Dan Fane Analysis

Punk rock music has been used for decades to express dissatisfaction with society, government, or any idea common in mainstream media. Yet punk rock is not simply a tangent of the mainstream, it is a dynamic and fluid genre with many distinct songs. Don Letts, a mainstay in the London punk scene during the 70’s and 80’s, went as far to say that hip-hop was essentially “black” punk. While punk and hip-hop music are stylistically different, the fundamental tone of the two genres is the same. Even throughout the decades, hip-hop has sang the same issues as punk, including the plight of the lower class, police brutality, and gang violence.

When you see a band live, you arrive with a certain level of expectation. Live music is about atmosphere, energy and a certain sense of intimacy that comes with seeing a band or artist recreate their art for you on stage. If your expectations are met, you leave not only happy, but with a deeper connection with the band thereafter. I had Crooks at a disadvantage before this show as my expectations had been simmering ever since their debut EP Nevermore captivated me back in 2012. Despite this internal pressure, it took only the first minute of the evening’s opening track to realise that my expectations were about to boil over.

There is no need to waste a moment winning over tonights crowd: they are already a noisy mass of excitement, and as the band enter on stage on mass they strike out boldly with their boisterous funky rock psychedelia and the crowd raise their beers and hands up high as the thick bassy vibrations fly from the stage. There are no surprises in the set list on the last night of the bands 23 dates around the UK not that any of the crowd is desiring on they are getting just what they ordered a little slice of a life once led and as the many gems from the number one album tumble out personal favourites get roars of approval In the Name of the Father, Tamzi Parti, Kelly’s Heroes,and Big Day in the North being very capable of still providing fresh excillirating sensations.

Colour Bandits was released June 2013, during a time of British pop dominance and workaholism. British pop singers such as Little Mix and One Direction broke into the United States music charts in 2010 and kept their reign on music charts all the way through to 2013, showing their dominance in pop music to the world. British teens were proud of their idols and would worship their artistic prowess, although most of their idols’ songs were the same chorus being repeated over five times. These musical “artists” epitomized British citizens’ view of what is art, attractive people singing about love or teenage angst, which isn’t too uncommon or creative. PJ Liguori is compelled to correct his culture of what creativity really is by using his craft.

September 4, 2014. I stood amongst the sweat, the heat, the pushing, and the shoving. It was close to 7 in the evening now. My friends and I hadn’t suffered in humid and over ninety-degree weather like the others. Somehow we managed to get to the front. The security guards came every so often to give us water and we passed it around to our family. We were a family; yet, before this moment I had only known nine people. Six of them stood on the stage. This was my second twenty one pilots concert. I suffered for music, for the feeling of not being alone.

Minimalist ideology emerged in New York in the early 1960s among artists who were keen to renounce the current style of art, and explore the conventional boundaries between various media. Minimalist artists often used industrial materials to fabricate their sculptures, seen very evidently through Flavin’s use of fluorescent tubes of light. The movement also attempted to avoid explicit symbolism and emotional content, instead bringing attention to the materials and media of the work. Dan Flavin has emphatically denied that his light installations have any kind of symbolic meaning: "It is what it is and it ain't nothing else," and that his works are simply fluorescent light responding to a specific architectural setting. As a result of this his

All of my work will be focused on songs underlining each analysis or historical fact. In addition, I will use as a reference "London Calling" (album) by The Clash, showing that this was a turning point that marked the end of punk.

The two of them now sing adversarial. Patrick speaks of how the greatest accomplishments of humanity tend to be deemed so for helping large collections of people. We value personal success relative to the good it does for the group. Marina sings about how even physical touch is beyond us, we invent language to describe many types of connections, however, atomic force fields prevent even the smallest shared

Generally, much of these acts’ lyrics center around feelings of anger, despair, alienation, and detachment. They often vary quite significantly in terms of theme, but their poignancy is

Although arguably one of the most thematically inventive and artistically captivating singer-songwriters of contemporary popular music, it may be fair to assert that PJ Harvey is a particularly challenging artist to discuss from a political perspective. She does not tend to write protest songs explicitly denouncing particular policies or governmental states of affairs, nor can she be said to occupy part of an increasingly prevalent group of popular musicians engaging in political activism and seeking to rally the public around particular causes outside of any musical output. Nevertheless, Harvey’s 2010 album Let England Shake undoubtedly solidified her position as an artist occupying the political realm, and it is arguably the case that themes

It is difficult to illustrate ‘the shifting moods, and the emotional range’ (THORGERSON, Storm, Aubrey POWELL and Design Richard EVANS. 1999. 100 best album covers: [ the stories behind the sleeves]. London: Dorling Kindersley Publishers) of the entire album in one twelve inch square piece of artwork.

