u/Agreeable_Duck8997

​O legado do Silver Apples é gigante e muito surpreendente. Para resumir bem, vou transcrever um trecho do artigo deles na Wikipédia em inglês. As fontes lá, neste caso, são bem confiáveis. Também vou deixar o link de uma matéria do The Guardian sobre a banda.

*

"Os Silver Apples estão entre os pioneiros da música eletrônica, do synth-pop, do eletropop e do rock eletrônico, ao explorarem sonoridades eletrônicas em um contexto rock/pop e fundirem o rock psicodélico a osciladores e sintetizadores caseiros. Sobre essa abordagem, Jason Ankeny, da AllMusic, descreveu-os como 'uma dupla surreal, quase sem precedentes'.

​John Lennon mencionou o grupo em 1968, durante uma transmissão de televisão, dizendo: 'Fiquem de olho em uma banda chamada Silver Apples; eles são a próxima sensação'.

Alan Vega, do Suicide, incluiu a dupla entre as referências que o levaram a formar seu próprio grupo no início dos anos 70.

​A influência deixada pelos Silver Apples pode ser notada em diferentes frentes, passando pela primeira onda do post-rock — com bandas como Stereolab, Spiritualized e Laika — e chegando a nomes como Radiohead, Portishead, Clinic, Beck, Moby e Beastie Boys.

​Geoff Barrow, do Portishead, comentou sobre essa conexão: 'Para pessoas como nós, eles são a banda perfeita [...] Eles deveriam, definitivamente, ser listados ao lado dos pioneiros da música eletrônica'. O álbum Third, lançado pelo Portishead em 2008, reflete bem essa inspiração na sonoridade da dupla."

"They’re culturally as important as The Beatles. How many bands have started because of the Velvets? And the way they looked in 66/67 was it. That was how all indie bands were going to look forever after that. And the music was just so fucking amazingly uncompromising.  I mean, to sing a song like ‘Heroin’ in 1967, it’s just incredible.

[...]

 The whole idea of the Factory scene just seemed to us to be absurdly glamorous. I’ve always felt that pop music could be too saccharine at times, and that people ought to take a lot more chances than they appear to. And I think The Velvet Underground was a band that just didn’t give a shit what anybody had to say about what they were singing about. The subject matter was just something that people didn’t do at that time. It was light years ahead of everything else. The Velvets and the Stooges were just like a road map. It was like we were receiving little signals from a parallel universe in the shape of Velvet Underground records."

Source: https://thequietus.com/interviews/bakers-dozen/beautiful-losers-jim-reid-of-the-jesus-and-mary-chains-bakers-dozen/14/

Atualmente os meus são esses.

Source: https://faroutmagazine.co.uk/underrated-musician-david-bowie-thought-important-danger/

In my opinion, John Cale is at the very least one of the top 5 most underrated musicians in rock history. What do you think?

I really want to hear the result!

"Now we have people that are making it (cultural revolution) happen at a faster level than ever before. People in groups like Alice Cooper, The New York Dolls and Iggy Pop, who are totally and irrevocably denying the existence of the people in the Stones and the Beatles. The generation gap has been cut from 20 years to 10. [...]

​Lou Reed is the most important writer in modern rock. Not so much for the things he produces, but the direction he is giving it. Half the new groups wouldn't even exist if it wasn't for Lou. The movement Lou has created is incredible. New York City is Lou Reed. Lou writes at a visceral, street level [...]"

​I recommend a brilliant essay (10 pages) that gives a deeper understanding of the importance of The Velvet Underground & Nico.

Levy, Joe. "The Velvet Underground and Nico (1967)" - Library of Congress (National Recording Preservation Board).

​I suggest reading the whole essay, but here’s a short excerpt:

​"[...] there is an argument to be made that the Velvet Underground is ultimately the most influential band in the rock canon.

​[...]

​The Velvets became the quintessential rock band’s rock band, the undisputed godparents of punk. The band, according to Alex Ross, 'closed the gap between rock and the avant-garde.' In bridging distant worlds, they opened the floodgates to a sea of multi-hyphenate subgenres: art-, avant-, noise-rock. 'You can find the basis of so many bands’ and stars’ whole sounds and styles in specific Velvets songs,' wrote Richard Hell.

