Rock and Roll

Rock and roll (often written as rock & roll or rock 'n' roll) is a genre of popular music that originated and evolved in the United States during the late 1940s and early 1950s, primarily from a combination of the blues, country music, jazz and gospel music.
In the earliest rock and roll styles of the late 1940s and early 1950s, either the piano or saxophone was often the lead instrument, but these were generally replaced or supplemented by guitar in the middle to late 1950s. The beat is essentially a boogie woogie blues rhythm with an accentuated backbeat, the latter almost always provided by a snare drum. Classic rock and roll is usually played with one or two electric guitars (one lead, one rhythm), a string bass or (after the mid-1950s) an electric bass guitar, and a drum kit.
Rock and roll began achieving wide popularity in the 1960s. The massive popularity and eventual worldwide view of rock and roll gave it a widespread social impact. Bobby Gillespie writes that "When Chuck Berry sang 'Hail, hail, rock and roll, deliver me from the days of old,' that's exactly what the music was doing. Chuck Berry started the global psychic jailbreak that is rock'n'roll."
Far beyond simply a musical style, rock and roll, as seen in movies and on television, influenced lifestyles, fashion, attitudes, and language. It went on to spawn various sub-genres, often without the initially characteristic backbeat, that are now more commonly called simply "rock music" or "rock."

Source: Wikipedia, the free encyclopedia & Google

Reggae

Reggae is a music genre first developed in Jamaica in the late 1960s. While sometimes used in a broader sense to refer to most types of Jamaican music, the term reggae more properly denotes a particular music style that originated following on the development of ska and rocksteady.
Reggae is based on a rhythmic style characterized by accents on the off-beat, known as the skank. Reggae is normally slower than both ska and rocksteady. Reggae usually accents the second and fourth beat in each bar, with the rhythm guitar also either emphasizing the third beat or holding the chord on the second beat until the fourth is played. It is mainly this "third beat", its speed and the use of complex bass lines that differentiated reggae from rocksteady, although later styles.

R

E

G

G

A

E

SUBGENRES

Early reggae
Early reggae, sometimes dubbed "skinhead reggae" due to its popularity among the working class subculture in the UK, started in the late 1960s, as the influence of funk music. The characteristic defining early reggae from rock steady is the "bubbling" organ, a percussive style of playing that brought to closer light the eighth-note subdivision within the groove. The guitar "skanks" on the second and fourth note of the bar were more frequently doubled up in recording studios using electronic tape echo effects, thus complementing the double-time feel of the organ bubble. Overall more emphasis was on the groove of the music; the growing trend of recording a "version" on the B-side of a single produced countless instrumentals led by a horn or organ.

Roots reggae
Roots reggae is a spiritual type of music whose lyrics are predominantly in praise of Jah (God). Recurrent lyrical themes include poverty and resistance to government and racial oppression. The creative pinnacle of roots reggae was in the late 1970s. Musically, on the song "Roots, Rock, Reggae" Marley devised a new style of "off beat" music where a bar of six beats is played, with the guitar skanking on the fourth and sixth beat. Although entirely separate from the beats of ska, rock steady, reggae, skank, flyers, rockers and all later styles, this unique beat seems to have been so closely associated with Marley that few others adopted it.

Dub
Dub is a genre of reggae that was pioneered in the early days by studio producers Lee 'Scratch' Perry and King Tubby. It involves extensive remixing of recorded material, and particular emphasis is placed on the drum and bass line.

Rockers
The rockers style was created in the mid-1970s by Sly & Robbie. Rockers is described as a flowing, mechanical, and aggressive style of playing reggae. One article calls the rockers era the "Golden Age of Reggae".

Lovers rock
The lovers rock subgenre originated in South London in the mid-1970s. The lyrics are usually about love. It is similar to rhythm and blues.

Newer styles and spin-offs

Hip hop and rap
Toasting is a style of chanting or talking over the record that was first used by 1960s Jamaican deejays such as U-Roy and Dennis Alcapone. This style greatly influenced Jamaican DJ Kool Herc, who used the style in New York City in the late 1970s to pioneer the hip hop and rap genres. Mixing techniques employed in dub music have also influenced hip hop.