The collaboration of hand drawn sketches with real life photograph allow this album to stand out through use of bricolage. The bringing together of two different art forms in one gives the album an interesting edge. The bright pink, bold lettering showing the band name ‘Ramones’ allows the album to stand out through contrasting. The use of bright colours such as yellow or pink were often used in punk imagery in order to make the colour objects stand out, making more of a statement. Having the band name appear with such importance, demanding recognition means the album does not go unnoticed. Pink is often seen a feminine colour and so the use of this in such a bold hue may be act of rebelling against what is expected of men, by embracing a sense of femininity and/or neutrality and bringing this together with an image showing the band looking carefree. The album exudes juxtaposition with this appearing between monochrome and colour, image and drawing and femininity and masculinity.

Liverpool gave us something special, they gave us the embodiment of experimental perfection. Four young English lads, with smirks on their faces, fish and chip crumbs on their shirts, and a little tune to sing gave the world color. Underneath the grey English sky, they turned to music, for it was the only thing that made sense to them. The Beatles created a world of yellow submarines, octopus gardens, weeping guitars, and walruses; they reminded us that All We Need Is Love, they made us Twist and Shout, they made us Come Together. John Lennon, Paul McCartney, George Harrison, and Ringo Starr welcomed us into their mystical world as a band, and now Cirque du Soleil welcomes us to their world once more, proving that the 60s English band was way more than just that - they were a breathtaking work of musical fate.

There is the smell of cigarettes, alcohol, and sweat in the air. It is about 10 PM on a hot August night inside the Echo in Los Angeles. People are packed inside the small music venue waiting as band roadies set up the stage with speakers, microphones, electric guitars, electric bass guitars, and a drum set. Groups of black-clothed or stud, patch, and chain laden people are scattered about; an eager, almost impatient energy dominates the venue’s atmosphere. There is a thumbs up exchange between venue crew members and the lights go off, leaving only bright and colorful stage lights shining on the empty stage. The audience erupts with cheers as four middle-aged men walk on stage. They get in their places and moments later, fast-paced, messy, distortion-heavy music blasts from the stage and speakers. The singer growls, “I wanna kick in the radio/ I wanna bomb the record store/ I say, destroy all music!” The audience goes wild and a large circle pit immediately forms in the middle of the venue. Youths and adults alike are running around, slamming into, and aggressively pushing each other in the circle pit. Some people climb on stage and dive into the crowd. All negativity, stress, obligations, and personal afflictions of the people inside the Echo fly out its doors. The band performing was Los Angeles punk rock band the Weirdos. The audience consisted of punk fans.

Punk music isn’t music, it’s just punk. Punk is the most defined musical culture there’s ever been. Leather jackets, white t shirts, ripped jeans, studded bands, beat up vans, and middle fingers make up punk culture. Punk flourishes in the city. Cities are loud. Punk culture includes the people that have been forgotten, left behind the noise of everything else going on around them. These clearly identifiable characters can often be found causing trouble, drinking Red Bull, drinking beer, smoking cigs, skateboarding, and then creating mosh pits at weekend concerts. And the music. The music is fast, short, and brutally simple. The songs aggressively strip down all other commercial sounds to bare and distorted rock and roll. Behind the music and all these antics lies a driving philosophy that creates such a volatile culture: the philosophy of not giving a fuck. Punk culture doesn’t care how much money you make, how good you are at football, or what brand your clothes are. Punk culture cares about whatever they want to care about. They care about very little. They care about their fellow punk mates, their favorite bands, and all the lost souls out in this harsh world. There are two bands that really define the genre of punk: The Sex Pistols and The Replacements.