985, the first local punk bands began to play in union headquarters around Santiago, such as El Trolley, named after the trolleybus workers’ union, and a cab-drivers’ union in El Aguilucho in Ñuñoa, Santiago. These saw performances from punk bands the Pinochet Boys, Zapatilla Rota, and Dadá, among others. The first Chilean punk festival took place in El Garage Internacional de Matucana with Fiskales Ad-Hok, Ocho Bolas, Politikos Muertos and Vandalik among others. Jordi Berenguer writes: “they were clandestine and illegal spaces. It was the last years of the dictatorship. If there was now less to fear, the death and repression still continued.” In the following years, stand out punk bands would include Los Peores de Chile, Bbs Paranoicos, Los Miserables, Machuca, Parkinson and post punk band Pánico. The hardcore punk bands would be Los Morton, Anarkía, Caos, Los KK, Belial and DTH. Pop punk bands of the late 1990s were Tronic, Gufi, or Los Mox!. Pegotes and Familea Miranda were able to take back punk to his original ideology. Horror punk was made by Letifer, Don Zata, Q.E.P.D or Voodoo Zombie.

Heavy and Thrash Metal
In the later 1970s and 1980s, a heavy metal scene developed that was highly clandestine despite having no overt political affiliation or outward opposition to General Augusto Pinochet and his ongoing military regime. Bands of this generation included Pentagram Chile, Dorso, Massakre, Necrosis, Panzer and Rust. Tom Araya would become the biggest metal figure as the lead vocalist and bassist of Slayer, after his family emigrated to the United States. During the late 1980s, with the dictatorship coming to an end, bands such as Squad, Massakre, Necrosis, Pentagram Chile and Criminal become well known in Chile and even at an international level. In contrast to punk, thrash metal had its origin in Santiago's upper-class neighborhoods and was less involved with politics, although the lyrics of bands like Necrosis showed an interest in the political situation. Many other bands would leave his trail such as Turbo, Callejón Oscuro, Arrecife, Ekkos, Panchorrata in addition to other thrash metal bands such as SQVAD, SxNxFx (Sex No Future), Cancerbero, Atomic Aggressor Vastator and Bloody Cross, a black metal band formed in 1986.

At the turn of the decade, and as the dictatorship came to an end, more Chilean metal bands emerged, including Six Magics, Slavery, Torturer, Bismarck, Dracma and Inquisición. Progressive metal bands such as Alejandro Silva power cuarteto, Coprofago, Crisálida, Horeja, Matraz or Delta, were also notable. Tumulto, Arena Movediza and Millantún were between heavy metal and hard rock styles. The heyday of the Nu metal genre also expanded to Chile, generating a much more aggressive, raw and less commercial variant that was locally known as "Aggro Metal". Since the beginning of the new millennium several bands, like 2X, Rekiem and Rey Chocolate, got considerable airplay on MTV and also participated in annual festivals until the mid 2000s, when Aggro Metal started to lose its past relevance and most of the bands split up or migrated to other styles.

A study made in 2018 confirms that Chile is the country with most metal bands per capita in Latin America doubling Argentina and the rest by far.

New Wave and Post Punk
Others groups of this decade were heavily influenced by electronic music, new wave music, as well as Argentine rock and pop. Acts such as Aparato Raro, Upa!, Banda 69, Emociones Clandestinas and Electrodomésticos in addition to the last stages of Los Prisioneros, were pioneers of indie and synth pop of modern days, and earned a significant amount of success.

