Deprogramming courses along the lines of a basic elementary school education.
How to tie your shoes, how to wash your hands, basic math, reading, writing, vocabulary, learning how to recite the pledge of allegiance, learning the states and their capitals, etc.
Italo disco (various capitalized, and sometimes hyphenated as Italo-disco)[1] is a music genre which originated in Italy and was mainly produced in 1980s. Italo disco evolved from the then-current underground dance, pop, and electronic music, both domestic and foreign (American hi-NRG, French Euro disco) and developed into a diverse genre. The genre employs electronic drums, drum machines, synthesizers, and occasionally vocoders. It is usually sung in English, and to a lesser extent in Italian and Spanish.
The origin of the genre's name is strongly tied to marketing efforts of the ZYX record label, which began licensing and marketing the music outside Italy in 1982.[2] Italo disco faded in the early 1990s and then split into many genres. (Eurobeat, Italo house, Italo dance)
Terminology Edit
The term "Italo", a generic prefix meaning Italian, had been used on pop music compilation albums in Germany as early as 1978, such as Italo Top Hits on the K-Tel label and the first volume of Italo Super Hits on the Ariola label.[3]
There is no documentation of where the term "Italo-Disco" first appeared, but its origins are generally traced to Italian and other European disco recordings released in the German market. Examples include the phrase "Original Italo-Disco" on the sleeve of the German edition of "Girls on Me" by Amin-Peck in 1982, and the 1983 compilation album The Best of Italo-Disco.[4] These records, along with the Italo Boot Mix megamix, were released by Bernhard Mikulski on his ZYX label, who was therefore credited with coining the term "Italo disco".[1][5] The Best of and Boot Mix compilations each became a 16-volume series that culminated in 1991. Both series primarily featured disco music of Italian origin, often licensed from independent Italian labels which had limited distribution outside Italy, as well as songs in a similar style by other European artists.
The presenters of the Italian music show Discoring (produced by RAI) usually referred to Italo disco tracks as "rock elettronico" (electronic rock) or "balli da discoteca" (disco dance) before the term "Italo disco" came into existence.
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History Edit
Origins: 1977–1983 Edit
Italo disco originated in Europe in the late 1970s. After Disco Demolition Night in 1979, American interest in disco sharply declined, whereas in Europe the genre maintained a greater degree of mainstream popularity and survived into the 1980s. As the early 1980s proceeded and popular tastes changed, fewer and fewer English-speaking artists were producing new disco records. Italian disc jockeys who played disco therefore had to rely on imports, which proved prohibitively expensive in many cases. In response to these challenges, Italian producers and musicians began to create their own original productions in order to bridge the gap.
As with many musical styles, Italo disco spawned multiple subgenres. Therefore, there is no consensus regarding when the genre began or when the first Italo disco record was released. However, Italian producers had been creating disco music since at least 1977, and there is general agreement that Italo disco's roots lie in traditional disco. The adoption of synthesizers and other electronic instruments by disco artists led to electronic dance music, which spawned many subgenres such as hi-NRG in America and space disco in Europe. Italo disco's influences include Italian producer Giorgio Moroder, French musician Didier Marouani, French drummer Cerrone, and the San Francisco-based Hi-NRG producer Patrick Cowley, who worked with singers as Sylvester and Paul Parker.
Italo disco often features electronic sounds, electronic drums, drum machines, catchy melodies, vocoders, overdubs, and heavily accented English lyrics. By 1983, Italo disco's instrumentation was predominantly electronic. Along with love, Italo disco themes deal with robots and space, sometimes combining all three in songs like "Robot Is Systematic" (1982) by 'Lectric Workers and "Spacer Woman" (1983) by Charlie.
Then also new musical genres that had set aside the rock of the 1970s thanks to new groups, such as Duran Duran, Depeche Mode, Spandau Ballet and great pop artists Michael Jackson and Madonna. The 1980s brought the electronics with real instruments, experimenting new sounds, in short, it was a decade of great change in modern music.[6]
—Claudio Simonetti
In 1983, there were frequent hit singles, and labels such as American Disco, Crash, Merak, Sensation and X-Energy appeared. The popular label Discomagic Records released more than thirty singles within the year. It was also the year that the term "Italo disco" became widely known outside Italy, with the release of the first volumes of The Best of Italo Disco compilation series on the German record label ZYX. After 1983, Italo disco was also produced outside Italy.