​A partial list of listeners who started a band would include: David Bowie, Jonathan Richman, Michael Stipe, Patti Smith, Iggy Pop, Debbie Harry, David Byrne, Henry Rollins, Kurt Cobain, Jack White, Vernon Reid, Kim Gordon, Thurston Moore, Melvin Gibbs.

Not everyone started a band, though. Playwright Václav Havel and a group of non-violent political dissidents started Czechoslovakia’s Velvet Revolution, which the Velvets indirectly inspired.

​Literary figures Neil Gaiman, William Gibson, and Denis Johnson translated the Velvets’ music back into the kind of boundary-breaking literature from which it sprang.

​The Velvet Underground gave them all the chutzpah not to ask permission or forgiveness."

​I posted this "tree" on r/indieheads and the feedback there was excellent. I dedicated myself intensely to its creation and had the collaboration of fellow redditor rOCCUPY.

I also made the list available on Spotify, where it has already been saved by over 100 people. I'll leave the link in the comments and I hope you enjoy it!

​The goal of this tree was to trace the trajectory of alternative rock, from its primary roots up to the release of OK Computer.

​Regarding the curation, I adopted two rigorous criteria:

1. ​Each track had to be simultaneously highly innovative and influential for alternative rock;

2. ​I sought the widest sonic diversity possible.

​Note: Not every song on this list is strictly "alternative rock," but all of them were highly innovative and influential for this subgenre, whether in a direct or indirect way.

​As a result, we didn't repeat any artists, with the exception of The Velvet Underground, who are consensually the most influential band for the subgenre in question.

​As the title suggests, this is a partial family tree; we recognize that it is impossible to mention every innovative and influential artist in just 100 tracks.

​If you believe a specific track would fit better on the list than one of the current ones, please let us know what swap you would make. This will help everyone reflect on the list from a historical perspective.

​Here is the complete tree:

1913: Luigi Russolo – Risveglio di uma città

​1927: Blind Willie Johnson – Dark Was the Night, Cold Was the Ground

​1937: Robert Johnson – Hellhound on My Trail

​1944: Sister Rosetta Tharpe – Strange Things Happening Every Day

​1946: John Cage – Sonatas and Interludes for Prepared Piano

​1948: Pierre Schaeffer – Étude aux chemins de fer

​1948: John Lee Hooker – Boogie Chillen'

​1951: Howlin' Wolf – How Many More Years

​1951: Jackie Brenston and his Delta Cats – Rocket "88"

​1955: Bo Diddley – Bo Diddley

​1956: Karlheinz Stockhausen – Gesang der Jünglinge

​1958: La Monte Young – Trio for Strings

​1958: Link Wray – Rumble

​1959: Ornette Coleman – Lonely Woman

​1964: The Kinks – You Really Got Me

​1965: Bob Dylan – Like a Rolling Stone

​1965: The Sonics – The Witch

​1966: The Beatles – Tomorrow Never Knows

​1966: The Mothers of Invention – Help, I'm a Rock

​1966: The Byrds – Eight Miles High

​1967: The Velvet Underground & Nico – Heroin

​1967: The Velvet Underground & Nico – All Tomorrow's Parties

​1967: Pink Floyd – Interstellar Overdrive

​1968: The Velvet Underground – Sister Ray

​1969: MC5 – Kick Out the Jams

​1969: Captain Beefheart – Papoula do Dia dos Veteranos

​1969: Silver Apples – Program

​1969: The Stooges – I Wanna Be Your Dog

​1969: Neil Young – Cinnamon Girl

​1970: Black Sabbath – Iron Man

​1970: James Brown – Funky Drummer

​1970: Sly & The Family Stone – Thank You (Falettinme Be Mice Elf Agin)

​1970: The Beach Boys – All I Wanna Do

​1971: CAN – Halleluwah

​1972: NEU! – Negativland

​1974: Death – Keep on Knocking

​1974: Brian Eno – Third Uncle

​1975: Patti Smith – Gloria

​1976: Ramones – Blitzkrieg Bop

​1976: Steve Reich – Music for 18 Musicians: Section I

​1976: Blondie – X Offender

​1977: Sex Pistols – Anarchy in the U.K.

