My Garage Download Pc

Frank Lloyd Wright invented the garage when he moved the automobile out of the stable into a room of its own. Steve Jobs and Steve Wozniak (allegedly) started Apple Computer in a garage. Suburban men turned garages into man caves to escape from family life. Nirvana and No Doubt played their first chords as garage bands. What began as an architectural construct became a cultural construct. In this provocative history and deconstruction of an American icon, Olivia Erlanger and Luis Ortega Govela use the garage as a lens through which to view the advent of suburbia, the myth of the perfect family, and the degradation of the American dream.

Luis Ortega Govela is a Mexican architect based in London and Los Angeles whose work has been shown widely, including at the Ludwig Museum Cologne, Stedelijk Museum, and the British Pavilion during the 15th Venice Architecture Biennale. An Architectural Association graduate, he has lectured at the Royal Academy of Arts, and TU Delft. He is a founder of the arts collective YR. Erlanger and Ortega are at work on a documentary film on the garage.

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Garage rock (sometimes called garage punk or '60s punk) is a raw and energetic style of rock and roll that flourished in the mid-1960s, most notably in the United States and Canada, and has experienced a series of subsequent revivals. The style is characterized by basic chord structures played on electric guitars and other instruments, sometimes distorted through a fuzzbox, as well as often unsophisticated and occasionally aggressive lyrics and delivery. Its name derives from the perception that groups were often made up of young amateurs who rehearsed in the family garage, although many were professional.

In the early to mid-1980s, several revival scenes emerged featuring acts that consciously attempted to replicate the look and sound of 1960s garage bands. Later in the decade, a louder, more contemporary garage subgenre developed that combined garage rock with modern punk rock and other influences, sometimes using the garage punk label originally and otherwise associated with 1960s garage bands. In the 2000s, a wave of garage-influenced acts associated with the post-punk revival emerged, and some achieved commercial success. Garage rock continues to appeal to musicians and audiences who prefer a "back to basics" or "do-it-yourself" musical approach.

The term "garage rock", often used in reference to 1960s acts, stems from the perception that many performers were young amateurs who rehearsed in the family garage.[2] While numerous bands were made up of middle-class teenagers from the suburbs, others were from rural or urban areas or were composed of professional musicians in their twenties.[3][4]

Referring to the 1960s, Mike Markesich commented "teenage rock & roll groups (i.e. combos) proliferated Everywheresville USA".[5] Though it is impossible to determine how many garage bands were active in the era, their numbers were extensive [6] in what Markesich has characterized as a "cyclonic whirlwind of musical activity like none other".[7] According to Mark Nobles, it is estimated that between 1964 and 1968 over 180,000 bands formed in the United States,[8] and several thousand US garage acts made records during the era.[9][a]

Garage bands performed in a variety of venues. Local and regional groups typically played at parties, school dances, and teen clubs.[10] For acts of legal age (and in some cases younger), bars, nightclubs, and college fraternity socials also provided regular engagements.[11] Occasionally, groups had the opportunity to open at shows for famous touring acts.[12] Some garage rock bands went on tour, particularly those better-known, but even more obscure groups sometimes received bookings or airplay beyond their immediate locales.[13] Groups often competed in "battles of the bands", which allowed musicians to gain exposure and a chance to win a prize, such as free equipment or recording time in a local studio.[14] Contests were held, locally, regionally and nationally, and three of the most prestigious national events were held annually by the Tea Council of the US,[15] the Music Circus,[16] and the United States Junior Chamber.[17]

In the 1960s, garage rock had no name and was not thought of as a genre distinct from other rock and roll of the era.[26] Rock critic and future Patti Smith Group guitarist Lenny Kaye remarked that the period "dashed by so fast that nobody knew much of what to make of it while it was around".[27] In the early 1970s Kaye and other US rock critics, such as Dave Marsh, Lester Bangs, and Greg Shaw, began to retroactively draw attention to the music, speaking nostalgically of mid-1960s garage bands (and subsequent artists then perceived to be their stylistic inheritors) for the first time as a genre.[28]

"Garage rock" was not the initial name applied to the style.[29] In the early 1970s such critics used the term "punk rock" to characterize it,[30] making it the first musical form to bear the description.[31] While the coinage of the term "punk" in relation to rock music is unknown,[32] it was sometimes used then to describe primitive or rudimentary rock musicianship,[4][b] but more specifically 1960s garage as a style.[28] In the May 1971 issue of Creem, Dave Marsh described a performance by ? and the Mysterians as an "exposition of punk rock".[34] Conjuring up the mid-1960s, Lester Bangs in June 1971 wrote "...then punk bands started cropping up who were writing their own songs but taking the Yardbirds' sound and reducing it to this kind of goony fuzztone clatter ... oh, it was beautiful, it was pure folklore, Old America, and sometimes I think those were the best days ever".[35]

