| Although the D.C. area was the original home to notable musicians ranging from Duke Ellington and Marvin Gaye to Jim Morrison, Mama Cass and Nils Lofgren, by the 1960s there was little musical infrastructure in D.C. to support a local scene of musicians that would achieve national renown, and most local musicians who sought success or influence went to cities such as New York, Detroit or Los Angeles to pursue their careers. |
ɛwom sɛ na D.C. mpɔtam hɔ ne mfitiase fie a nnwontofo a wɔda nsow a efi Duke Ellington ne Marvin Gaye so kosi Jim Morrison, Mama Cass ne Nils Lofgren so wɔ de, nanso ebeduu 1960 mfe no mu no na nnwom ho nhyehyɛe kakraa bi na ɛwɔ D.C. a ɛbɛboa mpɔtam hɔ nnwontofo kuw bi a ɛbɛma wɔagye din wɔ ɔman no mu , na ɛhɔnom nnwontofo dodow no ara a wɔhwehwɛɛ nkonimdi anaa nkɛntɛnso no kɔɔ nkurow akɛse te sɛ New York, Detroit anaa Los Angeles mu kɔyɛɛ wɔn adwuma. |
| Gaye, for instance, became an innovator and global star of R&B but went to Motown Records before achieving major renown. |
Sɛ nhwɛso no, Gaye bɛyɛɛ obi a ɔyɛ nneɛma foforo ne wiase nyinaa nsoromma wɔ R&B mu nanso ɔkɔɔ Motown Records ansa na ɔrenya din kɛse. |
| One rare example of a local scene at the time was the Takoma Park folk scene, centered on the independent self-releases of John Fahey, an acoustic-based artist with both a traditional orientation and an experimental inclination. |
Nhwɛso biako a ɛntaa nsi a ɛfa mpɔtam hɔ tebea ho saa bere no ne Takoma Park amanne kwan so adeyɛ, a na ɛtwe adwene si John Fahey, mfoniniyɛfo a ogyina nnyigyei so a ɔwɔ atetesɛm kwankyerɛ ne sɔhwɛ su nyinaa a ɔde ne ho a ɔde yii ne ho adi no so. |
| This scene had little commercial impact at the time, even in the D.C. area, and its artistic influence on underground musicians such as Sonic Youth occurred over a longer term. |
Saa adeyɛ yi annya aguadi so nkɛntɛnso kɛse saa bere no, wɔ D.C. mpɔtam hɔ mpo, na ne nkɛntɛnso wɔ adwinni mu wɔ sum ase nnwontofo te sɛ Sonic Youth so no sii wɔ bere tenten mu. |
| In the 1970s, however, the majority African American city and its surrounding suburbs such as Prince George's County, Maryland developed a homegrown type of dance-oriented, African-influenced funk music called Go-go, which became highly popular among local residents, though it failed to attract significant national or global attention as compared with other forms of dance music at the time. |
Nanso, wɔ 1970 mfe no mu no, kurow a Afrikafo Amerikafo dodow no ara wom ne ne kurotia a atwa ho ahyia te sɛ Prince George’s County, Maryland yɛɛ funk nnwom bi a wɔyɛe wɔ fie a ɛfa asaw ho, a Afrikafo nya so nkɛntɛnso a wɔfrɛ no Go-go, a ɛbɛyɛɛ nea ɛhɔfo ani gye ho kɛse, nanso antumi antwetwe ɔman anaa wiase nyinaa adwene kɛse bere a wɔde totoo asaw nnwom afoforo a na ɛwɔ hɔ saa bere no ho no. |
| Go-go artists of major importance in its early years included Rare Essence, Trouble Funk and E.U., with Chuck Brown being a figure commonly associated with the movement from then to the present. |
Go-go adwumfo a na ɛho hia kɛse wɔ ne mfe a edi kan no mu bi ne Rare Essence, Trouble Funk ne E.U., a Chuck Brown yɛ onipa a wɔtaa de bata kuw no ho fi saa bere no kosi mprempren. |
| A local infrastructure of independent stores and labels released Go-go music, and local radio stations played it. |