Fusion and Progressive
Heirs of the Fusion latinoamericana of the early '70s, under the Pinochet regime new bands emerged that emphasized influences other than folk, such as contemporary classical music, jazz, metal, world music, or experimental music, away from the massive public but acclaimed by the circuits of connoisseurs, despite often struggling to record. Congreso and Los Jaivas would continue to lead the way in the next decades however many creatives progressive and fusion rock ensembles would rise such as Almandina, Kalish and Grace of King in the mid '70s. The jazz vibraphonist and classical conductor Guillermo Rifo was the founder of three important bands, Aquila, where he melds latin rhythms with electric ensemble, later form the Sexteto Hindemith 76, where he merged jazz, academic music and folk, and Latinomusicaviva where chamber music, jazz improvisation and rhythm merge of rock. Other bands were Santa y su gente, Miel, the first to use a synthesizer, and Kámara. Formed in 1972, Fusión is historically considered the first Chilean jazz-rock project, using electric instrumentation, experimented on rhythmic patterns of soul, funk and rock, but maintaining intact the impulse of the primitive jazz improvisation. Shortly after, Pizarro (founder of Fusión) released as soloist and later he would found in Europe, Tamarugo and Skuas, with influences of classical music, jazz and latin. In the '80s other significant bands were Tercera Generación, Quilín, Evolución, La Banda del Gnomo, Bandhada, Amapola, Ernesto Holman (previously bassist in Congreso), Ensamble, La Hebra, Cometa, AlSur and Huara. A singular case of underground resistance was Fulano, inspired in the Rock in Opposition movement, had a virtuoso Zappa-like jazz-rock style, with a punk attitude and witty lyrics, that would influence on modern avant-garde rock bands such as Akinetón Retard and Mediabanda. Once back in democracy new outstanding bands were formed such as La Marraqueta, Tryo, Matraz, Ergosum, Entrama, Akinetón Retard, Exsimio, Dwalin, Entrance, La Neura, Mediabanda (with their remarkable debut album in 2003 entitled Entre la Inseguridad y el Ego), Subterra, Mar de Robles, Primavera Negra, Astralis, Nubosidad Parcial and Fractal.

Diversification and Internationalization (1990–2004)
In the 1990s, Chilean rock was characterized by a diversification of styles derived from rock and pop, as well as a greater exposure to the international market. This was due in part to the return of democracy and an end to the repression of cultural activities, as well as an increase in contact between the Chilean population and the rest of the world as a result of economic liberalization. Thus, Alternative rock and Pop rock were the most common styles, among an increasingly wider range of subgenres.

Los Tres
The leading Chilean rock band of the 1990s were Los Tres, who mixed styles like rock (from rockabilly to grunge), jazz and cueca (Chile's folkloric national dance) and became particularly successful in Mexico, The albums Los Tres (1991), La Espada & la Pared (1995) and Fome (1997) are considered among the most influential albums of rock en español according to Rolling Stone Magazine and Culto Magazine from La Tercera. Besides an MTV Unplugged in (1995) which was one of the most laureate unplugged of the MTV Latino era. They became the iconic rock band of the Chilean transition to democracy. The band took musical quality to a new level in Chile with its instrumental development of rock, thanks in part to versatile guitarist Ángel Parra, grandson of Violeta Parra, and leader of his own latin jazz band called Ángel Parra Trío. Álvaro Henríquez, lead singer and second guitarist, was previously known as the musician of La negra Ester, a very influential musical theater play (based on the poetry book written in décimas by Roberto Parra Sandoval and directed by Andrés Pérez). He also led Los Pettinellis, during Los Tres hiatus, who had a short but successful career from 2001 to 2004 before splitting up, not long after also performing in the Viña del Mar International Song Festival. In addition to a homonymous solo album in 2005. The rest of the band was composed by bassist Roberto Lindl and drummer Francisco Molina, who left the band in 2000 to start a jazz career in the United States after his experience in Chile with Los Titulares. Henríquez would become the third major rock star of Chile, after Gato Alquinta from Los Jaivas, and Jorge González from Los Prisioneros, due to his outstanding career with Los Tres.

Pop Rock
La Ley (Spanish for "The Law"), also had a very successful career in Mexico and other Spanish-speaking countries and won a Grammy Award, two Latin Grammy Awards and an MTV Video Music Award. After a failed first album, Desiertos (1990), they released Doble Opuesto (1991), which appears as the official first album of the band. Singles like "Desiertos," "Tejedores de Ilusión," and "Prisioneros de la Piel" made them stars in Chile, Argentina and Mexico, especially after the release of La Ley, their second recording (1993). After Andrés Bobe's death in 1994 (guitars, vocals), La Ley continued with a new guitarist, Pedro Frugone, and released two more albums; in 1995, the band released Invisible, the album was their international breakout record and provided to the band their best-selling studio album to date, it included the number ones "Dia Cero" and "El Duelo".

