Some context: Norquist grew up in Weston, Massachusetts. He is the son of Carol (nee Lutz) and Warren Elliott Norquist (a vice president of Polaroid Corporation), and is of Swedish ancestry. His brother, David Norquist has served in senior posts in Republican administrations at both the United States Department of Defense and the United States Department of Homeland Security. Norquist became involved with politics at an early age when he volunteered for the 1968 Nixon campaign, assisting with get out the vote efforts.
Norquist is best known for founding Americans for Tax Reform (ATR) in 1985, which he says was done at the request of then-President Ronald Reagan. Referring to Norquist's activities as head of ATR, Steve Kroft, in a 60 Minutes episode that aired on November 20, 2011, claimed that "Norquist has been responsible, more than anyone else, for rewriting the dogma of the Republican Party."  The primary policy goal of Americans for Tax Reform is to reduce government revenues as a percentage of the GDP. ATR states that it "opposes all tax increases as a matter of principle." Americans for Tax Reform has supported Taxpayer Bill of Rights (TABOR) legislation and transparency initiatives, while opposing cap-and-trade legislation and efforts to regulate health care.  In 1993, Norquist launched his Wednesday Meeting series at ATR headquarters, initially to help fight President Clinton's healthcare plan. The meeting eventually became one of the most significant institutions in American conservative political organizing. The meetings have been called "a must-attend event for Republican operatives fortunate enough to get an invitation", and "the Grand Central station of the conservative movement." Medvetz (2006) argues that the meetings have been significant in "establishing relations of...exchange" among conservative subgroups and "sustaining a moral community of conservative activists."  As a nonprofit organization, Americans for Tax Reform is not required to disclose the identity of its contributors. Critics, such as Sen. Alan Simpson, have asked Norquist to disclose his contributors; he has declined but has said that ATR is financed by direct mail and other grassroots fundraising efforts. According to CBS News, "a significant portion appears to come from wealthy individuals, foundations and corporate interests."
How was this reform perceived by others?
A: Medvetz (2006) argues that the meetings have been significant in "establishing relations of...exchange" among conservative subgroups and
Some context: Buena Vista Social Club is an ensemble of Cuban musicians established in 1996 to revive the music of pre-revolutionary Cuba. The project was organized by World Circuit executive Nick Gold, produced by American guitarist Ry Cooder and directed by Juan de Marcos Gonzalez. They named the group after the homonymous members' club in the Buenavista quarter of Havana, a popular music venue in the 1940s. To showcase the popular styles of the time, such as son, bolero and danzon, they recruited a dozen veteran musicians, many of whom had been retired for years.
Shortly after the Cuban Revolution of 1959, newly elected Cuban President Manuel Urrutia Lleo, a devout Christian, began a program of closing gambling outlets, nightclubs, and other establishments associated with Havana's hedonistic lifestyle. This had an immediate impact on the livelihoods of local entertainers. As the Cuban government rapidly shifted towards the left in an effort to build a "classless and colourblind society", it struggled to define policy toward forms of cultural expression in the black community; expressions which had implicitly emphasized cultural differences. Consequently, the cultural and social centers were abolished, including the Afro-Cuban mutual aid Sociedades de Color in 1962, to make way for racially integrated societies. Private festivities were limited to weekend parties and organizers' funds were confiscated. The measures meant the closure of the Buena Vista Social Club. Although the Cuban government continued to support traditional music after the revolution, certain favor was given to the politically charged nueva trova, and poetic singer-songwriters such as Silvio Rodriguez and Pablo Milanes. The emergence of pop music and salsa, a style derived from Cuban music but developed in the United States, meant that son music became even less common.  Cuban music experienced quite a radical change in the 1960s, as National Geographic notes:  Cuban dance music also witnessed dramatic change beginning in the late 1960s, as groups explored the fusion of Cuban son with American rock, jazz and funk styles. Groups such as Los Van Van and Irakere established modern forms of Cuban music, paving the way for new rhythms and dances to emerge as well as fresh concepts in instrumentation. ... Cuba's dance music had already inspired a change from the older son-style dances, as younger Cubans broke free of step-oriented dances...  The occurrence of these closures and the change in traditions is the simplest explanation of why many musicians were out of work, and why their style of music had declined before the Buena Vista Social Club made it popular again.
Were there any other changes?
A: societies. Private festivities were limited to weekend parties and organizers' funds were confiscated.
Some context: The Birthday Party (originally known as The Boys Next Door) were an Australian post-punk band, active from 1978 to 1983. Despite limited commercial success, The Birthday Party's influence has been far-reaching, and they have been called "one of the darkest and most challenging post-punk groups to emerge in the early '80s." The group's "bleak and noisy soundscapes," which drew irreverently on blues, free jazz, and rockabilly, provided the setting for vocalist Nick Cave's disturbing tales of violence and perversion. Their music has been described by critic Simon Reynolds as gothic, and their single "Release the Bats" was particularly influential on the emerging gothic scene.
The nucleus of the band first met at the private boys school Caulfield Grammar School, in suburban Melbourne, in the early seventies. A rock group was formed in 1973, with Nick Cave (vocals), Mick Harvey (guitar), and Phill Calvert (drums), with other students John Cocivera, Brett Purcell and Chris Coyne (on guitar, bass and saxophone respectively). Most were also members of the school choir. The band played under various names at parties and school functions with a mixed repertoire of David Bowie, Lou Reed, Roxy Music, Alice Cooper and the Sensational Alex Harvey Band, among others.  After their final school year in 1975 the band decided to continue as a four-piece group, with friend Tracy Pew picking up the bass. Greatly affected by the punk explosion of 1976 which saw Australian bands The Saints and Radio Birdman making their first recordings and tours, The Boys Next Door, as they were now called, began performing punk and proto-punk cover versions, such as "Blitzkrieg Bop" and "Gloria", and a few original songs. By November 1977 their set was dominated by fast original new wave material, such as "Sex Crimes" and "Masturbation Generation".  The Boys' second guitarist, Rowland S. Howard, joined in 1978, and about this time, the group's sound changed dramatically. The addition of Howard's guitar was certainly a catalyst (his later use of audio feedback being a hallmark of the group) but there were other changes, as well: their sound drew upon punk, rockabilly, free jazz and the rawest blues, but defied concise categorization. Many songs were driven by prominent, repetitive basslines and frenetic, yet minimalist, drumming. Though the band was tightly rehearsed, the instrumentalists often sounded as if they were on the verge of collapse, this quality only emphasising the newfound mania of Cave's singing, and his expressionist lyrics. In producer/engineer Tony Cohen they found a willing accomplice to their experimentation and their refusal to repeat themselves; and in manager Keith Glass they found an enthusiastic financial backer. Glass' label Missing Link Records released all of the early Birthday Party records.
Who came up with The Boys Next Door?
A:
The Saints and Radio Birdman making their first recordings and tours, The Boys Next Door, as they were now called,