Dancehall
The dancehall genre was developed around 1980, with exponents such as Yellowman, Super Cat and Shabba Ranks. The style was characterized by a deejay singing and rapping or toasting over raw and fast rhythms. Ragga (also known as raggamuffin) and reggae fusion, are subgenres of dancehall where the instrumentation primarily consists of electronic music and sampling. Notable ragga originators include Shinehead and Buju Banton. In February 2009, Dancehall with lyrical content "deemed explicitly sexual and violent" was banned from the airwaves by the Broadcasting Commission of Jamaica.

Raggamuffin
Raggamuffin, usually abbreviated as ragga, is a sub-genre of reggae that is closely related to dancehall and dub. The term raggamuffin is an intentional misspelling of ragamuffin, and the term raggamuffin music describes the music of Jamaica's "ghetto youths". The instrumentation primarily consists of electronic music. Sampling often serves a prominent role as well. As ragga matured, an increasing number of dancehall artists began to appropriate stylistic elements of hip hop music, while ragga music, in turn, influenced more and more hip hop artists. Ragga is now mainly used as a synonym for dancehall reggae or for describing dancehall with a deejay chatting rather than deejaying or singing on top of the riddim.

Reggaeton
Reggaeton is a form of urban music that first became popular with Latin American youths in the early 1990s. Reggaeton's predecessor originated in Panama as reggae en español. After the music's gradual exposure in Puerto Rico, it eventually evolved into reggaeton. It blends West-Indian reggae and dancehall with Latin American genres such as bomba, plena, salsa, merengue, Latin pop, cumbia and bachata, as well as hip hop, contemporary R&B and electronica. Modern reggaeton beats follow the structure of the Dem Bow Riddim, a beat created by Jamaican producers Steely & Clevie in the late 80s and early 90s.

Reggae fusion
Reggae fusion is a mixture of reggae or dancehall with elements of other genres, such as hip-hop, R&B, jazz, rock, drum and bass, punk or polka. Although artists have been mixing reggae with other genres from as early as the early 1970s, it was not until the late 1990s when the term was coined.

Source: Wikipedia, the free encyclopedia & Google

SKA

Ska is a music genre that originated in Jamaica in the late 1950s, and was the precursor to rocksteady and reggae. Ska combined elements of Caribbean mento and calypso with American jazz and rhythm and blues. It is characterized by a walking bass line accented with rhythms on the upbeat. In the early 1960s, ska was the dominant music genre of Jamaica and was popular with British mods.
Music historians typically divide the history of ska into three periods: the original Jamaican scene of the 1960s (First Wave), the English 2 Tone ska revival of the late 1970s (Second Wave) and the third wave ska movement, which started in the 1980s (Third Wave) and rose to popularity in the US in the 1990s.

2 Tone
The 2 Tone genre, which began in the late 1970s in the areas in and around the city of Coventry in England, was a fusion of Jamaican ska rhythms and melodies with punk rock's more aggressive guitar chords and lyrics. Compared to 1960s ska, 2 Tone music had faster tempos, fuller instrumentation and a harder edge. The genre was named after 2 Tone Records, a record label founded by Jerry Dammers of The Specials. In many cases, the reworking of classic ska songs turned the originals into hits again in the United Kingdom.

Third wave
The Third Wave of Ska Revival emerged in the late '80s, when certain members of the American punk underground began returning to the sounds of British ska revival and infusing it with a hardcore punk attack. During the early '80s, this third wave continued to grow -- more bands continued to pop up across the country, but many of the most popular were based in California. As time wore on, the hardcore influences eventually mutated into heavy metal, much like hardcore punk itself. Eventually, the third wave of ska revivalists broke into the American mainstream, thanks to the success of fellow Californian punk revivalists Green Day and the Offspring. The first third wave band to break big was Rancid, but they were quickly followed by groups like No Doubt, Goldfinger, Sublime, and Dancehall Crashers; the Mighty Mighty Bosstones, who were one of the leading figures of the scene in the early '90s, just missed the commercial bandwagon. Most of the bands that followed Rancid into the charts emphasized metal over ska, but some -- like No Doubt -- drew from new wave pop roots as well, while Rancid themselves managed to stay true to both ska revival and punk. During 1996, the third wave of ska revival became one of the most popular forms of alternative music in the United States.

