Outsider music (from "outsider art") is music created by self-taught or nave musicians. The term is usually applied to musicians who have little or no traditional musical experience, who exhibit childlike qualities in their music, or who have intellectual disabilities or mental illnesses. The term was popularized in the 1990s by journalist and WFMU DJ Irwin Chusid.[1]

The term "outsider music" is traced to the definitions of "outsider art" and "nave art".[3] "Outsider art" is rooted in the 1920s French concept of "L'Art Brut" ("raw art"). In 1972, academic Roger Cardinal introduced "outsider art" as the American counterpart of "L'Art Brut", which originally referred to work created exclusively by children or the mentally ill.[4] The word "outsider" began to be applied to music cultures as early as 1959, with respect to jazz,[5] and to rock as early as 1979.[6] In the 1970s, "outsider music" was also a "favorite epithet" in music criticism in Europe.[7] By the 1980s and 1990s, "outsider" was common in the cultural lexicon and was synonymous with "self-taught", "untrained", and "primitive".[4]

Full Hd The Outsider Hindi Video Songs Free Download

Download 🔥 https://tlniurl.com/2yg5Pl 🔥

Although outsider music has existed since before written history, it was not until the advent of sound reproduction and music exchange networks that such a genre was recognized.[8] Music journalist Irwin Chusid is credited with adapting "outsider art" for music in a 1996 article for the Tower Records publication Pulse!.[4] As a DJ on the New Jersey radio station WFMU in the 1980s, he had been an influential figure in independent music scenes.[1] In 2000, he authored a book titled Songs in the Key of Z: The Curious Universe of Outsider Music, which attempted to introduce and market outsider music as a genre.[8] He summarized the concept thus:

... there are countless "unintentional renegades," performers who lack [an] overt self-consciousness about their art. As far as they're concerned, what they're doing is "normal." And despite paltry incomes and dismal record sales, they're happy to be in the same line of work as Celine Dion and Andrew Lloyd Webber. ... Their vocals sound melodically adrift; their rhythms stumble. They seem harmonically without anchor. Their instrumental proficiency may come across as laughably incompetent. ... They get little or no commercial radio exposure, their followings are limited, and they have roughly the same likelihood of attaining mainstream success that a possum has of skittering safely across a six-lane freeway. ... The outsiders in this book, for the most part, lack self-awareness. They don't boldly break the rules, because they don't know there are rules.[9]

As was common with journalists who championed musical primitivism in the 1980s,[10] Chusid considered outsiders more "authentic" than artists whose music is "exploited through conventional music channels" and "revised, remodeled, and re-coifed; touched-up and tweaked; Photoshopped and focus-grouped" by the time it reaches the listener, to the point that it is "Music by Committee". On the other hand, outsider artists have much "greater individual control over the final creative contour", either because of a low budget or because of their "inability or unwillingness to cooperate with or trust anyone but themselves."[9]

Outsider music does not generally include avant-garde music, world music, songs recorded solely for their novelty value, or anything self-consciously camp or kitsch; Chusid uses the term "incorrect music" for music that is intentionally recorded to draw bad reactions, from non-musician celebrity entertainers attempting to cross over into music, or from artists who are talented and self-aware enough not to produce such music but do so anyway. Works are usually sourced from home recordings or independent recording studios "with no quality control".[8] In Songs in the Key of Z, Chusid explicitly avoided discussing "unpopular", "uncommercial", or "underground" artists, and disqualified "just about anyone who could keep an orchestra or band together."[9] He did include a few acts in the definition that broke through to mainstream fame as novelty acts; Tiny Tim, for example, is included despite a consistent three-decade career in the music industry that included a major chart hit, Joe Meek was one of the United Kingdom's most influential and successful sound engineers of the 1960s, and the Legendary Stardust Cowboy had a brief moment of widespread fame in the 1960s with several national television appearances.[9]

Brian Wilson of the Beach Boys is regarded as the most famous example of an outsider musician.[11] Chusid felt that "it's difficult" to argue for Wilson as an outsider due to his popularity, but acknowledged that his struggles with mental illness and the widely circulated bootlegs of his unreleased 1970s and 1980s demos "certify his outsider status".[12]

