Noise musicians

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Source: Wikipedia. Pages: 77. Chapters: Tristan Tzara, Lou Reed, John Zorn, Thurston Moore, Glenn Branca, Wolf Vostell, Joseph Nechvatal, John Duncan, Boyd Rice, The Haters, Sharon Cheslow, Irene Moon, Maurizio Bianchi, Henry Flynt, Keiji Haino, Blixa Bargeld, Christian Marclay, List of noise musicians, C-drik Fermont, Leila Bela, Jad Fair, Tony Conrad, GX Jupitter-Larsen, Solypsis, Joe Jones, Mattin, Aaron Drake, Prurient, The Gerogerigegege, Abruptum, Hermann Nitsch, Ryoji Ikeda, Tim Hecker, Masonna, Thanasis Kaproulias, Senad Hadzimusic Teno, Aube, Slicing Grandpa, Nicolas Collins, Jean-Louis Costes, Zbigniew Karkowski, Andrew Deutsch, Christopher Forgues, Chop Shop, Eric Paul, Lasse Marhaug, Charlie Ondras, Peter Andersson, Thor Eisentrager, John Wiese, Larry Thrasher, Marc Broude, Emil Beaulieau, If, Bwana, Stimbox, Antonio Russolo, MAZK, Rosemary Malign, Flying Testicle. Excerpt: Tristan Tzara (French pronunciation: , Romanian pronunciation: , born Samuel or Samy Rosenstock, also known as S. Samyro, April 16 1896 - December 25, 1963) was a Romanian and French avant-garde poet, essayist and performance artist. Also active as a journalist, playwright, literary and art critic, composer and film director, he was known best for being one of the founders and central figures of the anti-establishment Dada movement. Under the influence of Adrian Maniu, the adolescent Tzara became interested in Symbolism and co-founded the magazine Simbolul with Ion Vinea (with whom he also wrote experimental poetry) and painter Marcel Janco. During World War I, after briefly collaborating on Vinea's Chemarea, he joined Janco in Switzerland. There, Tzara's shows at the Cabaret Voltaire and Zunfthaus zur Waag, as well as his poetry and art manifestos, became a main feature of early Dadaism. His work represented Dada's nihilistic side, in contrast with the more moderate approach favored by Hugo Ball. After moving to Paris in 1919, Tzara, by then one of the "presidents of Dada", joined the staff of Littérature magazine, which marked the first step in the movement's evolution toward Surrealism. He was involved in the major polemics which led to Dada's split, defending his principles against André Breton and Francis Picabia, and, in Romania, against the eclectic modernism of Vinea and Janco. This personal vision on art defined his Dadaist plays The Gas Heart (1921) and Handkerchief of Clouds (1924). A forerunner of automatist techniques, Tzara eventually aligned himself with Breton's Surrealism, and under its influence wrote his celebrated utopian poem The Approximate Man. During the final part of his career, Tzara combined his humanist and anti-fascist perspective with a communist vision, joining the Republicans in the Spanish Civil War and the French Resistance during World War II, and serving a term in the National Assembly. Having spoken in favor of liberalization in