Editing No wave (section)

==The no-wave music scene==

In 1978, a [[punk subculture]]-influenced [[Noise music|noise]] series was held at New York's [[Artists Space]].<ref>{{cite web| url = http://www.pitchforkmedia.com/article/feature/31364/Interview_Interview_James_Chance| title = James Chance interview {{!}} Pitchfork}}</ref> No wave musicians such as [[the Contortions]], [[Teenage Jesus and the Jerks]], [[Mars (band)|Mars]], [[DNA (American band)|DNA]], [[Theoretical Girls]] and [[Rhys Chatham]] began [[Experimental music|experimenting]] with noise, [[Dissonance (music)|dissonance]] and atonality in addition to non-rock styles.{{sfn|Reynolds|2005|pp=140}} The former four groups were included on the compilation ''[[No New York]]'', often considered the quintessential testament to the scene.<ref>{{cite book |last=Masters |first=Marc |title=No Wave |publisher=Black Dog Publishing |location=New York City |year=2008 |isbn=978-1-906155-02-5 |page=9}}</ref> The no wave-affiliated label ZE Records was founded in 1978, and would also produce acclaimed and influential compilations in subsequent years.{{sfn|Reynolds|2005|pp=269}}

In 1978, [[Rhys Chatham]] curated a concert at [[The Kitchen (art institution)|The Kitchen]] with two [[electric guitar]] [[noise music]] bands that involved [[Glenn Branca]] ([[Theoretical Girls]] and Daily Life, performed by Branca, [[Barbara Ess]], Paul McMahon, and Christine Hahn) and another two electric-guitar noise music bands that involved Chatham himself ([[The Gynecologists]] and Tone Death, performed by Robert Appleton, Nina Canal, Chatham, and [[Peter Gordon (composer)|Peter Gordon]]). Tone Death performed Chatham's 1977 composition for electric guitars ''Guitar Trio'', that was inspired by [[La Monte Young]]'s minimalist composition ''[[Trio for Strings]]'' and Chatham's exposure to [[The Ramones]] at [[CBGB]] via Peter Gordon.{{sfn|Nickleson|2023|p=159}} This proto-No Wave concert was followed a few weeks later when [[Artists Space]] served as a site of concrete inception for the No Wave music movement, hosting a five night underground No Wave music festival, organized by artists [[Michael Zwack]] and [[Robert Longo]], that featured ten local bands; including [[Rhys Chatham]]'s [[The Gynecologists]], [[Glenn Branca]]'s [[Theoretical Girls]], [[Rhys Chatham]]'s Tone Death,{{sfn|Nickleson|2023|p=158}} and Branca's Daily Life.{{sfn|Nickleson|2023|pp=151–152}}{{sfn|Reynolds|2005|page=146}} 

The final two days of the show featured [[DNA (American band)|DNA]] and the [[James Chance and the Contortions|Contortions]] on Friday, followed by [[Mars (band)|Mars]] and [[Teenage Jesus and the Jerks]] on Saturday.{{sfn|Reynolds|2005|page=146}} English musician and [[record producer|producer]] [[Brian Eno]], who had originally come to New York to produce the second [[Talking Heads]] album ''[[More Songs About Buildings and Food]]'', was in the audience.{{sfn|Reynolds|2005|page=146}} Impressed by what he saw and heard, and advised by [[Diego Cortez]] to do so, Eno was convinced that this movement should be documented and proposed the idea of a compilation album, ''No New York'', with himself as a producer.{{sfn|Reynolds|2005|page=147}}

By the early 1980s, artists such as [[Liquid Liquid]], [[the B-52's]], [[Cristina (singer)|Cristina]], [[Arthur Russell (musician)|Arthur Russell]], [[James White and the Blacks]] and [[Lizzy Mercier Descloux]] developed a dance-oriented style described by [[Lucy Sante]] as "anything at all + disco bottom".{{sfn|Reynolds|2005|pp=268}} Other no-wave groups such as [[Swans (band)|Swans]], [[Suicide (band)|Suicide]], [[Glenn Branca]], [[the Lounge Lizards]], [[Bush Tetras]] and [[Sonic Youth]] instead continued exploring the forays into noise music abrasive territory.{{sfn|Reynolds|2005|pp=139–150}} For example, [[Noise Fest]] was an influential festival of no wave noise music performances curated by [[Thurston Moore]] of Sonic Youth at the New York City art space [[White Columns]] in June 1981. Sonic Youth made their first live appearances at this show.<ref>[[Simon Reynolds]], ''Rip It Up and Start Again: Post-punk 1978–1984'' (2006) Penguin</ref> 

The Noise Fest inspired Speed Trials, the [[noise rock]] five-night concert series held May 4–8, 1983, that was organized by [[Live Skull]] members in May 1983, also at White Columns (then located at 91 Horatio Street). Among an [[art installation]] created by [[David Wojnarowicz]] and [[Joseph Nechvatal]], Speed Trials included performances by [[The Fall (band)|the Fall]], Sonic Youth,<ref>{{cite news|url=https://www.nytimes.com/1983/05/06/arts/art-rock-6-groups-play.html|author=[[John Rockwell]]|title=Art Rock: 6 Groups Play|newspaper=[[The New York Times]]|date=May 6, 1983}}</ref> [[Lydia Lunch]], [[Mofungo]], [[Ilona Granet]], pre-rap [[Beastie Boys]], [[3 Teens Kill 4]], [[Elliott Sharp]] as Carbon, Swans, [[the Ordinaires]], and [[Arto Lindsay]]<ref>{{AllMusic|class=artist|id=p26651|tab=biography|title=Arto Lindsay|last1=Dougan|first1=John|last2=Westergaard|first2=Sean}}</ref> as Toy Killers. On May 10, the [[San Francisco]] noise-punk band [[Flipper (band)|Flipper]] closed the series out with a live concert at [[Studio 54]]. This event also included performances by [[Z'EV|Zev]] and [[Eric Bogosian]] and a video presentation by [[Tony Oursler]]. Speed Trials was followed by the short-lived after-hours [[audio art]] Speed Club that was established by Nechvatal and [[Bradley Eros]] at [[ABC No Rio]] that summer.<ref name="ReferenceA">[[Carlo McCormick]], ''The Downtown Book: The New York Art Scene, 1974–1984'', [[Princeton University]] Press, 2006</ref>