Skip Spence's Oar (1969), Beefheart's Trout Mask Replica (produced by Frank Zappa, 1969), and Barrett's The Madcap Laughs (1970), according to music historian John Encarnacao, "were particularly important in helping to define a framework through which outsider recordings are understood ... [They] seeded many ideas and practices, affirming them as desirable in the context of rock mythology."[17] In 1969, Zappa co-founded Bizarre Records, a label dedicated to "musical and sociological material that the important record companies would probably not allow you to hear," and approached the production of Trout Mask Replica like an anthropological field recording.[18] Beefheart was not on the Bizarre label, but Larry "Wild Man" Fischer was. Fischer was a street performer discovered by Zappa and is sometimes regarded as "the grandfather of outsider music".[13] In the liner notes of the 1968 album An Evening with Wild Man Fischer, Zappa writes: "Please listen to this album several times before you decide whether or not you like it or what Wild Man Fischer is all about. He has something to say to you, even though you might not want to hear it." According to musicologist Adam Harper, the writing prefigures similar commentary on "the also mentally ill Daniel Johnston."[19]

After a 1980 reissue on NRBQ's Red Rooster Records (distributed by Rounder Records), The Shaggs attracted notoriety for their 1969 album Philosophy of the World, which received prominent national coverage. It was referred to as "the worst rock album ever made" by the New York Times and later championed in published lists such as "the 100 most influential alternative albums of all time", "the greatest garage recordings of the 20th century", and "the fifty most significant indie records".[20] Lester Bangs famously praised the band as better than the Beatles, and Zappa also held the band in high regard, much higher than the Shaggs themselves, who were embarrassed by the record.[21] In the 1990s, interest in outsider music was spurred by books such as Incredibly Strange Music (1994) and compilations devoted to obscure musicians such as B. J. Snowden, Wesley Willis, Lucia Pamela, and Eilert Pilarm.[9]

R. Stevie Moore, who pioneered lo-fi/DIY music, was affiliated with Irwin Chusid as well as being associated with the "outsider" tag. He recalled "always ha[ving] the dilemma that [Irwin] did not want to present me as an outsider, like a Wesley Willis or a Daniel Johnston, or these people that are touched in the head and have a certain gift. I love outsider music ... but they have no concept as to how to write or arrange a Brian Wilson song." (Moore's father, Bob Moore, was a consummate musical insider, having worked as a session musician with the Nashville A-Team.)[24]

Songs in the Key of Z is a book and two compilation albums written and compiled by Irwin Chusid. The book and albums explore the field of what Chusid coined as "outsider music". Chusid defines outsider music as; "crackpot and visionary music, where all trails lead essentially one place: over the edge." Chusid's work has brought the music of several leading performers in the outsider genre to wider attention. These include Daniel Johnston, Joe Meek, Jandek and Wesley Willis. In addition, his CDs feature some recordings by artists who produced very little work but placed their recordings firmly in the outsider area. Notable amongst these are nursing home resident Jack Mudurian who sings snatches of several dozen songs in a garbled collection known as Downloading the Repertoire and the obscure and extreme scat singer Shooby Taylor AKA 'The Human Horn.'

Brian WIlson is another type of ultimate outsider. It is common knowledge Wilson struggled with a mental illness known as schizoaffective disorder. This disorder can involve ongoing hallucinations, paranoia and other distortions of reality. This led to many hospitalizations where treatments like things like electroconsulsive therapy were used. This song is most notably known for being written by Brian Wilson during his second acid trip. While this song is most likely written about people whom placed judgement on using such psychedelic drugs to open up their thought process, I think this is a timeless song. I know I have personally reflected back to this song in frustration when trying to open up to people with ideas or ways I chose to live my life that may be outside their realm of social normalcy.

--adapted from the Afterword of

 --Songs in the Key of Z: The Curious Universe of Outsider Music

 --(April 2000, A Cappella Books/Chicago Review Press) . . 

 - - If you're interested in Outsider Music, it's safe to assume you're a fairly unusual person, inquisitive, perhaps a bit "outside" the mainstream yourself. Because Outsider Music, by definition, offers little of interest to the vast majority of your fellow citizens. They have neither the time nor the curiosity for.it.

 - - The spectrum of music to which the average person is exposed -- versus the variety of available sonic art -- is extremely limited. Yet I don't subscribe to conspiracy theories about the music industry suppressing uncommercial (or non-commercial) artists; nor do I believe that the government, the Trilateral Commission, Billboard, radio programming consultants, Warner Bros., and agents of the Nine Elder Bankers are in collusion to prevent anyone from exploring the nether reaches of musical marginalia. These lumbering Goliaths aren't concerned with Jandek or Shooby.Taylor.

