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I Am The Center New Age Music Ra
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Wooton discovered new age music while sifting through blogs like Crystal Vibrations and Sounds of the Dawn, where crate-diggers have uploaded hours of obscure tapes and forgotten LPs. While the former is now defunct, the latter has branched out into a monthly show on NTS Radio. Inspired by the vast catalogue of cassettes uncovered by both sites, Wooton decided to create a series of tracks that reimagine new age as various forms of UK dance music. The instrumentation, airy flute presets and mournful chimes are clearly borrowed from the former, but the beats themselves map onto UK funky and grime.
Disruptive Muzak suggests that ambient music might not be inherently apolitical. But like all music, it is vulnerable to being co-opted for purposes it might not have been intended for. The ways in which we view both new age and ambient have been shaped to large extent by the environments with which they have become associated: offices, spas and retail spaces. There is a tendency to view new age listeners as passive subjects, but it is possible to think of alternative scenarios in which they have agency.
\"In my view they're more concurrent than related,\" Douglas Mcgowan, proprietor of Yoga Records and A&R for reissue label the Numero Group, writes in an email about the connection between the wellness industry boom and a recent revival of New Age music. \"The music part is a music thing. The wellness part is a lifestyle thing. There will always be a vocal minority in new age music trying to push the idea that the music axiomatically needs to be part of an overall lifestyle of righteous wellness etc. To me this is not really true, or in accordance with the history of new age music, which is full of people who lived lustily and partied, and still do.\"
The debate over what constitutes this music goes back to the genre's beginnings in the 1960s and '70s. \"New Age often is defined by what it isn't, rather than by what it is,\" wrote Don Heckman for the Los Angeles Times in 1994. \"It isn't jazz, it isn't folk, it isn't rock, it isn't classical. Yet elements and influences from all these more precisely defined arenas occasionally sneak into the music.\" Indeed, the earliest New Age albums have more in common spiritually than sonically. The first New Age album is widely recognized to be Tony Scott's Music for Zen Meditation And Other Joys from 1965, a sparse soundscape of clarinet, koto and shakuhachi. Next was bassist and flautist Paul Horn's Inside, recorded inside the Taj Mahal in 1969 as an accompaniment to a documentary about transcendental meditation, followed in 1975 by the genre's arguable ur-text, Steven Halpern's Spectrum Suite. He plays seven keynotes on a Fender Rhodes that correspond to the seven chakras, in order \"to literally 'tune your human instrument.' \"
Doucet was there for the first New Age explosion, after she moved to L.A. in 1983 and opened America's first New Age-only record store, fittingly named Only New Age Music. The genre expanded to a movement at once derided and adored; top-selling artists like Enya and Yanni sought to distance themselves from the New Age label. \"When someone says new-age music, I think of something that you put on in the background while you're vacuuming the house,\" the Greek pianist deadpanned to the L.A. Times in 1988. Meanwhile, L.A.-based classic rock station KMET switched formats to KTWV, AKA \"The Wave,\" which played smooth jazz and New Age. The move dovetailed with an uptick in genre record sales. According to a Times report from 1987, pioneering New Age label Windham Hill was grossing over $26 million annually (about $59 million today) and other similarly-focused labels were seeing sales increase by 5-10,000 units year over year.
\"Within five years, every major record store was carrying New Age music,\" says Doucet, who has just reissued a five-LP career retrospective package, New Age Box Set: 1982-1984, on San Francisco label Dark Entries. \"It was so mainstream that people would come to us and listen to the music in listening stations, and then they would go to Tower Records and buy it for six dollars less, which we couldn't compete with.\"
\"When you deal with sacred, ancient practices, that thing that you are then commercializing takes on a different form and is then re-contextualized. It is a bit questioning and a little bit of a problem,\" he says. \"But the wealth of knowledge, the sharing of knowledge I feel is so important right now. I feel that has always been my M.O. with music and process and technology. A lot of what I do creatively and professionally, I share and I encourage others a lot of the time without placing a barcode on it.\"
In the 1950s, television surpassed radio as the most popular broadcast medium, and commercial radio programming shifted to narrower formats of news, talk, sports and music. Religious broadcasters, listener-supported public radio and college stations provide their own distinctive formats.
The broadcasts of live drama, comedy, music and news that characterize the Golden Age of Radio had a precedent in the Théâtrophone, commercially introduced in Paris in 1890 and available as late as 1932. It allowed subscribers to eavesdrop on live stage performances and hear news reports by means of a network of telephone lines. The development of radio eliminated the wires and subscription charges from this concept.