Source: Wikipedia, AllMusic & Google

Oi!

Oi! is a working class subgenre of punk rock that originated in the United Kingdom in the late 1970s. The music and its associated subculture had the goal of bringing together punks, skinheads and other working-class youths (sometimes called herberts).
Oi! became a recognized genre in the latter part of the 1970s, emerging after the perceived commercialization of punk rock, and before the soon-to-dominate hardcore punk sound. It fused the sounds of early punk bands such as the Sex Pistols, the Ramones, The Clash, and The Jam with influences from 1960s British rock bands such as The Rolling Stones, the Small Faces, and The Who; football chants; pub rock bands such as Dr. Feelgood, Eddie and the Hot Rods, and The 101ers; and glam rock bands such as Slade and Sweet. Direct precursors to the first Oi! bands included Sham 69, Cock Sparrer, and Menace, who were around for years before the word Oi! was used retroactively to describe their style of music.
In 1980, writing in Sounds magazine, rock journalist Garry Bushell labeled the movement Oi!, taking the name from the garbled "Oi!" that Stinky Turner of Cockney Rejects used to introduce the band's songs. The word is an old Cockney expression, meaning hey or hello. In addition to Cockney Rejects, other bands to be explicitly labeled Oi! in the early days of the genre included Angelic Upstarts, The 4-Skins, The Business, Blitz, The Blood, and Combat 84.
The prevalent ideology of the original Oi! movement was a rough brand of socialist, working-class populism. Lyrical topics included unemployment, workers' rights, harassment by police and other authorities, and oppression by the government. Oi! songs also covered less-political topics such as street violence, football, sex, and alcohol. Although Oi! has come to be considered mainly a skinhead-oriented genre, the first Oi! bands were composed mostly of punk rockers and people who fit neither the skinhead nor punk label.
After the Oi! movement lost momentum in the United Kingdom, Oi! scenes formed in continental Europe, North America, and Asias. Soon, especially in the United States, the Oi! phenomenon mirrored the hardcore punk scene of the early 1980s, with Oi!-influenced bands such as Agnostic Front, Iron Cross, and S.S. Decontrol. Later American punk bands such as Rancid and Dropkick Murphys have credited Oi! as a source of inspiration. In the mid-1990s, there was a revival of interest in Oi! music in the UK, leading to older Oi! bands receiving more recognition. In the 2000s, many of the original UK Oi! bands reunited to perform and/or record.

Source: Wikipedia, the free encyclopedia & Google

Exercise : CAUSATIVE VERB "HAVE"

Fill in the blanks with the right from of Causative Have, and choose the right from of Verb given in the brackets.

1.     We had our treasury buy our new books yesterday.

(buy / buys / bought / to buy)

2.    She has her mom cook dinner for her.

(cook / cooks / cooked / to cook)

3.    He had his brother do his homework last night.

(do / does / did / done)

4.    Tom is having Bill writing the report at the moment.

(write / writes / writing / written)

5.    Mike has Jenni save his data.

(save / saving / saves / saved)

6.    Bob has his packages  delivered by the postman.

(deliver / delivers / delivered / delivery)

7.    Eddy had his data changed by his secretary last week.

(change / changes / changed / changing)

8.    Marie is having her house painted by the workmen at the moment.

(paint / painting / painted / paints)

9.    Jonny has his car parked by the parking man.

(park / parks / parking / parked)

10. They  are having  their maid cleaning  their room right now.

         (clean / cleaned / cleans / cleaning)