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American culture and music
American culture and music
Music culture in america
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It’s curious to see two explorers and recognized avant-gardists such as the guitarists Marc Ribot and Mary Halvorson adapting disco, funk, and soul to the current days in the Young Philadelphians, a band that besides the guitarists and a couple of Phillies, Jamaaladeen Tacuma on electric bass and G. Calvin Weston on drums, also hinges on a Japanese trio of classic strings - violin, cello, and viola. In my eyes (or ears), “Live in Tokyo”, with its mash-up of influences and inheritances, didn’t extract the better of these two creative guitarists. However, this doesn’t mean they haven’t done a competent job. The first tune, “Love Epidemic”, is a soul-rooted disco tune from the 70’s, recreated with hints of David Bowie’s spatial rock. Ribot’s delirious guitar riffs are complemented by Halvorson’s fills, which come wrapped in effects. …show more content…
A breezy sensuality flows, spiked by Ribot’s bluesy approach and Tacuma’s bass solo. Far more festive is “Fly, Robin, Fly”, a 70’s disco hit popularized by the German group Silver Convention, whose funky guitar chords bring to mind the Doobie Brothers’ “Long Train Runnin”. “TSOP” unfolds sentimental melodies within a commercial approach, heavily contrasting with “Love Rollercoaster”, a rock celebration with a chorus sung with the tics of David Byrne. “Do It Anyway You Wanna” throws up an energetic compound of funk, rock, and R&B, moving in the same line of James Brown, while “The Hustle” is more ABBA style but packed with Halvorson’s odd effects. Nostalgic and gleeful, “Live in Tokyo” is set as a wingding. Definitely not my cup of tea, this is another peculiar entrance into the guitarist's multi-colored
There are various things that make up a piece of literature. For example: choice of diction, modes of discourse, and figurative language. Mary Rowlandson and Olaudah Equiano were great examples of authors that used these elements of literature. There are similarities and differences in A Narrative of the Captivity and Restoration of Mrs. Mary Rowlandson and From Africa to America. Though Mary Rowlandson and Olaudah Equiano shared similarities in experiences, they had different writing personalities, purposes, attitudes, tones, and relations with their communities.
Slavery in the eighteenth and nineteenth centuries consisted of brutal and completely unjust treatment of African-Americans. Africans were pulled from their families and forced to work for cruel masters under horrendous conditions, oceans away from their homes. While it cannot be denied that slavery everywhere was horrible, the conditions varied greatly and some slaves lived a much more tolerable life than others. Examples of these life styles are vividly depicted in the personal narratives of Olaudah Equiano and Mary Prince. The diversity of slave treatment and conditions was dependent on many different factors that affected a slave’s future. Mary Prince and Olaudah Equiano both faced similar challenges, but their conditions and life styles
The string quartet is often thought of in the context of the traditional classical and romantic repertoire, however, that is not the realm of the contemporary string quartet Brooklyn Rider. As Kate Botello of Interlochen Public Radio states, “Brooklyn Rider takes the idea of the string quartet to a new level. Already champions of new music and fresh approaches, the Brooklyn, NY-based group stretch the boundaries of the classic quartet, adding unusual instruments and other forms of art to the mix.” This was clearly the case in the recent concert that Brooklyn Rider preformed as a part of the University of South Carolina’s Southern Exposure series. Featuring a wide variety of styles from an incredibly diverse group of composers, Brooklyn
Lead singer/rhythm guitarist Sonny Remlinger makes the cool clubs warm with the lyrics he belts out one reverberation at a time. Joseph finds songwriting sessions useful to the process and is crafts distinctive songs people enjoy seeing play out in live forum. “As f...
It could be argued that ‘In-A-Gadda-Da-Vida’ served exemplary as testament to the changing attitudes towards rock music and psychedelic acid rock of the time. The prevalence of the genre was tangible, even the AFVN (American Forces Vietnam Network) added a special channel in 1968 for those soldiers serving overseas who had reported an interest in the musical style (Kramer, 2006). Perhaps this song was indeed the natural progression of music in a time of so much uncertainty for an entire generation fraught with equal parts revolutionary ideals and Cold War paranoia. The track’s tone, ambiance were defined by an eerily dark otherworldliness unheard of up until that point in rock music and arguably not replicated again until Black Sabbath’s NIB
...eat big celebration of sound. Horns glide over the top as the band waltzes half time rhythm with pianos and electric guitars throughout the section. Phenomenal background assists from friends here as well. Just when you think this wave of Phil Spector sound will ride out the song, its gone, replaced by Liss and guitar before they hit you one more time, leaving you to push the replay button more than once.
