Editing Outsider music

{{short description|Music genre}}
{{About|the music genre|the record label|Outside Music|the jazz technique|Outside (jazz)}}

'''Outsider music''' (from "[[outsider art]]") is music created by [[Autodidacticism|self-taught]] or [[naïve art|naïve]] 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 illness]]es. The term was popularized in the 1990s by journalist and [[WFMU]] DJ [[Irwin Chusid]].<ref name="Harperthesis">{{cite thesis |last=Harper |first=Adam |date=2014 |title=Lo-Fi Aesthetics in Popular Music Discourse |type=PDF |publisher=[[Wadham College]] |url=https://ora.ox.ac.uk/objects/uuid:cc84039c-3d30-484e-84b4-8535ba4a54f8/datastreams/THESIS01 |access-date=March 10, 2018 |pages=48, 190 }}{{Dead link|date=April 2020 |bot=InternetArchiveBot |fix-attempted=yes }}</ref>

Outsider musicians often overlap with [[lo-fi music|lo-fi]] artists, since their work is rarely captured in professional [[recording studio]]s. Examples  include [[Daniel Johnston]], [[Wesley Willis]], and [[Jandek]], who each became the subjects of [[documentary film]]s in the 2000s.{{sfn|Harper|2014|p=347}}

==Etymology==
[[File:Hi How Are You Austin 2005.jpg|thumb|Mural in [[Austin, Texas]], by the outsider musician and visual artist [[Daniel Johnston]]]]

The term "outsider music" is traced to the definitions of "[[outsider art]]" and "[[naïve art]]".<ref name="Encarnacao2016">{{cite book|last=Encarnacao|first=John|title=Punk Aesthetics and New Folk: Way Down the Old Plank Road|url=https://books.google.com/books?id=VrYFDAAAQBAJ&pg=PA103|year=2016|publisher=Routledge|isbn=978-1-317-07321-5|page=103}}</ref> "Outsider art" is rooted in the 1920s French concept of "L'Art Brut" ("raw art"). In 1972, academic [[Roger Cardinal (art historian)|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.<ref name="Plasketes2016"/> The word "outsider" began to be applied to music cultures as early as 1959, with respect to [[jazz]],<ref>Charles Winick, "The Use of Drugs by Jazz Musicians", ''Social Problems'' 7, no. 3 (Winter 1959–1960): 240–53. Citation on 250.</ref> and to rock as early as 1979.<ref>Bernice Martin, "The Sacralization of Disorder: Symbolism in Rock Music", ''Sociological Analysis'' 40, no. 2 (Summer 1979): 87–124. Citation on 116.</ref> In the 1970s, "outsider music" was also a "favorite epithet" in music criticism in Europe.<ref>Zdenka Kapko-Foretić, "Kölnska škola avangarde", ''Zvuk: Jugoslavenska muzička revija'', 1980 no. 2:50–55. Citation on 54.</ref> By the 1980s and 1990s, "outsider" was common in the cultural lexicon and was synonymous with "self-taught", "untrained", and "primitive".<ref name="Plasketes2016"/>

==Definition and scope==

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.<ref name="Misiroglu2015"/>  Music journalist [[Irwin Chusid]] is credited with adapting "outsider art" for music in a 1996 article for the [[Tower Records (music retailer)|Tower Records]] publication ''Pulse!''.<ref name="Plasketes2016">{{cite book|last=Plasketes|first=George|title=B-Sides, Undercurrents and Overtones: Peripheries to Popular in Music, 1960 to the Present|url=https://books.google.com/books?id=U203DAAAQBAJ&pg=PA43|year=2016|publisher=Routledge|isbn=978-1-317-17113-3|page=43}}</ref> As a DJ on the New Jersey radio station [[WFMU]] in the 1980s, he had been an influential figure in [[independent music]] scenes.<ref name="Harperthesis" /> In 2000, he authored a book titled ''[[Songs in the Key of Z|Songs in the Key of Z: The Curious Universe of Outsider Music]]'', which attempted to introduce and market outsider music as a genre.<ref name="Misiroglu2015"/> He summarized the concept thus:

{{quote|... 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.{{sfn|Chusid|2000}}}}

As was common with journalists who championed musical [[primitivism]] in the 1980s,{{sfn|Harper|2014|pp=48, 53, 63–64}} Chusid considered outsiders more "[[authenticity in art|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."{{sfn|Chusid|2000}}