Although Italo disco was successful in mainland Europe during the 1980s, only few singles reached the UK charts, such as Ryan Paris's "Dolce Vita", Laura Branigan's "Self Control", Baltimora's "Tarzan Boy", Spagna's "Call Me" and Sabrina's "Boys". Italo disco maintained an influence in the UK's underground music scenes in the UK, and its impact can be heard in the music of several British electronic acts such as the Pet Shop Boys, Erasure and New Order.[1]
Derivative styles: 1982–1990 Edit
Canada, particularly Quebec, produced several remarkable Italo disco acts, including Trans X ("Living on Video"), Lime ("Angel Eyes"), Rational Youth ("City of Night"), Pluton & the Humanoids ("World Invaders"), Purple Flash Orchestra ("We Can Make It"), and Tapps ("Forbidden Lover"). Those productions were called "Canadian disco" during 1980–1984 in Europe and hi-NRG disco in the U.S.
In Germany, Italo disco is known as Euro disco and discofox. In English-speaking countries, it was called Italo disco and hi-NRG. German productions were sung in English and were characterized by an emphasis on melody, exaggerated production, and a more earnest approach to the themes of love; examples may be found in the works of Modern Talking, Fancy, American-born singer and Fancy protégé Grant Miller, Bad Boys Blue, Joy, Silent Circle, the Twins, Lian Ross, C. C. Catch, Blue System and London Boys.
During the mid-1980s, spacesynth, a subgenre of Italo disco, developed. It was mostly instrumental, featured space sounds, and was exemplified by musicians such as Koto, Proxyon, Rofo, Cyber People, Hipnosis, Laserdance and Mike Mareen (whose music inhabited the spacesynth/hi-NRG overlap).
Evolved and interrelated genres Edit
As Italo disco declined in Europe, Italian and German producers adapted the sound to Japanese tastes, creating "Eurobeat". Music produced in this style is sold exclusively in Japan due to the country's Para Para culture, produced by Italian producers for the Japanese market. The two most famous Eurobeat labels are A-Beat-C Records and Time Records. One traditional Italo disco label, S.A.I.F.A.M., still produces Eurobeat music for Japan.
Around 1989 in Italy, Italo disco evolved into Italo house when Italian Italo disco artists experimented with harder beats and the "house" sound.
Revival: 1998–present Edit
A big comeback of German disco began in 1998, when Modern Talking reunited. Rete 4 channel in Italy, Hits 24, Goldstar TV, and ProSieben channels in Germany, and the program Nostalgia on Spain's TVE channel started to broadcast Italo disco.
Several online radio stations stream the genre. The renewed popularity has inspired re-releases and new mixes by many of the original Italo disco record labels. ZYX Records has released many new CD mixes since 2000. Panama Records and Radius Records have re-released Italo tracks on vinyl. Northern European labels I Venti d'Azzurro (The Netherlands) and Flashback Records (Finland) have produced unreleased demos, new versions of old hits, and new songs.
Spacesynth Edit
At least one modern history of "space disco" traces the genre's origins to science fiction themes (outer space, robots, and the future) in the titles, lyrics and cover artwork of dance music in the late 1970s.[7] Plausible associations are drawn between the popularity of Star Wars (released mid-1977), the subsequent surge in interest in science fiction themes in popular culture, and the release of a number of science fiction themed and "futuristic"-sounding (synthesizer and arpeggiator-infused) disco music worldwide.[7]
Space disco Edit
Music at the crossroads of Italo disco,[8] electro[8] and synth-pop,[8] characterized by "vocoderized harmony vocals" (Mr. Flagio's "Take a Chance")[8] and "futuristic synth melodies" (Kano's "Cosmic Voyager"),[8] was later dubbed space synth or space disco. In later years it was also influenced by Brazilian music, funk, and jazz fusion (See also: Afro/cosmic music).[8]
In modern histories, early examples of space disco usually include the music of the French band Space,[7] and "I Feel Space"[8] by Lindstrøm.
Labels producing this type of music include[8]
Whatever We Want Records (Quiet Village Project, Map Of Africa, Bobby Marie) (Brooklyn, NY, USA)
Lindstrøm's Feedelity (Europe)
Eskimo (Rub'N'Tug Present Campfire mix), Bear Entertainment/Bear Funk, Prins Thomas' Full Pupp (Belgium)
Tirk (UK) and D. C. Recordings (UK).