 - - Most consumers simply do not have adventurous taste in music. They're preoccupied with families, careers, and paying bills, home improvements and car repairs, and getting a good night's sleep. Insofar as music plays any role in their lives, they prefer the comfort of familiar artists and formulas. For that, no one should be faulted. It's a filtering process, necessary to avoid sensory overload. A person who can't appreciate music beyond Air Supply or Jimmy Buffett may have an appetite for exotic food, fine art, or extreme sports. But when they or their progeny get married, they prefer that the festivities resonate with the strains of Billy Joel, Sinatra, Motown oldies, and Madonna. Weddings and Bat Mitzvahs are not occasions for expanding your musical horizons, or those of your guests. And yet music provides an important ritualistic function, and I harbor little doubt that pop standards played or performed at these events have great significance to all involved. Captain Beefheart's "Neon Meate Dream of a Octafish" or Wesley Willis's "Shoot Me in the Ass" just won't.do.

 - - Yet Outsider Music has its place -- an intimate, dimly lit enclave. Songs in the Key of Z attempts to air out the dusty attics and damp cellars of the greater music community, introducing some of the dizzy aunts and eccentric uncles about whom your parents rarely.spoke.

 - - Does this project contend that Outsiders are "better" than their commercial.counterparts? 

 - - Of course.not.

 - - Are Outsiders more."genuine"?

 - - This is arguable, and hinges on the measure of one's cynicism about packaging and marketing as practiced by the music business. How sincere is Whitney Houston? Megaplatinum stars like Garth Brooks and Mariah Carey are often bad-mouthed by jaded sophisticates as "shallow" and "manufactured" (though the same accusation is rarely leveled at a gangsta rapper who moves 12 million units and is considered an authentic "voice of the street"). Are we to presume that artists who have achieved explosive commercial success did so by accident? That there was no compelling aspiration on their part to become rich and.famous?

 - - No one honestly believes.that.

 - - So -- no, I don't feel that Outsiderdom is the exclusive provenance of.authenticity.

 - - Nor is ambition solely characteristic of "inside" musicians. Most Outsiders would love to be certified gold. Some recognize the unlikelihood of such acclaim, others anticipate triumphant breakthroughs any day, and still others seem totally oblivious to the broader.public.

 - - The difference rests in the "fingerprint" factor of packaging and selling music. For those exploited through conventional music channels, by the time their product reaches the market, it will have been revised, remodeled, and re-coifed; touched-up and tweaked; Photoshopped and focus-grouped. It's Music by.Committee.

 - - Consciously commercial releases are targeted at an imagined audience that must be second-guessed: "What will appeal to them?," and "Will they buy this?" If CDs acknowledged all the cubicle cattle who contribute to production, the list would be endless, like the five minutes of eye-blurring credits that scroll at the motion picture's.conclusion.

 - - Most outsiders don't have a committee at their disposal -- and many don't have much of a target audience. Autonomy is often the prevailing modus, the process intensely solipsistic. Outsider efforts thus reflect greater individual control over the final creative contour. This is partly attributable to the low-budget operations of many Outsiders, and in some cases to their inability or unwillingness to cooperate with or trust anyone but themselves. It's ironic that the less corporate money at an artist's disposal, the more singular the.vision.

 - - In this, the Outsider represents greater creative purity, something closer to a natural state. Equally ironic, because many Outsiders sound perfectly "unnatural." Perhaps "visceral" would be a better adjective to describe the enigmatic Outsider.process.

 - - This inscrutability -- our inability to fully comprehend the internal calculus of Outsider art -- partly explains its charisma. Art under the microscope, art denuded, is art.demystified.

 - - We can listen to Outsider Music. We can analyze, appreciate and extol it. But we can never fully understand the odd compulsions and stupefying inner visions of those who create.it.

 - - Mainstream and Outsider perspectives can be contrasted with two fundamental.questions. 

 - - To the mainstream artist, the question is: "Where do you get your ideas?" The artist may have an answer, or may.not.

 - - As regards the Outsider, the question -- never asked directly, but always to a third party -- is: "What were they.thinking?"

 - - This question holds a key to appreciating Outsider Music. Because it's not really a question -- it's a statement in disguise, implying, "The mind that created these unearthly sounds is beyond my.grasp."

 - - Hence, "What were they thinking?" can probably never be.answered.

 - - Perhaps we should dispense with the question altogether, and just listen and.enjoy . . . 

  RETURN TO MAINPAGE:

 < < < KeyOfZ.com e-mail:

 Key of Z Info   NEW: KeyOfZ.com NEWS PAGE -> click here NEW: 1981 Shaggs review from The Village Voice -> click here A Study of Outsider Music by Jeff Grimshaw -> click for study ...or try some Outsider LINKS -> click for the links   

 589ccfa754

Windows 7 Loader V1.7.9 By Daz (x86 X64) Utorrent

Visual Studio 2017 Crack ISO with Product Key Download

I Leave no Place in My Life for Donut ShopLies