Other key 1990s bands included: Lucybell, whose popularity expanded during the decade throughout Chile and the rest of the continent, and more closely related to alternative rock. Javiera y Los Imposibles, whose lead singer Javiera Parra is also member of the Parra family, and Nicole who became the first female rock pop solo artist to gain international recognition, were also very popular. During the first half of the 2000s, Javiera y Los Imposibles, whose 2001 album AM was performed at the prestigious Viña del Mar International Song Festival in 2002, became widely popular. Saiko also formed in the late 1990s (1999) and, made up of former members of La Ley and the singer Denisse Malebrán, found recognition during the first half of the 2000s. La Rue Morgue would be a good example of jazzy pop rock music with good mainstream acceptance. Sexual Democracia was a regional band from Valdivia that reached popularity in Santiago. Other alternative pop rock bands were Elso Tumbay, Golem, Ludwig Band and Profetas y Frenéticos from Claudio Narea. Aleste and Sol Azul were the iconics one-hit wonder of 1990s pop. Teen pop was led by Supernova and Stereo 3, and in the 2000s by emo pop band Kudai.

Funk and Soul
Even though the history of funk in Chile goes back to the late 1960s and Los Minimás, it was not until the 1990s that funk became widely popular. The first band to create a purely funk album in Chile was Los Morton, who formed in 1990 and released their debut album, "Santo Remedio", in 1993. Their funk sometimes incorporated other styles such as rap and Hardcore, with other bands like Supersordo sharing this kind of sound. In 1995 Los Tetas, released their debut album entitled Mama Funk, combining rock, funk, soul and hip hop. Los Tetas’ first single, "Corazón de Sandía" (Watermelon Heart), was a summer hit on the local radio stations and their first two albums Mama Funk (1995) and La Medicina (1998), went on to be released and performed in several other Latin American countries. Between these two major works, they collaborated in the 1997 album of Tiro de Gracia "Ser humano!!" (Human being), which is considered the sixth best album in the history of Chile according to Rolling Stone Magazine. In 1995, the successful band Chancho en Piedra emerged with their debut album "Peor es mascar lauchas" (It's Worse To Chew Mice). Their style has been compared to the Red Hot Chili Peppers but they are also known for their unique funk/rock sound, goofy style, and their socially and politically aware lyrics. Their success continued with Ríndanse terrícolas (Surrender earthlings) (1998) and Marca Chancho (Pig brand) (2000). As of 2020, they have released 11 albums. Other funk bands emerging in this decade included Papanegro, Matahari, Raiza, Mamma Soul, Solo di Medina, or Cholomandinga in a mix of Latin rhythms and funk. La Pozze Latina, Makiza, De Kiruza, and Tiro de Gracia, made the rap funk scene, in the Chilean hip hop boom of the late 1990s. The electronic scene was led by DJ Raff and DJ Bitman. After the Los Tetas' hiatus in 2004, his members would have solo projects. C-Funk made a solo career in the United States and joined Chancho en Piedra as a guitarist in 2019. Tea-Time would found Funk Attack together with Rulo (who also founded Esencia) and both would have a solo career as well before they all reunited in 2011.

Grunge
As in the rest of the world, the grunge bands of Seattle had a great impact on Chilean youth in the beginning of the 1990s, and the decade saw the emergence of Chilean grunge bands like Tatto Falconi TTF, Jus Solis, Mandrácula, Los Ex, Blu Toi and Duna. These last two produced their first albums independently, though Blu Toi's album was distributed by Warner Bros. The influence of the grunge sound can also be seen in bands like Los Tres, Yajaira and Weichafe.

Reggae
One of the first bands to play reggae in Chile, despite reggae not being their main influence, was Sol y Lluvia, founded in 1976 and still active today. Sol y Lluvia also had strong ties to the Nueva Canción Chilena and later to alternative rock. Los prisioneros were also pioneers in reggae and ska during the 1980s. However Gondwana, founded in 1987, are today considered the most successful Chilean reggae band. Produced by the well-known Doctor Dread of RAS Records, Gondwana found success in Chile and abroad and performed in both Jamaica and the United States as well as his lead singer Quique Neira since he began his solo career in 2003. Another exponent of Chilean reggae in the 1990s was La Floripondio, who mixed reggae with cumbia, ska, and rock, similar to Joe Vasconcellos.

