IN: Motion City Soundtrack was an American rock band that formed in Minneapolis, Minnesota in 1997. The band's line-up consisted of vocalist and guitarist Justin Pierre, lead guitarist Joshua Cain, keyboardist Jesse Johnson, bassist Matthew Taylor, and drummer Tony Thaxton.

Motion City Soundtrack was formed in Minneapolis, Minnesota in 1997 by singer-songwriter Justin Pierre and guitarist Joshua Cain. Previously, the duo had separately played in a number of bands. Cain was in a group named the Saddest Girl Story, and recruited Pierre to join as a singer. He was subsequently in a band called Boxcar, and following its dissolution, he and Pierre founded Motion City Soundtrack together. The band's name was created by Cain's brother, Brian. Their early days were difficult, as they found it hard to break out of their local scene. When they could get weeks off from their jobs, they would tour. According to Cain, the members of the band soon realized that there "wasn't really anywhere to play [shows] in Minneapolis", and that they would have to "tour all the time" to rise in popularity. In its early years, the group went through several lineup changes. Through these, Cain and Pierre would often have to take over keyboard duties during shows. The group's first release was a 7" single, "Promenade / Carolina", released in 1999. Their next two releases, both extended plays--Kids for America and Back to the Beat--were released the following year.  Over the course of the early 2000s, the band continued to tour and shuffle through members. In late 2001, while touring in Milton, Pennsylvania with the band Submerge, they convinced two of its members--bassist Matthew Taylor and drummer Tony Thaxton--to join Motion City. Thaxton initially took about a year to convince to join the band. Jesse Johnson, a friend and co-worker of Cain's, joined the band as keyboardist just three weeks before the band recorded their first album. Johnson had never played the keyboard before but Cain taught him the parts that had already been written. After their first attempt at self-recording an album failed, the band culled together $6,000 to record with producer Ed Rose, best known for his work with the Get Up Kids. They recorded much of their debut album, I Am the Movie, in ten days. Initial copies were hand-packaged inside floppy disks, which were sold out of the back of their tour van for a year.  The band began receiving offers from various record labels, including Universal, Triple Crown Records, and Drive-Thru Records, and they performed at industry showcases. Meanwhile, Brett Gurewitz, founder of Epitaph Records, learned of the band from members of the group Matchbook Romance. He attended four of their shows in Los Angeles that Pierre later regarded as among his worst, as his voice was poor from constant touring. While they were interested in Universal, they chose to sign to Epitaph as they felt the contract was less restrictive and more honest. Eli Janney from Girls Against Boys helped the band secure management and a lawyer. Motion City became part of a slew of Epitaph signings, including Matchbook Romance, Scatter the Ashes and From First to Last, amid concerns the Southern California label had strayed too far from its roots, and seemed "a little too emo."

What was their first record that they recorded?

OUT: The group's first release was a 7" single, "Promenade / Carolina",


IN: Harry Partch (June 24, 1901 - September 3, 1974) was an American composer, music theorist, and creator of musical instruments. He composed using scales of unequal intervals in just intonation, and was one of the first 20th-century composers in the West to work systematically with microtonal scales. He built custom-made instruments in these tunings on which to play his compositions, and described his theory and practice in his book Genesis of a Music (1947). Partch composed with scales dividing the octave into 43 unequal tones derived from the natural harmonic series; these scales allowed for more tones of smaller intervals than in standard Western tuning, which uses twelve equal intervals to the octave.

Supported by Guggenheim and university grants, Partch took up residence at the University of Wisconsin from 1944 until 1947. This was a productive period, in which he lectured, trained an ensemble, staged performances, released his first recordings, and completed his book, now called Genesis of a Music. Genesis was completed in 1947 and published in 1949 by the University of Wisconsin Press. He left the university, as it never accepted him as a member of the permanent staff, and there was little space for his growing stock of instruments.  In 1949, pianist Gunnar Johansen allowed Partch to convert a smithy on his ranch to a studio. Partch worked there with support from the Guggenheim Foundation, and did recordings, primarily of his Eleven Intrusions (1949-1950). He was assisted for six months by composer Ben Johnston, who performed on Partch's recordings. In spring 1951, Partch moved to Oakland for health reasons, and prepared for a production of King Oedipus at Mills College, with the support of designer Arch Lauterer. Performances of King Oedipus in March were extensively reviewed, but a planned recording was blocked by the Yeats estate, which refused to grant permission to use Yeats's translation.  In February 1953, Partch founded the studio Gate 5 in an abandoned shipyard in Sausalito, California, where he composed, built instruments and staged performances. Subscriptions to raise money for recordings were organized by the Harry Partch Trust Fund, an organization put together by friends and supporters. The recordings were sold via mail order, as were later releases on the Gate 5 Records label. The money raised from these recordings became his main source of income. Partch's three Plectra and Percussion Dances, Ring Around the Moon (1949-1950), Castor and Pollux, and Even Wild Horses, premiered on Berkeley's KPFA radio in November 1953.  After completing The Bewitched in January 1955, Partch tried to find the means to put on a production of it. Ben Johnston introduced Danlee Mitchell to Partch at the University of Illinois; Mitchell later became Partch's heir. In March 1957, with the help of Johnston and the Fromm Foundation, The Bewitched was performed at the University of Illinois, and later at Washington University in St. Louis, though Partch was displeased with choreographer Alwin Nikolais's interpretation. Later in 1957, Partch provided the music for Madeline Tourtelot's film Windsong, the first of six film collaborations between the two. From 1959 to 1962, Partch received further appointments from the University of Illinois, and staged productions of Revelation in the Courthouse Park in 1961 and Water! Water! in 1962. Though these two works were based, as King Oedipus had been, on Greek mythology, they modernized the settings and incorporated elements of popular music. Partch had support from several departments and organizations at the university, but continuing hostility from the music department convinced him to leave and return to California.

why did he leave?

OUT:
He left the university, as it never accepted him as a member of the permanent staff, and there was little space for his growing stock of instruments.