Analysis Of Fitter Happier And Climbing Up The Walls

The hippie aesthetic era was an important time in rock and roll during the late 60’s and on into the early 80’s. It was a time were rock had a sense of purpose. They sung about the issues that plagued the country. It was also a time where technology would play an important roll in the sound of music, with the advancement in recording and synthesizer technology (Covach, “The Hippie Aesthetic”). The hippie aesthetic was not immune to the advancement of music. This essay will go over three songs that represent the different aspects of this era. It’ll will review a song that is predominately hippie aesthetic, a song that is a little of both, and finally a song that has no trace of hippie aesthetic.

In today’s society, music controls the way we live our lives. The influence that music has on society has broadened throughout the years and with social media being one of the world’s top priority, the fan base and spectrum for music in general has expanded significantly. Music is used to express feelings, moods, circumstances, experiences, knowledge, and so much more. With this being the case, the lyrics of any song can be interpreted differently by each and every listener. Many song lyrics give positive messages, promoting well-being, whiles others give negative messages, promoting violence, criminal behaviors, sexual contents, and disrespect towards others. With this being said, music reflects what the public demands, and in many cases the negative messages are often times what sells more than those music giving positive messages.

Bruce Dawe, one of the most influential Australian poets of his time was known for using his poems as a way to efficiently discuss the matters in society of his time and how this follows through generation, thus becoming a significant matter for his modern audience. Both Dawe’s poems The Not So Good Earth and Up The Wall have successfully demonstrated the issues of the complacency of our society towards the world around us and their issues and the disconnection this thenceforth creates in everyday life and how this impacts the individual. Dawe’s poem, Up The Wall, truly validates the impact of the suburban, everyday lifestyle on the individual and how the loneliness this creates can push someone to the edge. Dawe’s use of onomatopoeia with the abrupt words of “shrieked” and “screams” really imposes that internal struggle the woman was experiencing.

In this essay I will be critically analysing and evaluating ‘The Beatles’ Sgt. Peppers album in relation to their associated genre, their lyrics, their musical creativity, their social and political context, their overall impact on music and popular culture and

Popular music is often one of the best lenses we have through which to view our own cultural orientation. Many of the artistic and experimental shifts in popular music have mirrored changes in our own society. For instance, the emergence of Elvis Presley as a public figure would signal the start of a sexual revolution and the growth in visibility of a rebellious youth culture. Similarly, the folk and psychedelic music of the 1960s was closely entangled with the Civil Rights, anti-war and social protest movements. In this regard, we can view popular music as an artifact through which to better understand the time and place in which it is produced. In light of this, the state of popular music today may suggest troubling things about our society.

In cultures all over the world, music can be seen encompassing many aspects of life for many individuals. It is a form of mass communication that"speaks directly to society as a cultural form", and often reflects a collection and pattern of personal experiences (King 19). Music is so influential because it communicates on three different levels: the physical, emotional, and cognitive. Not only does it operate in a nondiscursive way, by affecting the physiological mode of the body, causing one to move and dance, but it also encourages one to think. This paper will explore music as a form of protest; showing how a political message, in general form, is presented through music.

Music has been a long standing form of expression for hundreds of years. More recently however, it has become a way for artists to make social commentaries on the society they live in. During the 1970s, Punk bands and Ska bands emerged in England and rose to become a major source of social commentary through their upbeat music. Specifically looking at music from The Stranglers, The Specials, and The Clash, it is clear that lyrics clouded with anger and passion can be best communicated through upbeat sounds and melodies. Each of these groups communicates a need for radical change in society; but each one goes about this in a different way. Through the songs, “I feel like a Wog,” by The Stranglers, “A Message to you Rudy,” by The Specials, and “White Riot,” by The Clash, these bands point out that there is a common enemy in Society. They are forcing the mainstream to realize unpleasant truths about the culture that they inhabit. The future of England was unknown, and these songs were written during a time where people were worried about their place in the world. Faith in the system was dying and these bands gave way to a future generation to improve upon society that will present a more positive and equal multicultural Britain. Through the music it is clear that multicultural Britain was complicated; there were tumultuous times that these bands were commenting on, which pitted races against each other but also brought them together in fighting back against suppressive societal

In the fall of 2014, a close friend Kate introduced me to your music and at first I couldn't understand the meaning behind your words, the masks, and your complex ways of thinking, but as time went on I began to accept that almost no one can. There's a sort of mystery to what each lyric really means,

Many say that music has evolved over the years. This essay shall explore the elements of two versions of one song. It shall discuss the correlations and disparities of these songs and confer how it has been revolutionised to entertain the audiences of today.