Chilean "Brit" Pop
In the second half of the 1990s a new wave of Chilean bands appeared, influenced mainly by the alternative rock and Britpop scenes that spread around the world. These included bands like Glup! who were heavily influenced by Blur, and reached great deal of mainstream success thanks to their hit single Freebola of the album 1999 released the same year. Other importants bands were Canal Magdalena, Solar, and Santos Dumont, all of whom became popular with Chilean Britpop fans.

Latin Rock
A prominent and special case was Joe Vasconcellos, who had worked as lead singer in Congreso between 1980 and 1984. Since the late 1980s, he developed a solo career that in the 1990s reached his peak. His style combines rock, blues, cumbia, Brazilian music, and other Latin rhythms, often with big percussion and brass sections. His albums Toque (1995), and Vivo (1999) were major hits, and would influence on next generations of Latin percussion-based rock artists, such as Chico Trujillo and the New Chilean cumbia movement. Other bands in this kind of fusion would be Santo Barrio, Cholomandinga, and La Floripondio.

Blues Rock
The origins of blues in Chile are uncertain, although Aguaturbia was a benchmark in this style, as were Los Jaivas in their songs such as "Canción del gancho", there is no more concrete background. The song "O'Riley" by Destruction Mac's can be taken as a reference, which applies a harmonica with bluish touches, although the music of this band is clearly inspired by groups of hard rock like Mountain. Although there was a small revival in the 1980s with Mauricio Redolés, it was not until the 1990s that groups such as El Cruce and La Banda del Capitán Corneta that a blues of Creole dyes spread in Chile, the first two decades of the 21st century stood out Perrosky, Julius Popper, Zapatillas Social Blues, La Rompehueso and La Rata Bluesera.

Digital era, commercial decline and future (2005–present)
These years have seen a consolidation of the previous successes of Chilean rock-pop in the international market, while the older artists are now considered cultural icons. During the 2010s, rock music in general saw a decline in mainstream popularity and chilean rock was not a exception, however a new generation of musicians began to appear, mostly independent and difficult to classify due to the increasing fusion of sub-genres. Folk rock and synth pop are genres that have been successfully reinvented, while an ever-present hard rock scene continues among fan niches.

In the second half of the 2000s, one of the best-known Chilean rock bands was Los Bunkers, an alternative rock group from Concepción, Chile, who formed in 1999. With their contemporary rock sound, influenced by 1960s rock and folk sounds, the band has achieved international success with the album Vida de perros (Dog's Life) and performed at the Vive Latino festival in Mexico City in 2006 and 2007. Also from Concepción are the band De Saloon, forming in 2003. Other notable band of this period included Sinergia, with a mix of nu metal and Comedy rock with humorous lyrics of daily and mundane Chilean topics, winning fans outside the rock scene.

Emergence of indie, acoustic, synthpop and rock-pop
Several Chilean artists – including Anita Tijoux (previously known as lead singer in hip hop band Makiza), Mon Laferte, Francisca Valenzuela, Álex Anwandter, Gepe, Javiera Mena, Pedropiedra, Camila Gallardo, Denise Rosenthal, María Colores, Teleradio Donoso, Ases Falsos, Planeta No, Astro, Primavera de Praga, Difuntos Correa, Niños del Cerro, and Dënver, among others – gain international praise and recognition, especially in the Spanish press, with El País calling Chile a "new pop paradise". Alongside with the electronic aesthetics, a new generation of mostly acoustic singer-songwriters, and world music inspired musicians had an important presence in stages and media. Manuel García (previously known as leader of Mecánica Popular), Nano Stern, Chinoy, Camila Moreno, Pascuala Ilabaca, Fernando Milagros, Paz Court, Evelyn Cornejo, Paz Quintana, Natalia Contesse are some of them.

Hard Rock highlights
Among the most celebrated new rock bands of the 2010s decade were Kuervos del Sur, Rama, Tenemos Explosivos, Alectrofobia, Matorral, Cómo asesinar a Felipes (fusing alternative hip hop and jazz with rock) Weichafe, Adelaida, Angelo Pierattini and Cler Canifrú. Kuervos del Sur are considered heirs of Los Jaivas in making rock with latinamerican instruments and rhythms, but with a harder sound, close to post-grunge. They won a Pulsar Award for best rock album in 2017 for El Vuelo del Pillán.

