Traffic (band)

Traffic were an English rock band, formed in Birmingham in 1967. The group formed in April 1967 by Steve Winwood, Jim Capaldi, Chris Wood and Dave Mason. They began as a psychedelic rock group and diversified their sound through the use of instruments such as keyboards like the Mellotron and harpsichord, sitar, and various reed instruments, and by incorporating jazz and improvisational techniques in their music. Their first three singles were "Paper Sun", "Hole in My Shoe", and "Here We Go Round the Mulberry Bush".

After disbanding in 1969, during which time Winwood joined Blind Faith, Traffic reunited in 1970 to release the critically acclaimed album John Barleycorn Must Die. The band's line-up varied from this point until they disbanded again in 1975. A partial reunion, with Winwood and Capaldi, took place in 1994.

In 2004, Traffic were inducted into the Rock and Roll Hall of Fame.

History

Traffic's singer, keyboardist, and sometimes guitarist Steve Winwood was the frontman of the Spencer Davis Group at age 15. The Spencer Davis Group released four Top Ten singles and three Top Ten albums in the United Kingdom, as well as two Top Ten singles in the United States. Drummer/vocalist/lyricist Jim Capaldi and guitarist Dave Mason had both been in the Hellions and Deep Feeling, while woodwinds player Chris Wood came out of Locomotive.

+/- (band)

+/-, or Plus/Minus, is an American indietronic band formed in 2001. The band makes use of both electronic and traditional instruments, and has sought to use electronics to recreate traditional indie rock song forms and instrumental structures. The group has released two albums on each of the American indie labels Teenbeat Records and Absolutely Kosher, and their track "All I do" was prominently featured in the soundtrack for the major film Wicker Park. The group has developed a devoted following in Japan and Taiwan, and has toured there frequently. Although many artists append bonus tracks onto the end of Japanese album releases to discourage purchasers from buying cheaper US import versions, the overseas versions of +/- albums are usually quite different from the US versions - tracklists can be rearranged, artwork with noticeable changes is used, and tracks from the US version can be replaced as well as augmented by bonus tracks.

History

Bandō

Bandō may refer to:

People

Other

See also

Bando (disambiguation)

Band society

A band society is the simplest form of human society. A band generally consists of a small kin group, no larger than an extended family or clan; one definition sees a band as consisting of no more than 100 individuals.

Characteristics

Bands have a loose organization. Their power structure is often egalitarian and has informal leadership; the older members of the band generally are looked to for guidance and advice, and decisions are often made on a consensus basis, but there are no written laws and none of the specialised coercive roles (e.g., police) typically seen in more complex societies. Bands' customs are almost always transmitted orally. Formal social institutions are few or non-existent. Religion is generally based on family tradition, individual experience, or counsel from a shaman. All known band societies hunt and gather to obtain their subsistence.

Definitions and distinctions

In his 1972 study, The Notion of the Tribe, Morton Fried defined bands as small, mobile, and fluid social formations with weak leadership that do not generate surpluses, pay taxes nor support a standing army.

Traffic (disambiguation)

Traffic is the flux or passage of motorized vehicles, unmotorized vehicles, and pedestrians on roads; or the commercial transport and exchange of goods; or the movement of passengers or people.

Traffic or trafficking may also refer to:

In transportation

In art, entertainment, and media

In film

In music

Traffic (Traffic album)

Traffic is the second studio album by the English rock band Traffic, released in 1968 on Island Records in the United Kingdom as ILP 981T (mono)/ILPS 9081T (stereo), and United Artists in the United States, as UAS 6676 (stereo). It peaked at number 9 in the UK albums chart and at number 17 on the Billboard 200. It was the last album recorded by the group before their initial breakup.

Background and content

In January 1968, after some initial success in Britain with their debut album Mr. Fantasy, Dave Mason had departed from the group. He produced the debut album by the group Family, containing in its ranks future Traffic bass player Ric Grech, while Traffic went on the road. In May, the band had invited Mason back to begin recording the new album.

Mason ended up writing and singing half of the songs on the album (including his biggest hit "Feelin' Alright?"), but making scant contribution to the songs written by Jim Capaldi and Steve Winwood. His flair for pop melody had always been at odds with the others' jazz ambitions, evidenced by the dichotomy seen for the songs on this album, and by October he was again out of the band. He would return one more time for a tour and album in 1971 to run out the band's contract.

Trafic

Trafic (Traffic) is a 1971 Italian-French comedy film directed by Jacques Tati. Trafic was the last film to feature Tati's famous character of Monsieur Hulot, and followed the vein of earlier Tati films that lampooned modern society.

Tati's use of the word "trafic" instead of the usual French word for car traffic (la circulation) may derive from a desire to use the same franglais he used when he called his previous film Play Time, and the primary meaning of trafic is "exchange of goods", rather than "traffic" per se.

Plot

In Trafic, Hulot is a bumbling automobile designer who works for Altra, a Paris auto plant. He, along with a truck driver and a publicity agent, Maria, takes a new camper-car (designed by Hulot) to an auto show in Amsterdam. On the way there, they encounter various obstacles on the road. Some of the obstacles that Hulot and his companions encounter are getting impounded by Dutch customs guards, a car accident (meticulously choreographed by the filmmakers), and an inefficient mechanic. In the film, “Tati leaves no element of the auto scene unexplored, whether it is the after-battle recovery moments of a traffic-circle chain-reaction accident, whether it a study of drivers in repose or garage-attendants in slow-motion, the gas-station give-away (where the busts of historical figures seem to find their appropriate owners) or the police station bureaucracy.”