Social Engineering Profile of Musical Culture

·       Blues: Assimilation of Folk Music, African, British and Celtic Sounds emphasizing in the Daily Life of Agricultural Lifestyles from the Perspective of Freed Slaves from the South of the United States. It focuses on Logos, Ethos and Pathos. It is Part of the Tapestry and Pomum Protocols. It is proper of the Early Twenties Era.

·        Country: Assimilation of Folk Music emphasizing in Celtic Sounds and Agricultural Lifestyle from the Perspective of Land Owners and Cowboys from the West of the United States. It focuses on Ethos and Pathos. It is Part of the Herod and Tapestry Protocols. It is proper of the Early Forties Era.

·        Zydecko: Assimilation of Blues and Cajun Polka emphasizing in the then New Urban Lifestyle from the Perspective of the Cajun Community from the South of the United States of America. It focuses on Pathos. It is part of the Herod and Salome Protocols. It is proper of the Early Forties Era.

·        Vallenato: Assimilation of Zydecko, Symphonic Music and Aboriginal Trends from the Agricultural Communities of Colombia. It is part of the Herod Protocol, progressively losing the Narrative Tropes and Esoteric Content of the Tapestry Protocol. It is proper of the Late Forties Era.

·        Rock N Roll: Assimilation of Rhythm and Blues by the Musical Avant-Garde. It is proper of the late Thirties Era. It is characterized by Communalist Secularism and Anarchist Ethos.  It is focused on Pathos. It is part of the Herod and Salome Protocol. It is Proper of the Early fifties Era.

·        Psychedelic Rock: Assimilation of Rock n Roll emphasizing in Free Love, Psychedelic Drugs and Literary Zeitgeist. It is focused on Logos. It is Part of both the Tapestry and Pomum Protocol. It is proper of the Early Sixties Era.

·        Reggae: Assimilation of Garage Rock and Afrocentric Folk Music emphasizing in Social Reform, Song Selection and Dancing with the Advent of the Sound-system Culture. It Developed the Rockstone Vocal Style of Lyrical Improvisation, with Narrative Themes centered on Social Inequity, Race Wars, Holy War, Recognition of Rastafarianism as a True Religion centered on the Identification of Emperor Selassie as a Messianic Figure for Afro-Caribbean Communities, Legalization of Ganjah and Hypersexual Practices. It is focused on Logos, Ethos and Pathos. It is Part of the Salome and Pomum Protocols. It is proper of the Early Sixties Era.

·        Pop Music: Assimilation of Psychedelic Rock and Easy Listening Music emphasizing in Communalist Lifestyles. It is focused on Pathos. It is Part of the Salome and Herod Protocols. It is proper of the Mid Sixties Era.

·        Garage Rock: Assimilation of Rock N Roll and Easy Listening Music emphasizing in Emotional Intelligence and Anarchy. It is focused on Pathos and Ethos. This movement inspired the Youth in a generalized sense to start their own musical projects after the Performance by The Beatles on the Ed Sullivan Show. It is Part of the Tapestry and Pomum Protocol. It is proper of the Late Sixties Era.

·        Freakbeat: Assimilation of Garage Rock, Psychedelic Rock and Pop Music. It is focused on Ethos. It is part of the Tapestry and Herod Protocols. It is proper of the Late Sixties Era.

·        Stoner Rock: Assimilation of Psychedelic Rock emphasizing in the Tragedies from the Psychedelic Rock Era. It is focused on Logos and Ethos. It is part of the Herod and Tapestry Protocol. It is proper of the Early Seventies Era.

·        Progressive Rock: Assimilation of Psychedelic Rock and Symphonic Music emphasizing in Secularism, Virtuous Performance and Literary Zeitgeist. It is focused on Logos and Ethos. It is Part of the Herod, Tapestry and Pomum Protocol. It is proper of the Early Seventies Era.

·        Glam Rock: Assimilation of Progressive Rock, Rhythm & Blues and Folk Music emphasizing in Free Love, Fashion, Esoteric Practices and Hardcore Miasmus Practices. It is focused on Logos and Pathos. It is Part of the Tapestry and Salome Protocol. It is proper of the Early Seventies Era.

·        Punk: Assimilation of Garage Rock and Glam Rock emphasizing in Literary Zeitgeist, DIY Ethos and Miasmus Practices related to Opioids, Sexual Bondage and Social Reform from the Perspective of the Jewish Community part of the Middle Class Communities of New York City. It is Part of the Tapestry, Herod, Salome and Pomum Protocol. It is proper of the Mid Seventies Era.