Festivals
In the 2010 "Festival El Abrazo" (The Hug Festival), held in Santiago to celebrate 200 years of independence for both Chile and Argentina, Chilean heavyweights Los Jaivas and Los Tres were joined by Argentinean artists like Charly García and Fito Páez, among others. Meanwhile, Los Bunkers were, in 2011, the first Chilean band to play Coachella in the United States. In April 2011, Chile hosted Lollapalooza Chile, the first of the Lollapalooza festivals to be held outside the United States. Its success was such that it returned again from 2012 to 2019 and attracted international artists like The Killers, Kanye West, Foo Fighters, Arctic Monkeys and hundreds of other big names. Chilean acts like Los Bunkers, Chico Trujillo and Anita Tijoux have also performed at the Chicago version of Lollapalooza. Another big festival was La Cumbre del Rock Chileno (The heights of Chilean rock) being held in 2007, 2009, 2012, 2013, 2017 and 2018. Hundreds of Chilean bands performed, included major artist as well as emerging ones.

In 2012 and 2013, a festival called Metal Fest featured local metal bands with international artists such as Anthrax, The Misfits and Blind Guardian.

Other festivals are Rock en Conce (Also known as REC), held since 2015 in Concepción, Rockódromo and Rock Carnaza in Valparaíso, Fluvial in Valdivia, Woodstaco in Maule Region and Chiloé Metal Fest in Chiloé Archipelago.

title: Chilean rock


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Harris Teeter

Harris Teeter Supermarkets, LLC., also known as Harris Teeter Neighborhood Food & Pharmacy, is an American supermarket chain based in Matthews, North Carolina, a suburb of Charlotte. , the chain operates 261 stores in seven South Atlantic states (North Carolina, South Carolina, Virginia, Georgia, Florida, Delaware, Maryland) and Washington, D.C. Supermarket News ranked Harris Teeter No. 34 in the 2012 "Top 75 Retailers & Wholesalers" based on 2011 fiscal year sales of $4.3 billion.

On July 9, 2013, Harris Teeter Supermarkets announced that it was being acquired by The Kroger Company for $2.5 billion. The sale closed on January 28, 2014, though the company retained its name, brand, and headquarters in Matthews. On February 1, 2022, Harris Teeter named Tammy DeBoer as the company's president.

Founding and early days
Harris Teeter was founded by William Thomas Harris and Willis L. Teeter, two entrepreneurs who started their separate businesses during the Great Depression in Charlotte, North Carolina. Harris opened a full-service drugstore called Harris Drugs and Teeter opened Teeters Food Mart, later merging their two ventures.

Harris, an employee of the A&P store on Central and Pecan Avenues – Charlotte's first supermarket – borrowed funds in 1936 to open the Harris Super Market at 1704 Central Avenue. The store had eight employees, primarily selling dry groceries because frozen foods and refrigeration did not become common until World War II. To the family and their employees, it was known as Store #1. This store, later known as Harris Teeter store #201, closed on June 5, 2012, and was replaced by the two-story store #401 on the same site, which opened on May 29, 2013.

Harris' store was the first in North Carolina to allow customers to select their own groceries off the shelves. Before this time, customers handed a shopping list to a clerk, who then selected the groceries for the customers. The store was also open until 9 p.m. on Fridays, at a time when most grocery stores closed their doors at 5 p.m. This was done to appeal to working families and to capture their grocery shopping after they were paid on Fridays. Later, the Harris Super Market was the first grocery store in Charlotte to add air conditioning.

Harris also ran his own dairy farm and sold products from his dairy in his stores. For his wife, LaVerne, the dairy products carried the brand name of Vernedale Farms. Harris pioneered the first dairy co‑op among local dairy farmers. After running the co-op for several years, he negotiated its sale to Pet Dairy.