Much of the revival of interest in 1960s garage rock can be traced to the release of the 1972 album Nuggets compiled by Lenny Kaye.[36] In the liner notes, Kaye used "punk rock" as a collective term for 1960s garage bands and also "garage-punk" to describe a song recorded in 1966 by the Shadows of Knight.[27] In the January 1973 Rolling Stone review of Nuggets, Greg Shaw commented: "Punk rock is a fascinating genre ... Punk rock at its best is the closest we came in the 1960s to the original rockabilly spirit of rock & roll."[37] In addition to Rolling Stone and Creem, writings about the genre appeared in various independent "fanzine" publications during the period.[38] In May 1973, Billy Altman launched the short-lived punk magazine,[c][38] which pre-dated the more familiar 1975 publication of the same name, but, unlike the later magazine, was largely devoted to discussion of 1960s garage and psychedelic acts.[38] Greg Shaw's seasonal publication, Who Put the Bomp!, was influential amongst enthusiasts and collectors of the genre in the early 1970s.[39]

Though the phrase "punk rock" was the favored generic term in the early 1970s,[31] "garage band" was also mentioned in reference to groups.[4] In Rolling Stone in March 1971 John Mendelsohn made an oblique reference to "every last punk teenage garage band having its Own Original Approach".[4] The term "punk rock" was later appropriated by the more commonly-known punk rock movement that emerged in the mid-1970s[40] and is now most commonly applied to groups associated with that movement or who followed in its wake.[41] For the 1960s style, the term "garage rock" came into favor in the 1980s.[42][d] According to Mike Markesich: "Initially launched into the underground vernacular at the start of the '80s, the garage tag ... slowly sifted its way amid like-minded fans to finally be recognized as a worthy descriptive replacement".[29] The term "garage punk" has also persisted,[45] and style has been referred to as "'60s punk"[46] and "proto-punk".[44] "Frat rock" has been used to refer to the R&B- and surf rock- derived garage sounds of certain acts, such as the Kingsmen and others.[47]

Numerous young people were inspired by musicians such as Chuck Berry,[49] Little Richard,[50] Bo Diddley,[50] Jerry Lee Lewis,[49] Buddy Holly,[51] and Eddie Cochran,[52] whose recordings of relatively unsophisticated and hard-driving songs from a few years earlier[49] proclaimed personal independence and freedom from parental controls and conservative norms.[53] Ritchie Valens' 1958 hit "La Bamba" helped jump-start the Chicano rock scene in Southern California and provided a three-chord template for the songs of numerous 1960s garage bands.[54] By the end of the 1950s regional scenes were abundant around the country and helped set the stage for garage rock the 1960s.[55]

Guitarist Link Wray has been cited as an early influence on garage rock and is known for his innovative use of guitar techniques and effects such as power chords and distortion.[56] He is best known for his 1958 instrumental "Rumble", which featured the sound of distorted, "clanging" guitar chords, which anticipated much of what was to come.[57] The combined influences of early-1960s instrumental rock and surf rock also played significant roles in shaping the sound garage rock.[58][55]

According to Lester Bangs, "the origins of garage rock as a genre can be traced to California and the Pacific Northwest in the early Sixties".[44] The Pacific Northwest, which encompasses Washington, Oregon, and Idaho, played a critical role in the inception of garage rock, hosting the first scene to produce a sizable number of acts, and pre-dated the British Invasion by several years. The signature garage sound that eventually emerged in the Pacific Northwest is sometimes referred to as "the Northwest Sound" and had its origins in the late 1950s, when a handful of R&B and rock & roll acts sprang up in various cities and towns in an area stretching from Puget Sound to Seattle and Tacoma, and beyond.[61]

Other regional scenes of teenage bands playing R&B-oriented rock were well-established in the early 1960s, several years before the British Invasion, in places such as Texas and the Midwest.[69] At the same time, in Southern California surf bands formed, playing raucous guitar- and saxophone-driven instrumentals.[44] Writer Neil Campbell commented: "There were literally thousands of rough-and-ready groups performing in local bars and dance halls throughout the US prior to the arrival of the Beatles ... [T]he indigenous popular music which functioned in this way ... was the proto-punk more commonly identified as garage rock".[70] e24fc04721