Danny L Harle Broken Flowers Essay

The artwork that I am analyzing today is Flowers by Andy Warhol. The work was produced in 1964 and is found in the Guggenheim New York. The subject of the work is a quartet of hibiscus flowers that Andy photographed. I believe that the work has a color, space, and texture that make it unique even among other Warhols. I also believe that this work shows a mastery of the Compare and Contrast Universal Principle of design. The work also breaks the rules of design in that it blatantly defies the Rule of Thirds and Balance. Finally, I will be discussing the composition oh the work.

Paul Jennings’ “A Dozen Bloomin’ Roses” is an effective and well written short story. It is part of a larger text called Quirky Tales which is part of the “Un” series written by Paul Jennings. It is a ghost story that may mistake for a sad romance as it contains death, shyness, unrequited love and bullies. The author uses a device called misdirection which makes you think one thing deliberately. Along with this, Paul Jennings’ effective use of language techniques leaves the reader with a striking imagery in their minds. But the things that stand out most for me are Paul Jennings’ clever use of characterisation and the interesting storyline.

This music is not useful as background music. It cannot be used in the same way the 30 years worth of Miles’ previous music can be used. It demands attentiveness. It is militant and arrogant. It is sometimes more a display of audacity and an assertion of absolute independence then a lovely palette to summon dreams. The dream is over. All the romantic ballads and pleasurable entertainment is history. With this sound he describes a new reality for which he invents a

Mario’s drumming is endlessly meandering round each guitar hook that his brother, Joe, can throw at him and the sound of the bass lines-when exposed- can only be described as the echoes of the Earth’s plates grinding. Joe Duplantier also maintains the elasticity of his own riffing with death metal influences on ‘Silvera’ and progresses the flexibility of his tender clean vocals in various occasions throughout “Magma” with success, particularly in ‘Low Lands’.

For my rhetorical analysis of a set of texts, I’ve decided to analyze three music videos from three different female-fronted rock groups. The videos I’ve chosen include Hey Monday’s “I Don’t Wanna Dance,” PVRIS’s “My House,” New Years Day’s “Defame Me,” and In This Moment’s “Big Bad Wolf.” These songs span a variety of rock sub-genres, all of which have their own innate conventions. In this analysis, I’ll discuss these conventions and how each video conformed or did not conform to them. I’ll also discuss how each band knew their audience and used it to their advantage.

Critical Analysis of Flowers in the Attic Cruelty- “a desire to cause others to suffer the quality or state of being cruel.” Since we were young young most of us has had the opportunity of being raised by a loving family. Having a family and having a family that loves you is a wonderful thing. Unfortunately, having a family can change in a blink of an eye.

Despite the fact that her reputation is largely confined to the United States, Bay Area, Amy X Neuburg is a world-class singer and songwriter. Her talent screams for recognition! Neuburg is classically trained and gifted with an impressive four octave vocal rage that few female singers have. She has been developing her own outrageous brand of irreverently genre-crossing works for voice, live electronic, chamber ensembles, and punk. In addition, Neuburg was one of the first persons to live digital loop technology with electronic percussion. As show in her live performance of the song “This Loud”, Neuburg demonstrated her amazing ability to loop her voice in order to create a rhythmic beat in the background while simultaneously beating the electric

Truly, this album is much more eclectic than Visions, and Boucher pulls off each little genre experiment fantastically, adapting the genres to her style. With its mantric vocals and stop-and-go guitar riff, “Artangels” sounds like a Jagwar Ma track at first - however, Boucher clogs this framework with little sonic Easter eggs, keeping the beat interesting

The Flower Duet is a beautiful duet between two female voices. This is obviously an opera song that is extremely amazing! It has so many different dynamics, different tempos, and different orchestra music. But, the thing that stays the same is there is this one violin maybe that keeps playing the same melody throughout the song.

A myriad of colorful confetti covers the tropical landscapes described by the title track, where typical Brazilian rhythms fuse seamlessly with the straight-ahead post-bop style that the guitarist has been plunging in. On top of the highly-colored acoustic voicings, the radiance of his effect-drenched electric guitar sound is completely identifiable with previous works, even if applied to a new context.

On Vega Intl. Night School, main songwriter Alan Palomo evokes disco and new wave in an anachronistic melting pot. Musical ideas explode all across the album for a bold experience with oozy synths and bouncing percussions. If Neon Indian is here stepping away from the rock direction of Era extraña, the band presents even more urgency in each of its tracks, making an energy-fuelled release that sounds much more like a pop record than anything it ever did before, thanks to Alan’s presence as a singer being much more notable. With this third record, Neon Indian definitely proves that there is a life after chillwave, and that it’s one hell of a sweet place.

As two preeminent musical minds come together to bounce ideas off one another, Venetian Snares’ and Daniel Lanois’ self-titled project witnesses the duo pulling in their respective sonic backgrounds to devise contemporary terrains of sound while pushing each other's unique talents into untouchable acclivities.

It’s been five long years since American indie folk band Bon Iver last released an album. Needless to say, their new album, 22, A Million, has been long awaited. But this album strays far away from their usual soothing, folky sounds. Departing from the soft, acoustic melodies that comprised their first two studio albums: For Emma, Forever Ago and Bon Iver, Bon Iver; 22, A Million takes a dramatic risk. Bon Iver tried something completely innovative and experimental. The result is a sound like you’ve never heard before… and it works magnificently.

“Heroines” assumes a song format, shinning with Bro’s blissful melodies, Morgan’s dedicated bass notes, and Baron’s frequent gentile ruffs. It conveys a glowing peace that I refuse to let go, even when the following track arrives. The relentlessly atmospheric “PM Dream”, dedicated to Paul Motian, expands horizons after developing delicate layers of guitar-synth that fall on top of bass free moves and pertinent percussion. Baron almost feels geometric in its strokes, eagerly trying to give the last retouches on a flawless canvas.

Experiencing a dazzling rise in audience and interest that is only exceeded by their own shimmer, glitter and personalities, Ben Hopkins and Liv Bruce are. Acute lyricists and musicians PWR BTTM deliver a bold, self-narrative full of candours and everyday crises. Engagement, humour and a disarmingly affability is built around their exposed punk rock guitars and breakneck rhythms creating ebbs’ and flows of emotions.