Harris Super Markets began primarily as a family business. Most of Harris's brothers and sisters were employees, and brothers and brothers-in-law were store managers. His sister, Sarah, ran the accounting department and his wife's sister was Harris's personal secretary. His son, Donald Thomas Harris, began working for the company at eight years old by sweeping floors. As an adult, Donald suggested that Harris Teeter should carry more than just food products, and recommended the introduction of health and beauty aids, school supplies, bakeware, kitchen tools, and seasonal items (such as coolers in the summer). His father liked the idea and told Don that he should create and run that division of the company, which he did until his retirement in 1995. He was the last member of the family who worked for the company.

Harris was instrumental in the permanent placement of kindergartens in the South Carolina public school system, and supported the effort to turn Charleston College into what is known today as the College of Charleston.

In 1939, Willis L. Teeter, who also worked for A&P at its Mooresville, North Carolina store, with his brother Paul, who was also working for A&P, borrowed $1,700 to open Teeter's Food Mart on Main Street in Mooresville. A&P was closing its doors in Mooresville and agreed to lease the location to the Teeter brothers. The first Teeter Food Mart opened on July 15, 1939. Teeter's was a family-run operation. Teeter was the manager, Paul (Bill), his brother was the produce manager, and Teeter's wife, Sylvia, also worked at the store. Paul's wife, Mildred, later joined the staff as a bookkeeper as the Teeter stores expanded. The Teeter brothers believed in exceptional customer service, even having home delivery service. Because of their standards of providing great customer service and only the best products, they saw sales rise quickly. Teeter based all he would do on the Golden Rule: Treat others as you would have them treat you.

In 1946, the Teeters moved from downtown to a larger location to keep up with demand. The Teeters were leaders in installing the first automated doors and check-outs in North Carolina. In July 1953, the Teeters opened their second store in Lincolnton, North Carolina. At this point the Teeters had become a household name. Lines of eager shoppers wrapped around the new store in anticipation of being one of the first customers in Teeters' second location. The Teeters' success continued to grow and by 1957 their third store opened in Newton, North Carolina, a fourth in Cornelius, a fifth in Hickory, and a sixth opened in Morganton, North Carolina, in November 1958.

After opening his sixth store Teeter joined the NC Food Dealers Association. At one of the Food Dealers meetings, Teeter met Harris. The two men decided that working together would increase the financial strength of the two supermarkets, allow them to grow more rapidly, and decrease operating costs. W. L. Teeter and W. T. Harris agreed to merge and did so in November 1959 to become Harris Teeter Supermarkets. The merger of 15 stores collectively became official in February 1960. The new company became the largest independent grocery organization in the Carolinas.

New ownership and 1980s expansion
Harris Teeter was purchased in 1969 by The Ruddick Corporation, owned and run by the Bourgeois-Dickson Family. The new owners introduced alcoholic beverages for sale for the first time. Harris, a devout Southern Baptist, had refused to allow the sale of alcohol, even after the merger.

In 1970, the chain introduced the Big M discount concept to compete with Colonial Stores Big Star discount chain and A&P's "WEO". Those stores were mainly in working-class neighborhoods, while middle and upper-class areas retained Harris Teeter. By 1976, the chain merged the two back to Harris Teeter/More Value and finally to just Harris Teeter again in 1979.

Harris Teeter's 1980 acquisition of the Hunter Farms dairy in High Point, North Carolina, enabled the company to substantially reduce dairy costs. Today, all Harris Teeter-brand and Hunter Farms-brand dairy products come from the Hunter dairy. Hunter also provides dairy products to companies and organizations not associated with Harris Teeter, including convenience stores, schools, Lowes Foods private label ice creams, and the Wendy's Frosty.

In 1984, Harris Teeter purchased several Food World stores in and around Greensboro. As part of the purchase, the company acquired a warehouse in the western part of Greensboro. This marked the first significant foray of the company outside its Charlotte base. Before this point, the company was a grocer in the vein of Piggly Wiggly, with a mix of stores in urban and rural areas. Since 1984, Harris Teeter has focused more on higher-income urban sites. This trend continued with HT's 1988 purchase of Big Star Supermarkets, giving it a foothold in the Raleigh-Durham market.