Through the decade of the 1920s, the purchase of radios by United States homes continued, and accelerated. RCA released figures in 1925 stating that 19% of United States homes owned a radio.[7] The triode and regenerative circuit made amplified, vacuum tube radios widely available to consumers by the second half of the 1920s. The advantage was obvious: several people at once in a home could now easily listen to their radio at the same time. In 1930, 40% of the nation's households owned a radio,[8] a figure that was much higher in suburban and large metropolitan areas.[7] The superheterodyne receiver and other inventions refined radios even further in the next decade; even as the Great Depression ravaged the country in the 1930s, radio would stay at the center of American life. 83% of American homes would own a radio by 1940.[9]
The sponsored musical feature soon became one of the most popular program formats. Most early radio sponsorship came in the form of selling the naming rights to the program, as evidenced by such programs as The A&P Gypsies, Champion Spark Plug Hour, The Clicquot Club Eskimos, and King Biscuit Time; commercials, as they are known in the modern era, were still relatively uncommon and considered intrusive. During the 1930s and 1940s, the leading orchestras were heard often through big band remotes, and NBC's Monitor continued such remotes well into the 1950s by broadcasting live music from New York City jazz clubs to rural America. Singers such as Harriet Lee and Wendell Hall became popular fixtures on network radio beginning in the late 1920s and early 1930s. Local stations often had staff organists such as Jesse Crawford playing popular tunes.
Classical music programs on the air included The Voice of Firestone and The Bell Telephone Hour. Texaco sponsored the Metropolitan Opera radio broadcasts; the broadcasts, now sponsored by the Toll Brothers, continue to this day around the world, and are one of the few examples of live classical music still broadcast on radio. One of the most notable of all classical music radio programs of the Golden Age of Radio featured the celebrated Italian conductor Arturo Toscanini conducting the NBC Symphony Orchestra, which had been created especially for him. At that time, nearly all classical musicians and critics considered Toscanini the greatest living maestro. Popular songwriters such as George Gershwin were also featured on radio. (Gershwin, in addition to frequent appearances as a guest, had his own program in 1934.) The New York Philharmonic also had weekly concerts on radio. There was no dedicated classical music radio station like NPR at that time, so classical music programs had to share the network they were broadcast on with more popular ones, much as in the days of television before the creation of NET and PBS.
Country music also enjoyed popularity. National Barn Dance, begun on Chicago's WLS in 1924, was picked up by NBC Radio in 1933. In 1925, WSM Barn Dance went on the air from Nashville. It was renamed the Grand Ole Opry in 1927 and NBC carried portions from 1944 to 1956. NBC also aired The Red Foley Show from 1951 to 1961, and ABC Radio carried Ozark Jubilee from 1953 to 1961.
From 1943 until 1949 the AFRS also broadcast programs developed through the collaborative efforts of the Office of the Coordinator of Inter-American Affairs and the Columbia Broadcasting System in support of America's cultural diplomacy initiatives and President Franklin Roosevelt's Good Neighbor policy. Included among the popular shows was Viva America which showcased leading musical artists from both North and South America for the entertainment of America's troops. Included among the regular performers were: Alfredo Antonini, Juan Arvizu, Nestor Mesta Chayres and John Serry Sr.[26][27][28]
The great majority of pre-World War II live radio broadcasts are lost. Many were never recorded; few recordings antedate the early 1930s. Beginning then several of the longer-running radio dramas have their archives complete or nearly complete. The earlier the date, the less likely it is that a recording survives. However, a good number of syndicated programs from this period have survived because copies were distributed far and wide. Recordings of live network broadcasts from the World War II years were preserved in the form of pressed vinyl copies issued by the Armed Forces Radio Service (AFRS) and survive in relative abundance. Syndicated programs from World War II and later years have nearly all survived. The survival of network programming from this time frame is more inconsistent; the networks started prerecording their formerly live shows on magnetic tape for subsequent network broadcast, but did not physically distribute copies, and the expensive tapes, unlike electrical transcription (\"ET\") discs, could be \"wiped\" and re-used (especially since, in the age of emerging trends such as television and music radio, such recordings were believed to have virtually no rerun or resale value). Thus, while some prime time network radio series from this era exist in full or almost in full, especially the most famous and longest-lived of them, less prominent or shorter-lived series (such as serials) may have only a handful of extant episodes. Airchecks, off-the-air recordings of complete shows made by, or at the behest of, individuals for their own private use, sometimes help to fill in such gaps. The contents of privately made recordings of live broadcasts from the first half of the 1930s can be of particular interest, as little live material from that period survives. Unfortunately, the sound quality of very early private recordings is often very poor, although in some cases this is largely due to the use of an incorrect playback stylus, which can also badly damage some unusual types of discs. 153554b96e
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