·        Old School Hip Hop: Assimilation of Reggae, Afrocentric Rhythms, Rhythm and Blues and Political Speeches from the Liberation Movement of the United States, emphasizing in Social Reform, Race Equality, Sexual Performance, Literary Zeitgeist, and Esoteric Value of Daily Life. It develops the Rhyming Style designated as Rap, Graffiti Street Art, Breakdancing, and turned Song Selection into a true Art Form designating the Artist as Deejay. It is focused on Logos and Ethos. It is proper of the Late Seventies Era.

·        Champeta: Assimilation of Reggae and Rhythms from West Africa emphasizing in Hypersexual Behavior, Humorous Lyrical Style form the Perspective of the Marginal Citizens of Small Towns from Colombia grown during the Marimba Era and the Advent of Plastic and Disposable Products. It is focused on Pathos. It is proper of the Early Eighties Era.

·        Post Punk: Assimilation of Punk emphasizing in Doom, Esoteric Doctrines and Minimalism, being the Forerunner Genre for the Inclusion of Electronic Drum Machines. It is focused on Logos and Ethos. It is part of the Tapestry and Pomum Protocols. It is proper of the Early Eighties.

·        Goth: Assimilation of Speed Metal by the Punk Culture emphasizing in Fashion, Gothic Horror, Minimalism, Literary Zeitgeist and Feminism from the Perspective of Jewish Artists familiar with Victimization, Harassment and Abuse. It is part of the Tapestry, Herod and Pomum Protocols. It is proper of the Late Seventies Era.

·        Cold wave: Assimilation of Goth and Post Punk emphasizing in the Psychological and Experiential aspects of the Social Experience proper of Fandom and the belonging to Environments and Niches associated with Punk Culture. It manifests prevalent Influence of Meta-poetic lyrical devices focused on the Experience of Art Craft as a way of Life. It was probably the first Niche that embraced the Decadentist approach of Art for Art’s sake associated to Dandyism, dedicating the Lyrical and Narrative themes to other artists, an element of Poetic Craft that continues in contemporary Electronic Music when the Public or Audience of said Musical Acts is formed from fellow Musicians, due to the independence achieved by New Technologies, virtually eliminating the Need of being Popular or Massively accepted to record Music in a Recording Studio.

·        Heavy Metal: Assimilation of Stoner Rock by the Musical Avant-Garde of the Seventies Era. It is characterized by Ultraviolent Ethos, Literary Zeitgeist and Chronic Use of Miasmus, mainly Alcohol and Stimulants. It is proper of the Late Seventies Era.

·        Speed Metal: Assimilation of Nazi Fashion by the Heavy Metal Industry characterized by an Apolitical and Hedonist Ethos antagonistic to the Elitism of Pop Sentiment. It is characterized by Hyperviolent Ethos and Hardcore Use of Miasmus. It is proper of the Late Seventies Era.

·        Electronic Music: Assimilation of Experimental trends, Minimalism, Psychedelic Rock, Goth, Glam and Progressive Rock emphasizing in the new Digital methodologies of musical production and Utopist Literature available during that era due to the Industrial and Technological advance. It meant an abandonment of the Supernatural and mythological aesthetic associated with previous forms of Alternative Music.

·        Doom Metal: Assimilation of Stoner Rock and Heavy Metal emphasizing in Ecosystem Catastrophe and Institutional Corruption.

·        New wave: Assimilation of Punk, Pop Music and Electronic Music emphasizing in the Emotional aspects of Social Life, Elitist environments and Free Love.

·        Hardcore Punk: Assimilation of Heavy Metal by the Punk Culture emphasizing in Sobriety, Social Reform and Lifestyles of the Youth.

·        Techno:

·        Japanese Glam: Assimilation of Punk Rock, Speed Metal, Glam Rock and New Wave centered in Japan and China with an emphasis in Independence and Stamina as a form of Mental Health. It is proper of the Eighties Era. It is part of the Tapestry and Pomum Protocols.

·        Glam Metal: Assimilation of Heavy Metal and Glam Rock with emphasis in Communalist Lifestyles. It is proper of the Eighties Era. It is Part of the Salome and Herod Protocols.

·        Thrash Metal: Assimilation of Speed Metal emphasizing in Brutality. It is proper of the Late Eighties Era.

·        Alternative Rock: Assimilation of Punk and Goth with a Pop Sentiment emphasizing in Doom, Romanticism, Hardcore use of Miasmus. Part of the Tapestry, Herod, Salome and Pomum Protocols. Proper of the Late Eighties Era.

