Editing Outsider music (section)

==Cultural resonance and influence==
[[Image:Wild man fisher.jpg|thumb|right|upright|Street performer [[Wild Man Fischer|Larry "Wild Man" Fischer]], sometimes cited as the "godfather of outsider music"<ref name="fish"/><ref>{{cite news|title=I'm crazy for you... but not that crazy|url=https://www.theguardian.com/music/2006/mar/19/42|work=[[The Observer]]|date=March 18, 2006}}</ref>]]

Chusid credited outsider musicians for the existence of [[dub reggae]] ("invented by an outsider, [[Lee "Scratch" Perry]]"), the [[K Records]] and [[Sub Pop]] record labels, and the "punk/new-wave/no-wave upheaval that undermined prog-rock and airbrush-pop in the mid- to late-1970s [and] hyped itself with the defiant notion that anyone―regardless of technical proficiency or lack thereof―could make music as long as it represented genuine, naturalistic self-expression."{{sfn|Chusid|2000}} Specific acts that "significantly contributed―directly and indirectly―to contemporary popular music" include [[Syd Barrett]], [[Captain Beefheart]], [[the Shaggs]], [[Harry Partch]], [[Robert Graettinger]], [[Tonetta]]<ref>{{Cite news |last=Dee |first=Johnny |date=2010-07-16 |title=Taking over YouTube: the irresistible rise of Tonetta |language=en-GB |work=The Guardian |url=https://www.theguardian.com/music/2010/jul/17/tonetta-videos-youtube-johnny-dee |access-date=2023-05-05 |issn=0261-3077}}</ref> and [[Daniel Johnston]].<ref name="Chusid2000">{{cite book|last=Chusid|first=Irwin|author-link=Irwin Chusid|title=Songs in the Key of Z: The Curious Universe of Outsider Music|url=https://books.google.com/books?id=kT9dnDaFdX8C|year=2000|publisher=Chicago Review Press|isbn=978-1-56976-493-0|page=xv}}</ref> Conversely, the book ''Faking It: The Quest for Authenticity in Popular Music'' (2007) argues that "few of the outsiders praised by their fans can be called innovators; most of them are simply naïve."<ref name="BarkerTaylor2007">{{cite book|last1=Barker|first1=Hugh|last2=Taylor|first2=Yuval|title=Faking It: The Quest for Authenticity in Popular Music|url=https://archive.org/details/isbn_9780393060782|url-access=registration|year=2007|publisher=W. W. Norton|isbn=978-0-393-06078-2|page=[https://archive.org/details/isbn_9780393060782/page/334 334]}}</ref>

[[Skip Spence]]'s ''[[Oar (album)|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."{{sfn|Encarnacao|2016|p=105}} 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]].{{sfn|Harper|2014|p=110}} Beefheart was not on the Bizarre label, but [[Wild Man Fischer|Larry "Wild Man" Fischer]] was. Fischer was a street performer discovered by Zappa and is sometimes regarded as "the grandfather of outsider music".<ref name="fish">{{cite news|last1=Fox|first1=Margalit|title=Wild Man Fischer, Outsider Musician, Dies at 66|url=https://www.nytimes.com/2011/06/18/arts/music/wild-man-fischer-outsider-musician-dies-at-66.html|work=[[The New York Times]]|date=June 17, 2011}}</ref> 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."{{sfn|Harper|2014|p=100}}

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".{{sfn|Harper|2014|pp=109–110}} [[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.<ref name=newyorker2017>{{cite magazine|url=https://www.newyorker.com/culture/culture-desk/the-shaggs-reunion-concert-was-unsettling-beautiful-eerie-and-will-probably-never-happen-again|title=The Shaggs Reunion Concert Was Unsettling, Beautiful, Eerie, and Will Probably Never Happen Again|first=Howard|last=Fishman|magazine=[[The New Yorker]] |date=August 30, 2017|access-date=January 8, 2020}}</ref>  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]].{{sfn|Chusid|2000}}