Some context: The Beatles were an English rock band formed in Liverpool in 1960. With members John Lennon, Paul McCartney, George Harrison and Ringo Starr, they became widely regarded as the foremost and most influential music band. Rooted in skiffle, beat and 1950s rock and roll, the Beatles later experimented with several musical styles, ranging from pop ballads and Indian music to psychedelia and hard rock, often incorporating classical elements and unconventional recording techniques in innovative ways. In 1963 their enormous popularity first emerged as "Beatlemania"; as the group's music grew in sophistication, led by primary songwriters Lennon and McCartney, the band were integral to pop music's evolution into an art form and to the development of the counterculture of the 1960s.
In Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever, Scott Schinder and Andy Schwartz describe the Beatles' musical evolution: In their initial incarnation as cheerful, wisecracking moptops, the Fab Four revolutionised the sound, style, and attitude of popular music and opened rock and roll's doors to a tidal wave of British rock acts. Their initial impact would have been enough to establish the Beatles as one of their era's most influential cultural forces, but they didn't stop there. Although their initial style was a highly original, irresistibly catchy synthesis of early American rock and roll and R&B, the Beatles spent the rest of the 1960s expanding rock's stylistic frontiers, consistently staking out new musical territory on each release. The band's increasingly sophisticated experimentation encompassed a variety of genres, including folk-rock, country, psychedelia, and baroque pop, without sacrificing the effortless mass appeal of their early work. In The Beatles as Musicians, Walter Everett describes Lennon and McCartney's contrasting motivations and approaches to composition: "McCartney may be said to have constantly developed - as a means to entertain - a focused musical talent with an ear for counterpoint and other aspects of craft in the demonstration of a universally agreed-upon common language that he did much to enrich. Conversely, Lennon's mature music is best appreciated as the daring product of a largely unconscious, searching but undisciplined artistic sensibility." Ian MacDonald describes McCartney as "a natural melodist - a creator of tunes capable of existing apart from their harmony". His melody lines are characterised as primarily "vertical", employing wide, consonant intervals which express his "extrovert energy and optimism". Conversely, Lennon's "sedentary, ironic personality" is reflected in a "horizontal" approach featuring minimal, dissonant intervals and repetitive melodies which rely on their harmonic accompaniment for interest: "Basically a realist, he instinctively kept his melodies close to the rhythms and cadences of speech, colouring his lyrics with bluesy tone and harmony rather than creating tunes that made striking shapes of their own." MacDonald praises Harrison's lead guitar work for the role his "characterful lines and textural colourings" play in supporting Lennon and McCartney's parts, and describes Starr as "the father of modern pop/rock drumming".
What else is said about these things
A: The band's increasingly sophisticated experimentation encompassed a variety of genres, including folk-rock, country, psychedelia, and baroque pop,
Some context: Lee de Forest was born in 1873 in Council Bluffs, Iowa, the son of Anna Margaret (nee Robbins) and Henry Swift DeForest. He was a direct descendant of Jesse de Forest, the leader of a group of Walloon Huguenots who fled Europe in the 17th Century due to religious persecution. De Forest's father was a Congregational Church minister who hoped his son would also become a pastor. In 1879 the elder de Forest became president of the American Missionary Association's Talladega College in Talladega, Alabama, a school "open to all of either sex, without regard to sect, race, or color", and which educated primarily African-Americans.
At the 1904 Louisiana Purchase Exposition, Valdemar Poulsen had presented a paper on an arc transmitter, which unlike the discontinuous pulses produced by spark transmitters, created steady "continuous wave" signals that could be used for amplitude modulated (AM) audio transmissions. Although Poulsen had patented his invention, de Forest claimed to have come up with a variation that allowed him to avoid infringing on Poulsen's work. Using his "sparkless" arc transmitter, de Forest first transmitted audio across a lab room on December 31, 1906, and by February was making experimental transmissions, including music produced by Thaddeus Cahill's telharmonium, that were heard throughout the city. On July 18, 1907, de Forest made the first ship-to-shore transmissions by radiotelephone -- race reports for the Annual Inter-Lakes Yachting Association (I-LYA) Regatta held on Lake Erie -- which were sent from the steam yacht Thelma to his assistant, Frank E. Butler, located in the Fox's Dock Pavilion on South Bass Island. De Forest also interested the U.S. Navy in his radiotelephone, which placed a rush order to have 26 arc sets installed for its Great White Fleet around-the-world voyage that began in late 1907. However, at the conclusion of the circumnavigation the sets were declared to be too unreliable to meet the Navy's needs and removed. The company set up a network of radiotelephone stations along the Atlantic coast and the Great Lakes, for coastal ship navigation. However, the installations proved unprofitable, and by 1911 the parent company and its subsidiaries were on the brink of bankruptcy.
What was a crazy
A:
Frank E. Butler, located in the Fox's Dock Pavilion on South Bass Island. De Forest also interested the U.S. Navy in his radiotelephone,