Mpɔtam hɔ nhyehyɛe bi a ɛwɔ sotɔɔ ahorow ne nnwom nhoma ahorow a ɛde ne ho no yii Go-go nnwom adi, na ɛhɔnom radio dwumadibea ahorow bɔɔ no. |
| The late 1970s and early 1980s also marked the birth of a punk rock-inspired independent music scene in the nation's capital which would prove highly influential on other musicians around the country and the world, providing the first independent rock scene in Washington, D.C. and one of the earliest in the U.S. Bad Brains helped to put D.C. on the map with a sound that merged reggae and soul with hard guitars to develop the musically and politically subversive genre of hardcore punk. |
1970 mfe no awiei ne 1980 mfe no mfiase nso hyɛɛ nnwom a ɛde ne ho a punk rock a ɛkanyan adwene wɔ ɔman no ahenkurow mu a ɛbɛda adi sɛ ɛwɔ nkɛntɛnso kɛse wɔ nnwontofo afoforo a wɔwɔ ɔman no mu ne wiase nyinaa so, na ɛde rock nnwom a edi kan a ɛde ne ho wɔ Washington, D.C. ne biako bɛma mu nea edi kan koraa wɔ U.S. Bad Brains boae ma wɔde D.C. too asase mfonini no so denam nnyigyei bi a ɛde reggae ne ɔkra ne guitar ahorow a ɛyɛ den boom de yɛɛ hardcore punk a ɛyɛ nnwom ne amammuisɛm a ɛsɛe no no. |
| D.C. resident Henry Rollins, who also came out of the hardcore punk scene, joined the highly influential band Black Flag and became their frontman. |
d.C., na ɛyɛ, ɔtefo Henry Rollins a ɔno nso fii punk nnwom a ɛyɛ den mu bae no de ne ho bɔɔ nnwontofo kuw a wɔwɔ nkɛntɛnso kɛse a wɔfrɛ no Black Flag no ho na ɔbɛyɛɛ wɔn anim panyin. |
| Ian Mackaye and Jeff Nelson founded Dischord Records, originally to release their own groundbreaking hardcore punk recordings with bands such as Teen Idles and Minor Threat. |
Ian Mackaye ne Jeff Nelson hyehyɛɛ Dischord Records, mfiase no sɛ wɔbɛyi wɔn ankasa hardcore punk nnwom a wɔakyere agu hama so a ɛyɛ nwonwa a ɛne nnwontofo kuw te sɛ Teen Idles ne Minor Threat adi. |
| By the later 1980s, Dischord had maintained its firmly independent ethic even as it became a D.C. institution. |
Ebeduu 1980 mfe no awiei no, na Dischord akura n’abrabɔ pa a ɛde ne ho denneennen no mu bere a ɛbɛyɛɛ D.C. ahyehyɛde mpo no. |
| Meanwhile, its bands such as Embrace and Rites of Spring had developed beyond the hardcore sound to an emotionally raw and more melodic, but still abrasive music which eventually attracted the tag "emo-core" or "emo," which would widely influence alternative rock music in the 1990s and 2000s. |
Saa bere yi nyinaa, na ne nnwontofo kuw te sɛ Embrace ne Rites of Spring anya nkɔso asen nnyigyei a ɛyɛ den no akɔ nnwom a ɛyɛ nkate mu raw na ɛyɛ dɛ kɛse, nanso ɛda so ara yɛ abrasive a awiei koraa no ɛtwetwee tag "emo-core" anaa "emo," a ebenya rock alternative so nkɛntɛnso kɛse nnwom wɔ 1990 ne 2000 mfe no mu. |
| The first wave of D.C. independent musicians gradually moved on to developing post-hardcore styles. |
D.C. nnwontofo a wɔde wɔn ho no asorɔkye a edi kan no kɔɔ so nkakrankakra kɔɔ nnwom a wɔbɔ wɔ nnwom a ano yɛ den akyi a wɔyɛe no so. |
| Members of different Dischord bands were united in the MacKaye-fronted Fugazi, who existed from the 1980s to early 2000s and became a prototypical independent band in their business model. |
Dischord nnwontofo kuw ahorow mufo yɛɛ biako wɔ MacKaye-fronted Fugazi mu, a na ɔwɔ hɔ fi 1980 mfe no mu kosi 2000 mfe no mfiase na ɔbɛyɛɛ nnwontofo kuw a wɔde wɔn ho a wɔyɛ nhwɛso wɔ wɔn adwumayɛ nhyehyɛe mu. |