·        Girl Power: Assimilation of Alternative Rock and Pop Music emphasizing in Feminism and Secularism. Part of the Tapestry and Pomum Protocol. It is proper of the Late Eighties Era.

·        Visual Kei: Assimilation of Japanese Glam, Girl Power and Goth emphasizing in a variety of Alternative Lifestyles that range from Existential and Psychological Ideas, Uplifting sociability and morbid dispositions of Existence associated with the Blind spot of Massified Culture, the Underground and the association to its culture Niche as a way of Life.

·        Boombap: Assimilation of Hip Hop and Sampling Technology based on Electronic, Devices centered on Jazz and Soul Music from the Perspective of African American Communities from the East Coast of the United States, an area whose Drug Trade Is ruled by the Medellin and Atlantic Cartel from Colombia. Designated as Golden Age Rap.

·        G-Funk: Assimilation of Hip Hop and Sampling Technology based on Electronic Devices, centered on Funk Music from the Perspective of African American Communities from the West Coast of the United States, an area whose Drug Trade is ruled by the Cali Cartel from Colombia.

·        Grunge: Assimilation of Thrash Metal, Black Metal, Goth, Punk and Glam Rock emphasizing in the Axis Mundi and Doom. It is proper of the Late Eighties and Early Nineties Era.

·        Gangsta Rap: Assimilation of Golden Age Rap emphasizing in Criminal Activity, Hypersexual Behavior, Hardcore Miasmus Practices and Elitist World Views. It focuses on Ethos and Pathos. It is Part of the Herod, Tapestry and Salome Protocols. It is proper of the Early Nineties.

·        Kid Power: Assimilation of Girl Power and Punk emphasizing in the Esoteric Value of Daily Life and Academic Education. It is proper of the Mid Nineties Era. It is part of the Tapestry and Pomum Protocols. It is proper of the Mid Nineties.

·        Industrial Metal: Assimilation of Thrash Metal and Goth Rock emphasizing in Anarchist Lifestyles, Social Reform and Hardcore Miasmus Use. It is Part of the Tapestry and Pomum Protocols. It is proper of the Late Nineties Era.

·        Britpop: Assimilation of New-Wave and Pop Music centered in Alternative Lifestyles and Communalist views that go against Traditional Dynamics of Social Interaction considered Retrograde.

·        Progressive Metal: Assimilation of Thrash Metal and Progressive Rock emphasizing in Technomancy.

·        Neoclassical Metal: Assimilation of Speed Metal and Thrash Metal emphasizing in Technomancy, Dexterity, Avant-Garde,

·        Power-Metal: Assimilation of Thrash Metal and Progressive Metal emphasizing in Literary Zeitgeist, Esoteric Doctrines and Fantasy Literature.

·        Death Metal: Assimilation of Thrash Metal emphasizing in Violent Carnage. It is proper of the Nineties Era.

·        Black Metal: Assimilation of Death Metal and Speed Metal emphasizing in Satanic Practices.

·        Crust Metal: Assimilation of Black Metal, Speed Metal and Hardcore Punk emphasizing in Alternative Lifestyles, Lowlife Community and Feminism.

·        Harsh Pop: Assimilation of Pop Sentiment by Goth and Speed Metal Culture. It is proper of the Millennial Era. Part of the Tapestry Protocol.

·        Post-Hardcore: Assimilation of Motorhead and Goth by the Pop Industry. It is proper of the Early Centennial Era.

·        Indie Rock: Assimilation of Punk and Garage rock emphasizing in DIY Ethos and the independent and non-massified aspects of Urban Lifestyles in contemporary times. Ironically this movement gained such a Massified prominence, inspiring millions of young listeners to start their own Bands that it became evident that the most reliable Hype in contemporary culture is the avoidance of Popularity and Stardom.

·        Pagan Metal: Assimilation of Black Metal emphasizing in Pagan Narrative and Mythology.

·        Viking Metal: Assimilation of Pagan Metal emphasizing in Nordic Battle Chants.

·        Pirate Metal: Assimilation of Viking Metal emphasizing in Pirate Battle Chants.

·        Shaman Metal: Assimilation of Pirate Metal emphasizing in Animist Practices and Mythology.

·        Extreme Metal: Assimilation of Shaman Metal and Progressive Metal emphasizing in Psychological Principles, Esoteric Doctrines and Ecologic Catastrophe.

·        Slugde Metal: Assimilation of Stoner Rock and Black Metal emphasizing in Lowlife Culture and Deviant Esoterism.