Question: 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.

Partch made public his theories in his book Genesis of a Music (1947). He opens the book with an overview of music history, and argues that Western music began to suffer from the time of Bach, after which twelve-tone equal temperament was adopted to the exclusion of other tuning systems, and abstract, instrumental music became the norm. Partch sought to bring vocal music back to prominence, and adopted tunings and scales he believed more suitable to singing.  Inspired by Sensations of Tone, Hermann von Helmholtz's book on acoustics and the perception of sound, Partch based his music strictly on just intonation. He tuned his instruments using the overtone series, and extended it past the twelfth partial. This allowed for a larger number of smaller, unequal intervals than found in the Western classical music tradition's twelve-tone equal temperament. Partch's tuning is often classed as microtonality, as it allowed for intervals smaller than 100 cents, though Partch did not conceive his tuning in such a context. Instead, he saw it as a return to pre-Classical Western musical roots, in particular to the music of the ancient Greeks. By taking the principles he found in Helmholtz's book, he expanded his tuning system until it allowed for a division of the octave into 43 tones based on ratios of small integers.  Partch uses the terms Otonality and Utonality to describe chords whose pitch classes are the harmonics or subharmonics of a given fixed tone. These six-tone chords function in Partch's music much the same that the three-tone major and minor chords (or triads) do in classical music. The Otonalities are derived from the overtone series, and the Utonalities from the undertone series.

Using a quote from the above article, answer the following question: How did he fixed the music norm ?
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Answer: adopted tunings and scales he believed more suitable to singing.

Problem: SNFU is a Canadian hardcore punk band. They formed in 1981 in Edmonton, and relocated to Vancouver in 1992. They have released ten full-length albums and have been a formative influence on the skate punk subgenre. Their work has on occasion been included in rankings of the best Canadian music.

Ken Chinn met twin brothers Brent and Marc Belke in Edmonton in the late 1970s. The three were teenagers who shared interests in the skateboarding subculture and burgeoning punk rock movement. In 1981, they formed the punk band Live Sex Shows with drummer Ed Dobek and bassist Phil Larson. The band broke up later that year after a few gigs.  Chinn and the Belkes began a new group, Society's No Fucking Use, shortened to Society's NFU. The initial lineup was completed by bassist Warren Bidlock and drummer Evan C. Jones. After a few months of gigging, Bidlock departed due to stage fright. The group recorded their debut, two-song demo cassette "Life of a Bag Lady", with Scott Juskiw playing bass as a studio guest.  Bassist Jimmy Schmitz replaced Bidlock late in 1982, and the group adopted the SNFU moniker. Two studio tracks on the It Came From Inner Space compilation LP on Rubber Records followed early in 1983. (These recordings were later re-released on the Real Men Don't Watch Quincy bootleg 7" in 1990.) SNFU gradually built an audience throughout North America on the strength of their aggressive live set, their support for touring acts such as Youth Brigade, the Dead Kennedys, and GBH, and their track "Victims of the Womanizer" on the Something to Believe In compilation LP released on the American label BYO Records.  SNFU's debut album, ...And No One Else Wanted to Play, was recorded in Los Angeles and released via BYO in 1985. The album made an immediate impact in the underground punk scene, with noted artist Pushead writing in Maximumrocknroll that the album's "[r]igorous energy push[es] the limits of power with knocking flurry and extreme excitement." Pushead concluded that the album was "a scorcher."

How did the band form?

Answer with quotes:
Ken Chinn met twin brothers Brent and Marc Belke in Edmonton in the late 1970s.