Post-disco and house music Edit
New York City-based post-disco record label Emergency Records specialized in reissuing/selling records from Italy (e.g. Kano "I'm Ready"),[9] since the 1970s. Kano, a moniker of Anglo-Caribbean DJ Glen White, is noted for incorporating American musical elements ("heavy funk" influences, "breakbeat" rhythm, the use of vocoder) with electronic music while using rudimentary synthesizers,[6] constituting one of the earliest forms of Italo disco. This form of Americanized Italo disco, that also includes Klein + M.B.O.[6] ("Dirty Talk", "Wonderful", "The M. B. O. Theme"), re-entered the States and was known to be influential on the development of house music.[6] Doctor's Cat ("Feel the Drive"), likewise, was one of the earliest "house music" songs.[10]
Record labels include
Emergency Records (NYC, US; 1980s)[9]
List of Italo disco artists and songs
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The following is a list of Italo disco artists and songs, divided in two sections. The first section includes notable Italo disco groups and solo artists. The second section includes Italo disco songs. Solo artists are listed alphabetically by last name while groups are listed alphabetically by the first letter (not including the prefix "the", "a" or "an").
Artists Edit
Alba[1]
Albert One[1][2]
Aleph[3]
Baby's Gang[4]
Baltimora[1][2][5][6][7]
Alberto Camerini[8]
Nadia Cassini[1]
Claudio Cecchetto[9]
Pino D'Angiò[10]
Danuta[11]
Tullio De Piscopo[2]
Den Harrow[1][2][7][12][13][14][15]
Valerie Dore[6][16]
Tony Esposito[17]
Fake[14]
Fancy[14]
Mike Francis[18]
Fun Fun[8]
Gazebo[1][2][6][12][17]
Gepy & Gepy[19]
Hipnosis (or Hypnosis)[20]
Tom Hooker[21]
Eddy Huntington[22]
Jock Hattle[1][7]
Kano[12][17][23][24]
Klein + M.B.O.[25][26]
Koto[20][23]
La Bionda[4][9][10][19]
Ken Laszlo[2][13][14]
Gary Low[27]
Mauro Malavasi[2]
Mike Mareen[28]
Sandy Marton[1][2][7]
Miko Mission[14][29]
Moon Ray (a.k.a. Raggio Di Luna)[5][8]
Giorgio Moroder[1][30]
Novecento[31]
P. Lion[6][32]
Ryan Paris[7][23][33]
Pink Project[34][35]
Radiorama[15]
Raf[12]
Righeira[1][2][17][36]
Linda Jo Rizzo[37]
Alexander Robotnick[8][25][38]
Sabrina[1][5][8][12][17]
Savage[39]
Scotch[14][28][40]
Silver Pozzoli[23][29]
Claudio Simonetti[41][42]
Gino Soccio[43]
Spagna[8][44]
Tracy Spencer[1]
Taffy[7]
Umberto Tozzi[1]
Celso Valli[19][41]
Via Verdi[23]
Songs Edit
Year Artist Origin Song
1978 La Bionda Italy "One for You, One for Me"[10]
Giorgio Moroder Italy "Chase"[30]
Riz Ortolani Italy "Il corpo di Linda"[41]
1979 Easy Going Italy "Fear"[30]
Tantra Italy "Hills of Katmandu"[41]
1980 Kano Italy "Holly Dolly"[45]
Kano Italy "I'm Ready"[17][46]
Kano Italy "It's a War"[30][47]
Kano Italy "Now Baby Now"[28]
1981 A Number of Names United States "Sharevari"[30][48]
Passengers Italy "The Last Romantic"[19]
1982 Blackway Italy "New Life"[4]
Dharma Italy "Plastic Doll"[30]
Electra Italy "Feels Good"[43][30]
Expansives Italy "Life With You"[49]
Klein + M.B.O. Italy "Dirty Talk"[2][30][50]
'Lectric Workers Italy "Robot Is Systematic"[17][30][51]
Pink Project Italy "Amama"[28]
Gino Soccio Canada "Remember"[30]
Steel Mind Italy "Bad Passion"[30]
1983 Asso Argentina "Do It Again"[52]
B.W.H. Italy "Stop"[30]
Baby's Gang Italy "Happy Song"[53]
Casco Italy "Cybernetic Love"[28][30]
Charlie Italy "Spacer Woman"[28][51]
Doctor's Cat Italy "Feel the Drive"[30]
Fun Fun Italy "Happy Station" (Scratch Version)[30]
Gazebo Italy "I Like Chopin"[8][9][14][17][37]
Gazebo Italy "Love In Your Eyes"[17]
Helen Italy "Witch"[28]
Kano Italy "Another Life"[23]
Klein + M.B.O. Italy "The MBO Theme"[43]