Ashcraft retired in 1986, and Edward Dunn took over as president of Harris Teeter in that year. During Dunn's watch, Harris Teeter began expansion outside North Carolina. The first expanded stores were in the northern part of South Carolina, near Charlotte. Later expansions led the company to Myrtle Beach, Charleston, and the Hampton Roads region of Virginia. The "Very Important Customer" program, popularly known as VIC, was introduced later in Dunn's tenure. This program was one of the first widespread loyalty card programs now popular throughout American grocery stores. The VIC program advertised "giveaways" such as turkeys for Thanksgiving, beach apparel for the summer, and gift cards to Harris Teeter stores.

In 1981, Harris Teeter was one of the first grocery chains to test plastic grocery bags. In 1985 the company added child-restraint belts to shopping carts. The chain's flagship store during the 1980s was in Charlotte's Cotswold neighborhood. It featured a waterfall and a fresh orange juice machine in the produce department, and for a brief period stocked fresh truffles that were flown in from France and priced at $300 a pound.

1990s and 2000s: further expansion
Fred Morganthall became president of Harris Teeter upon Dunn's retirement in 1997. Morganthall oversaw further expansion of the supermarket chain since taking over as company president. His first initial expansions moved Harris Teeter into Nashville, Tennessee; Atlanta, Georgia; and Jacksonville, Florida, which happened through the end of the 1990s.

Harris Teeter's expansion into Atlanta included 15 stores around the city and its suburbs. There were plans to further expand in Atlanta. However, these plans were only partially fulfilled and poorly executed, leading the chain to pull out of the Atlanta market altogether in 2001. Atlanta already had an established supermarket base with Publix and Kroger. Kroger quickly bought and reopened some of the former Atlanta Harris Teeter store spaces as Kroger stores, although remodeling these stores to Kroger's store floor plan and design took a few years.

Harris Teeter originally operated three stores in the greater Jacksonville area when the company expanded into that market in the late 1990s. However, only one store remains open serving Amelia Island/Fernandina Beach, and thus making it Harris Teeter's only Florida location, albeit just south of the Georgia border. The Mandarin area store closed in 2004. October 3, 2006, brought the closing of the Ponte Vedra Beach location.

Starting in the 2000s, Harris Teeter attempted to differentiate itself from its competitors by providing exceptional customer service and newly "branded" departments. The first department to be "branded" was the meat department, which in June 2002 began offering "Harris Teeter Rancher" beef. This was followed by the introductions of the Farmers' Market (produce department, October 2003), the Fisherman's Market (seafood department, April 2004), and the Fresh Foods Market (deli/bakery, January 2005). Gourmet imported items are sold under the "H.T. Traders" brand.

Harris Teeter stores are now separated into 3 regions and 18 districts. The Northern Region, based in Fairfax, Virginia, encompasses all stores in Virginia, Maryland, Delaware, and the northern coastal area of North Carolina. The Central Region, based in Raleigh, North Carolina, encompasses stores from Greensboro/High Point to Wilmington and Albemarle. The Southern Region, based in Charlotte, contains stores in southwestern North Carolina (from Winston-Salem to Asheville), as well as South Carolina, Georgia, and Florida.

, Harris Teeter had over 18,000 employees, and is the second largest supermarket chain in North Carolina, with Food Lion being number one.

By the mid to late 2000s, expansion to the Outer Banks of North Carolina had begun with stores in Corolla (May 2006), Kill Devil Hills (July 2006), and Morehead City (February 2009). The first store in Maryland opened in Darnestown on October 31, 2006; the second opened in May 2008 in Columbia's Village of Kings Contrivance, replacing the closed Safeway. The first store in Washington, D.C., opened in 2008.

Harris Teeter continues its shift into high-income urban areas. Most new stores opened in Morganthall's tenure conform to this pattern. Stores such as the original Harris Super Market, located near uptown Charlotte, remain grandfathered into the current system. With Harris Teeter's further expansion into the upscale markets, many of their older stores in lower income neighborhoods or small towns were being shut down as a result. One of Harris Teeter's oldest stores at Eastland Mall in Charlotte closed on June 22, 2006.

2010 to today
The chain's expansion into Baltimore's Locust Point neighborhood was originally set for 2010, but was delayed due to "construction and financial problems". As of April 2014, Harris Teeter had eleven stores in Maryland, including the Locust Point location.