Most rock records aren’t hard to understand. They draw on commonplaces of community and adolescence: easy listening, good dancing, simple emotions, and sharp images… But [Beggar’s Banquet’s] cleverness makes the difference.
Friends since high school, the members of Phish have rocked the world and it’s millions of fans since 1991. Many who are not familiar with Phish’s music may hear the songs and consider them similar to the Greatful Dead, after all, they do have many things in common. After reading this paper, hopefully the reader will figure out for themselves the distinction, and experience a new insight into world of music featuring Phish.
The piece starts with vocals shouting in a foreign language. A synth beat immediately follows with light clapping percussion, looping vocals from the start and a fast synth beat growing in the background on a higher octave. The melody does not have much variety notes. Soon snares contribute to the coming beat drop and finally a a contrasting base vocal drops the song. Beat drops are typical EDM parts that attempt to build tension and release the musical...
Flobots is an American rock/ hip-hop band that was created by Jamie Laurie in 2000 in Denver, Colorado. Before the group was really known worldwide they had already produced “Handlebars”; they became very successful in 2007 after their major label debut Fight with Tools (2007), which had the song “Handlebars” which was originally produced in 2005. Flobots is a group that really combines to different genres to make a more influential tone. They combine alternative rock with hip-hop to create songs that make the listeners think in ways they have not thought in before. This is really exhibited in their song “Handlebars”. The lead singer said he created the song based off of being able to learn how to ride a bicycle without using the handlebars; he felt so accomplished, but at the same time sad because he realized while he was doing this America was in a war and was bombing countries killing people (MTV). This shines th...
Instead of pigeonholing herself in one genre, she elects to freely pluck influences, keeping things general enough to avoid lacking cohesion. "Taken" is a good example of this - the second track on the album is seemingly a guitar jam, with electric guitars backing a chorus of "yeah"s that sounds like what Kid Cudi should have done with Speedin' Bullet 2 Heaven. But this is no simple punk rock track - these guitars are simply a tool to progress the song, from the pleasantly wandering verses to the final, climactic chorus of "Taken!" The next two tracks are just as diverse, and just as brilliant; album highlight "Scrimshaw" mixes jittery synths with a poignant arrangement for strings before lurching into ecstatic full gear, and "Something Helpful" is a resplendent and bubbly pop song that avoids PC Music's artificial aesthetic in order to bask in the strength of the composition that little bit
Although there are some tracks that are more bearable than others, there are also tracks that are difficult for the listener. The track Dali’s Car is one of the easier pieces to listen to, and it was the first song composed for the album. “Two guitars lock together in almost Baroque formality but the tone is unremittingly harsh” describes the guitar lines in this instrumental track. The track also shares similarities to the Stravinsky piece Symphonies of Wind Instruments, the piece pivots around a few notes, within an odd time signature. Although still atonal and not rhythmically straight forward, the track does have some tonality and after a few listens it becomes familiar. Immediately when I listened to this track it reminded me of Cliff Burton, Metallica’s original bassist, he demonstrated a similar playing style on bass (specifically in the song Orion). Another track found in the tonal area is China Pig, which remains tonal for the majority of the piece. It sounds like the remnant of an old blues, just with a guitar (played by former Magic Band member Doug Moon) playing and Van Vilet singing over top, in time-- for the most part. Those are the easiest pieces to listen to on this entire album, in my opinion. Although the majority of the tracks are very challenging to listen to, it makes the listener want to listen more: “Their impact on the listener is fresh and shocking because they don’t quench a thirst, they build an appetite”. I found that this quote is the best way to describe my experience of this album. There were a few standout tracks on the album, and they gained my attention for various reasons. The first acapella track The Dust Blows Forward n’ the Dust Blows Back grabbed my attention, comparatively to the musical barrage that is Frownland, the lack of instruments intrigued me. The clipping of the track is
It makes the piece stand out from the rest, as it is incredibly different from the rest. Song #4: “All Blues” The fourth song on this album was “All Blues.” This piece was a lot different from the rest, in terms of style. The tune starts with a soft piano playing two different notes. If you listen very closely, he continues the notes throughout the piece.
AUM 154.3 Music Analysis Essay - Nathan Morrissy ( Dubstep/Trap ) Include links to recorded materials (aka links to song).
xistmusic. "News Release Tuesday." 16 December 2011. Da' T.R.U.T.H. Artist Profile. 02 December 2013 .