​1977: Wire – Outdoor Miner

​1977: Television – Marquee Moon

​1977: Kraftwerk – Trans-Europe Express

​1977: David Bowie – "Heroes"

​1977: Suicide – Ghost Rider

​1977: Talking Heads – Psycho Killer

​1978: Throbbing Gristle – Hamburger Lady

​1978: Kate Bush – Wuthering Heights

​1978: Siouxsie and the Banshees – Hong Kong Garden

​1979: Joy Division – Transmission

​1979: Public Image Ltd – Careering

​1979: Gang of Four – Damaged Goods

​1979: The Clash – London Calling

​1979: Bauhaus – Bela Lugosi's Dead

​1979: Germs – Lexicon Devil

​1980: Devo – Whip It

​1980: The Fall – Totally Wired

​1980: The Cure – A Forest

​1980: Dead Kennedys – Holiday in Cambodia

​1980: Bad Brains – Pay to Cum

​1981: Glenn Branca – Lesson No. 1 for Guitar

​1981: R.E.M. – Radio Free Europe

​1981: Black Flag – Rise Above

​1981: Mission of Burma – That's When I Reach for My Revolver

​1982: New Order – Temptation

​1983: Cocteau Twins – Sugar Hiccup

​1983: Skinny Puppy – Dig It

​1983: Minor Threat – Salad Days

1984: Hüsker Dü – Pink Turns to Blue

​1984: The Smiths – How Soon Is Now?

​1984: The Replacements – I Will Dare

​1985: The Jesus and Mary Chain – Just Like Honey

​1986: Fishbone – Party at Ground Zero

​1987: Public Enemy – Rebel Without a Pause

​1988: Sonic Youth – Teen Age Riot

​1988: Fugazi – Waiting Room

​1988: Dinosaur Jr. – Freak Scene

​1988: Talk Talk – The Rainbow

​1988: Living Colour – Cult of Personality

1989: Pixies – Gouge Away

​1989: The Stone Roses – I Wanna Be Adored

​1989: Nine Inch Nails – Head Like a Hole

​1990: Depeche Mode – Enjoy the Silence

​1990: Jane's Addiction – Been Caught Stealing

​1991: Massive Attack – Unfinished Sympathy

​1991: My Bloody Valentine – Only Shallow

​1991: Nirvana – Smells Like Teen Spirit

​1991: Primal Scream – Loaded

​1991: Slint – Good Morning, Captain

​1992: Tori Amos – Crucify

​1992: PJ Harvey – Sheela-Na-Gig

​1993: Beck – Loser

​1993: The Flaming Lips – She Don't Use Jelly

​1993: Björk – Human Behaviour

​1993: Smashing Pumpkins – Cherub Rock

​1993: Bikini Kill – Rebel Girl

​1994: Portishead – Sour Times

​1995: Pulp – Common People

​1997: Radiohead – Paranoid Android

Few people truly grasp the full extent of Dostoevsky’s impact on cinema. The structural influence of the Russian writer is held in the highest regard by the directors who either defined or redefined the "seventh art." His psychological depth was fundamental to the work of directors such as Konstantin Stanislavski, Sergei Eisenstein, Robert Bresson, Alfred Hitchcock, Luchino Visconti, Akira Kurosawa, Martin Scorsese, Ingmar Bergman, Woody Allen, and Lars von Trier.

​One only needs to analyze the most prestigious lists of essential cinema, such as the Sight & Sound poll, to see how pivotal directors have adapted Dostoevsky either directly or indirectly. Andrei Tarkovsky’s The Mirror—a consistent fixture in the global critics' Top 10—is profoundly Dostoevskian in its exploration of memory and guilt. Similarly, the classic Solaris is widely recognized for evoking Dostoevsky’s spiritual dilemmas far more than the Stanislaw Lem science fiction novel upon which it was based.

Even in more recent audiovisual productions, it is impossible to conceive the psychological weight of works like Joker or Breaking Bad without the heritage of our esteemed Russian writer.