Gary Low Italy "I Want You"[54][55]
Mr. Flagio Italy "Take a Chance"[30][50]
My Mine Italy "Hypnotic Tango"[28][30]
P. Lion Italy "Happy Children"[32][56]
Plustwo Italy "Melody"[28]
Ryan Paris Italy "Dolce Vita"[8][14][56][57]
Righeira Italy "Vamos a la playa"[17]
Alexander Robotnick Italy "Problèmes d'amour"[2][58]
Bob Salton Italy "Starknight"[30]
Savage Italy "Don't Cry Tonight"[59][39]
Scotch Italy "Penguins' Invasion"[28][51]
1984 Baby's Gang Italy "Challenger"[14][28]
Big Ben Tribe Italy "Tarzan Loves the Summer Nights"[60]
Carrara Italy "Shine on Dance"[10]
Valerie Dore Italy "Get Closer"[14][30][61]
Danny Keith Italy "Keep On Music"[57]
Valerie Dore Italy "The Night"[61]
Fake Sweden "Frogs In Spain"[28]
Fancy Germany "Slice Me Nice"[17]
Ken Laszlo Italy "Hey Hey Guy"[15]
Sandy Marton Socialist Federal Republic of Yugoslavia "People from Ibiza"[9][56]
Miko Mission Italy "How Old Are You?"[14][28][56]
Moon Ray Italy "Comanchero"[5]
Novecento Italy "Movin' On"[62]
P. Lion Italy "Dream"[32]
Ryan Paris Italy "Fall In Love"[57]
Raf Italy "Self Control"[1][63][64]
Rose Italy "Magic Carillon"[28]
Savage Italy "Only You"[65]
Scotch Italy "Disco Band"[14]
Alexander Robotnick Italy "Dance Boy Dance"[30]
Topo & Roby Italy "Under the Ice"[57]
1985 Alba Italy "Only Music Survives"[66]
Baltimora Italy "Tarzan Boy"[5][6][8]
Cyber People Italy "Void Vision"[28]
Valerie Dore Italy "It's So Easy"[57]
Brian Ice Italy "Talking to the Night"[59]
Ken Laszlo Italy "Tonight"[14]
Loui$ Italy "Pink Footpath"[28]
Taffy United Kingdom "I Love My Radio (Midnight Radio)"[67]
Thai Break Belgium "Flowers In the Rain"[30]
1986 Eddy Huntington United Kingdom "U.S.S.R."[16]
Koto Italy "Jabdah"[23]
New Order United Kingdom "Bizarre Love Triangle" (Shep Pettibone 12" Remix)[59]
Mike Mareen Germany "Love Spy"[28]
Radiorama Italy "Vampires"[14]
Sabrina Italy "Sexy Girl"[17]
1987 Danuta Poland "Touch My Heart"[68]
Den Harrow Italy "Don't Break My Heart"[14]
Funny Twins Italy "You and Me"[67]
Francesco Napoli Italy "Balla Balla"[65]
Sabrina Italy "Boys (Summertime Love)"[5][16][59][56]
Spagna Italy "Call Me"[16]
Tenerife is the largest of Spain’s Canary Islands, off West Africa. It's dominated by Mt. Teide, a dormant volcano that is Spain's tallest peak. Tenerife may be best known for its Carnaval de Santa Cruz, a huge pre-Lent festival with parades, music, dancing and colorful costumes. The island has many beaches (with sands from yellow to black) and resort areas, including Los Cristianos and Playa de las Américas.
https://en.wikipedia.org/wiki/Tenerife
Abstract
There is a relatively robust body of scholarship examining popular cultural representations of masculinity, yet there is comparatively little research on the men who take up and perform these representations. Based on interviews with 12 men in the performing arts, including dance, theater, film, and television, we examine the everyday lived experiences of men in the arts, with a specific focus on the complex and dynamic processes by which normative masculine performances are materialized. Using Judith Butler’s theory of performativity, we argue that performances of normative masculinity in the arts are not nearly as stable and certain as we might imagine. Rather, normative masculinity is continuously formed and re-formed within an assemblage of discursive and nondiscursive relations that performatively materialize the seemingly stable white, heteronormative masculine subject.
Keywords performing arts, normative masculinity, whiteness, heteronormativity
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