After selling its only other holding, American and Efird, Inc., Ruddick changed its name to Harris Teeter Supermarkets, Inc. in 2012. It had consolidated revenues of $4.3 billion for the fiscal year ended October 2, 2011 ("Fiscal 2011").

In June 2012, Harris Teeter announced the closure of six locations outside the Charlotte core, and its purchase of ten Lowes Foods stores in the Charlotte region. In turn, Lowes Foods would take the six Harris Teeter locations that would close and be compensated $26.5 million. Harris Teeter said this decision was based on focusing on larger, urbanized, and more upscale areas rather than rural, middle-market areas. In turn, Lowes Foods planned to shift to the western part of North Carolina, and away from Charlotte. However, industry analysts speculate that these changes are happening due to the impending expansion of Publix into the Charlotte market.

In 2012, Harris Teeter closed its stores in Asheville, Hickory, Shelby, Morganton, and two stores in Gastonia; the company had been established in these markets for at least the last half-century. The company returned to Asheville in 2013 with store #348 and Gastonia in 2016 with store #281. The newer Harris Teeter in Hendersonville, as well as the Boone location, did not close. They were retained as the only Harris Teeter stores in the western part of the Charlotte market. The Lowes Foods stores that became Harris Teeter were three stores in Charlotte, now two with the Hunter's Crossing store closing in 2018 (the Promenade store became a Fresh Market), and one in Cornelius, Davidson, Huntersville, Matthews (Stallings), Wesley Chapel, and Fort Mill, South Carolina. Lowes Foods stores in Harrisburg and Mooresville were retained.

The chain's largest store opened in winter 2018 at the New Bern Marketplace in New Bern, North Carolina, totaling up to 100,000 square feet. Harris Teeter also operates a number of prototype stores in their seven state layout. Some of these include a 78,200 square foot location in Greensboro, North Carolina, and a 78,000 square foot location in Charlotte.

A new upscale grocery store called 201central and owned by Harris Teeter opened two locations in two former Lowes Foods locations in Huntersville, North Carolina and Wesley Chapel, North Carolina, but the Huntersville store closed on February 3, 2018, with the Wesley Chapel store following on December 15, 2020. This announcement came shortly after upscale brand Whole Foods Market opened its first Charlotte store in late summer 2012 and before Publix announced its expansion into the Charlotte region.

In recent years, Harris Teeter has started a "Fuel Points" program whereby customers can earn discounts that can be used on gasoline purchases at Harris Teeter Fuel stations, which are adjacent to some Harris Teeter locations.

Since 1992, the official mascot of Harris Teeter has been "Harry the Happy Dragon." Its slogan is "Your Neighborhood Food Market", although the older slogan "The Best Is What We're All About" still appears frequently in stores. An advertising campaign that debuted in 2004 features the slogan "My Harris Teeter", which is used as a jingle.

Kroger merger
It was announced on July 9, 2013, that Kroger would buy Harris Teeter for $2.4 billion in cash. The company became a subsidiary of Kroger and continued to operate under the Harris Teeter brand. The merger closed on January 29, 2014, upon which chairman Thomas Dickson announced his retirement. The deal represented a return of sorts to the Charlotte market for Kroger. It had previously operated stores under its own moniker in Charlotte from 1977 to 1988. It also allowed Kroger to enter the Asheville region. Charlotte and Asheville had been the only large markets in the Carolinas where Kroger had no presence.

In June 2015, Harris Teeter exited the crowded Nashville market, where its growth was stunted by aggressive competition from Publix (which expanded into the area around the same time as Harris Teeter), as well as other specialty grocers such as Trader Joe's, The Fresh Market, and Whole Foods, which all opened stores in the proximity of Harris Teeter locations. Kroger has traditionally had a market-leading presence in Nashville, and initially promised to keep the Harris Teeter stores open after the acquisition, But later, Kroger said the market "did not support Harris Teeter's future business plans." Harris Teeter closed one Nashville-area store soon after opening in the early-2000s, but five survived into 2015. The first of those closed in February, another was permanently closed in June, and the remaining three were converted to Kroger stores by 2016 (one of which replaced a nearby existing Kroger store).

title: Harris Teeter