Throughout history, music has been seen as a medium in which different people all over the world can relate. Adorno criticizes, however, that songs that have the most “hits” on the top music charts or are most listened to, otherwise known as popular music, are being produced for and consumed by the masses as a commodity. He identifies popular music as being a part of a culture used for capitalism, and that we as listeners, are falling into a trap in which we believe songs have individuality and that we have the freedom to choose what we listen to. He argues that in reality these popular songs are all standardized and made to seem different through various elements that are added. In this paper, I will display how Adorno’s critique of popular music being used for capitalism applies to the song,1-800-273-8255, by hip-hop and rap artist Logic, through its standardized elements in both its content and marketing; however, I will argue that although it contains these elements, the audience is actively listening and responding to the song as it brings awareness to mental health and suicide prevention that is changing and saving lives all around us.

Friday night, lying in bed, eyes closed absorbing the legendary lyrics of The Kinks with the Pontefract cake-like disc rotating on the retro record player you bled your parents dry for. This is as close as the discerning music fan will get to real musical talent. Truth is, young people will never understand the sensation of music in the decades owned by The Beatles, The Rolling Stones or The Searchers, instead the quality of modern popular music now has collapsed into a never ending and monotonous spiral of auto tuned sounds and sub-standard ‘talents’ who pale in comparison to the musical artists of last century.

As a teenager in their high school years, there is a definite shift in my music taste from elementary and middle school to where I am today. Looking back, I listened to classical music as a snob, thinking “music isn’t as good as it used to be”, and assuming that I was the best just because I exclusively listened to what I saw was “refined.”Soon enough, I grew tired of listening to classical music and decided to broaden my music taste. As a result, I was curious about rock. One of the first bands I discovered was The Strokes, especially their debut album, “Is This It”.

The 2000s started a change in music very different as the ones in past decades, since this was the year technology commenced rise importance in human life. Hence, the usage of auto-tune, pitch corrections and multimedia programmes started to be used in multiple songs of this decade, also YouTube will appear in the upcoming years as a way to share music videos, therefore, varied hits of this decade, like Hey Ya! From OutKast or Crazy in love by Beyonce have some of the new technological features and give videos a big importance. Under those circumstances, the differences between those 3 decades are that in the 1980s, music criticized people living situations, in the 1990s, music criticized mentality and the living generation and in the 2000s, music talked about the changes society was living. To sum up, music will keep changing throughout the years. In some years, some of the themes music can talked about are the continuous technological advances or how humans are ending themselves. Nevertheless, given the situations we’re living today, music could talk about the imminent wars that could

The fact that replicating a seventeen-years-old song can still become a hit in 2017, demonstrates that there is a pre-designed pattern for popular music in which changing a few characteristics to make a new songs sound “unique” can still result in success. For this reason, Adorno argues that the music industry produces music in an “industrial” way--popular music is centralized in its pattern and modifies some characteristics to seem “individualistic.” Though Shape of You and No Scrubs contain different keys, tempo, and of course, lyrics, they both rely on a chord progression of i-ic-VI-VII in a common time (MusicNotes, 1 & FindSongTempo, 1). Shape of you takes advantage that the audience is accustomed to listening to the same pattern and it is modified to fit the current era and thus, result in a significant monetary income.

This essay will evaluate Adorno’s critical attack on popular music. The essay will briefly provide some context on Adorno. Adorno claims that “listeners are made not born”, thus listening is a cultural practice, in which modernity has transformed into a profit (Adorno, 2002:248). By this, the essay will begin by focusing on the broader idea of the culture industry, in terms of commodities and popular music as not being critical. Following on, particular focus will be given to three main areas which convey Adorno’s criticism of popular music. These being, the musical form under standardisation, pseudo-individualisation and regressive listening in terms of escapism. Standardisation will be evaluated in structural terms, and critiqued by Middleton (1990) and Witkin (2003). Adorno’s critique of popular music can only be understood in relation to his analysis of serious music, therefore, the essay will focus on both types of music. Adorno’s criticisms of popular music and critics of this criticism, will enable for a conclusion to be drawn on whether or not I agree with Adorno’s claims on popular music.