Outsider music does not generally include [[avant-garde music]], [[world music]], [[novelty song|songs recorded solely for their novelty value]], or anything self-consciously [[camp (style)|camp]] or [[kitsch]]; Chusid uses the term "incorrect music" for music that is intentionally recorded to draw bad reactions, [[Golden Throats|from non-musician celebrity entertainers attempting to]] [[crossover (music)|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 recording]]s or independent [[recording studio]]s "with no quality control".<ref name="Misiroglu2015">{{cite book|editor-last=Misiroglu|editor-first=Gina|title=American Countercultures: An Encyclopedia of Nonconformists, Alternative Lifestyles, and Radical Ideas in U.S. History|url=https://books.google.com/books?id=j4KsBwAAQBAJ&pg=PA541|year=2015|publisher=Routledge|isbn=978-1-317-47729-7|pages=541–542}}</ref> 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."{{sfn|Chusid|2000}} He did include a few acts in the definition that broke through to mainstream fame as novelty acts; [[Tiny Tim (singer)|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 [[15 minutes of fame|a brief moment of widespread fame]] in the 1960s with several national television appearances.{{sfn|Chusid|2000}}

[[Brian Wilson]] of [[the Beach Boys]] is regarded as the most famous example of an outsider musician.<ref>{{cite news |last1=Vivinetto |first1=Gina |title=The bipolar poet |url=http://www.sptimes.com/2003/07/19/Floridian/The_bipolar_poet.shtml |newspaper=[[St. Petersburg Times]] |date=July 19, 2003|archive-url=https://web.archive.org/web/20030825171545/http://www.sptimes.com/2003/07/19/Floridian/The_bipolar_poet.shtml|url-status=dead|archive-date=August 25, 2003}}</ref> 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 [[The Beach Boys bootleg recordings|his unreleased 1970s and 1980s demos]] "certify his outsider status".<ref name="Chusid2000"/>

==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}}

==Lo-fi music==
{{Main|Lo-fi music}}

Outsider musicians tend to overlap with "[[lo-fi music|lo-fi]]" artists since their work is rarely captured in professional studios.<ref name="Harperthesis"/> Harper credits the discourse surrounding Daniel Johnston and [[Jandek]] with "form[ing] a bridge between 1980s primitivism and the lo-fi [[indie rock]] of the 1990s. ... both musicians introduced the notion that lo-fi was not just acceptable but the special context of some extraordinary and brilliant musicians."{{sfn|Harper|2014|p=180}} Critics frequently write about Johnston's "pure and childlike soul" and describe him as the "Brian Wilson" of lo-fi.<ref>{{cite news|last1=McNamee|first1=David|title=The myth of Daniel Johnston's genius|url=https://www.theguardian.com/music/musicblog/2009/aug/10/daniel-johnston|work=[[The Guardian]]|date=August 10, 2009}}</ref>

[[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 (musician)|Bob Moore]], was a consummate musical insider, having worked as a [[session musician]] with the [[Nashville A-Team]].)<ref>{{cite magazine|last1=Ingram|first1=Matthew|title=Here Comes the Flood|magazine=[[The Wire (magazine)|The Wire]]|date=June 2012|issue=340|url=http://www.moorestevie.com/press/wire12.html}}</ref>

[[Tyhran]], he started with [[noisecore]], although now he is actively involved in [[lo-fi]], [[dungeon synth]] and [[dark ambient]] and writes music based on his experiences, feelings and emotions that describe his mental state lately.

==See also==
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'''Related topics'''
* [[Avant-pop]]
* [[Creativity and mental illness]]
* [[Folk art]]
* [[New Weird America]]
* [[Underground music]]
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'''Documentary films'''
* ''[[The Daddy of Rock 'n' Roll]]'' (2003) (about [[Wesley Willis]])
* ''[[The Devil and Daniel Johnston]]'' (2005)
* ''[[Jandek on Corwood]]'' (2003)
* ''[[Derailroaded: Inside the Mind of Wild Man Fischer]]'' (2005)
* ''[[Beautiful Dreamer: Brian Wilson and the Story of Smile]]'' (2005)
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==References==
{{reflist}}

[[Category:Outsider music| ]]
[[Category:Naïve art]]
[[Category:Indie music]]