House Of Blues Chicago Essay

Sunset Boulevard (Wilder 1950) explores the intermingling of public and private realms, puncturing the illusion of the former and unveiling the grim and often disturbing reality of the latter. By delving into the personal delusions of its characters and showing the devastation caused by disrupting those fantasies, the film provides not only a commentary on the industry of which it is a product but also a shared anxiety about the corrupting influence of external perception. Narrated by a dead man, centering on a recluse tortured by her own former stardom, and concerning a once-promising director who refuses to believe his greatest star could ever be forgotten, the work dissects a multitude of illusory folds to reveal an ultimately

The Grateful Dead was a band that toured continuously for 30 years until the death of lead man Jerry Garcia. They were known for free flowing jams and bluegrass roots. Phish is a band that has toured consistently for the last 17 years and has in time made themselves into stealth multi-millionaires. Both are very talented bands, who have and in the Dead's case, had, created big names for themselves. Many people make wrongful association with these two groups of musicians. It is said that Phish is trying to be the Dead of this generation. This statement is very untrue. Phish is not a Grateful Dead take-off. Phish and the Dead have much more differences than similarities. There are of course a few similarities between

To begin, the idea of this event spawned from the brain of the Music Department chair Marshall Kimball in his proposal for the Leader in Residence program. Initially a small event for arts advocacy, the bash blossomed into a community wide event with three stages of live entertainment, fantastic art displays, and a number of children’s activities all for free. As the event grew into its final product, the People’s Bank Theatre cooperated quite nicely with the music department to ensure success, whether it be passing out flyers in the program for other shows or providing the performers a comfortable space

In several cultures, music is said to be a universal language. Music can portray emotion that anyone can understand and relate to, transcending any singular tongue. In "Sonny's Blues" by James Baldwin, and "The Weary Blues" by Langston Hughes, music is portrayed as being a connection to the happenings of character's lives, a way of channeling and expressing their emotions as something physical.

In the comedy play, Subterranean Homesick Blues Again, written by Dennis J. Reardon, was about a young tour guide whom decides to mess with the mind of two bickering couples that came to visit the notorious caverns. It’s a short ten minute comedy play, and it was first executed in Louisville on May 25, 1983. In the play, the Tour Guide was conveyed as a charon, a man who ferried the souls of the dead across The Styx and Acheron Rivers. He gave an acumen on where the characters would end up afterlife. Reardon discloses that sin can transition to death, which ultimately transitions to living in Hell.

Throughout history there have been many musical "influences". One extremely important influence to modern music is The Grateful Dead.

Throughout Grazian’s period of ethnographic studies surrounding the Chicago blues clubs, he meets tourists that come from different parts of the world and country seeking their perceived notions of authenticity in blues. Supporting Grazian’s argument, he mentions how it is a problem that the most “successful” performers in the blues clubs are black. It reinforces these thoughts that tourists believe that they found authentic blues because it consists of only a black band (pg.20). If a white man were to play, or those of any other race, they do not view them as authentic enough because the genre of blues music is historically curated from black people. With that association, it becomes further difficult to break into the scene as a non-black performer. In the case of Dave, a black business traveler from Toronto, he discusses with Grazian how the blues music in Chicago and Toronto is not that different from one another (pg.68).” While he hails from an equally cosmopolitan

I have recently finished an interesting play. Subterranean Homesick Blues Again is a comedy play by Dennis Reardon about a young tour guide that decides to mess with the minds of two bickering couples that come to visit famous caverns.

“Chicago” was written in 1914 and was a part of the Chicago Poems, a series of nine individual poems about the city of Chicago. It has since become known as one of Carl Sandburg’s most famous and well-known poems. He would describe the lives of ordinary everyday people. However, while the poem is overly famous and well known in the literature community, it has caused some kind of tension on Sandburg’s reputation as a poet. Critics continue to debate its importance to this very day. All of their opinions vary depending on the critic, whether the critic is favoring the poem or downplaying it. The biggest critiques suggest is that it is either too formless or too imagist. However, this critique does not hold much water. Carl Sandburg uses literary devices such as imagery, personification, theme, and form to help create his poem and to represent the city of Chicago and capture the lives of its people without any use of the more traditional forms of poetry.

From a young boy he played the blues and was mentored by one of the successful blues man from Mississippi. Kenny wanted to remember the late blues musicians from Mississippi by hosting a festival each year for his community and other travelers from around the world. Many feel that while attending the picnic that it is just a time for fun, good music, food and celebration. However, Jeremy Martin (2014) stated, “You are part of a special moment, and, when the sun goes down and the day’s heat breaks, when grandparents hobble up the stage to guest with their grandchildren you realize that this is far better, far bigger, than any festival you’d ever heard of before”. The picnic is a time of remembrance and to educate the younger generation of their local blues culture, for many it is a way of

When watching the musical Chicago, one can not help but be dazzled by the highly entertaining, vivacious energy it brings to the stage. Between the energetic dances, musical breaks, and the plot development, Chicago completely captivates the attention of the audience. I was certainly not exempt from the musical’s dynamic captivation, as I was drawn in from the first scene. Having been to very few plays in my life, and having very little theater experiences, I was certain my first experiences would be quite impressionable. Luckily, Chicago left a very good impression, by providing a story with an underlying idea in a very entertaining way. Throughout the entire play, the idea of corruption continued to resurface. Whether it be the way Roxie Hart corruptly manipulates her husband, Amos, or the corrupt ways of Billy Flynn, corruption is a clear focal point of the musical. Perhaps the two most persuasive pieces of evidence alluding to this idea are given through the music, and acting in the musical. With the help of these two element, the idea of corruption is clearly represented, and portrayed to the audience.

I vividly remember my first time going to Chicago by myself. My grandparents invited me to see a Notre Dame football game. The whole week leading up I was brewing in excitement. I would be flying alone to Chicago. My mother and I had everything planned out ,but best laid planned ideas often go awry. The morning of my flight, my mother checked the flight time, and to our horror, we discovered my flight was delayed five hours. My mother decided to change my flight which was about an hour and a half. We lived just under an hour from the airport with good traffic. As we drove towards the airport the traffic became sequentially worse. I was beginning to think to think I wasn't going to be able to make the flight. The pressure to make the flight

“Murder, greed, corruption, exploitation, adultery and treachery…all those things we hold near and dear to our heart…” the worldwide known musical of Chicago; is an American musical set in prohibition-era, the original Broadway production opened in 1975 at the 46th Street Theatre. The musical is based on a 1926 play of the same name by Maurine Dallas Watkins about actual criminals and crimes she reported on. The story is a satire on corruption of criminal justice and the concept of the "celebrity criminal."(1) This piece focuses on the writing and creative work of John Kander, Fred Ebb and Ebb and Bob Fosse. Chicago is placed as the longest running musical revival, as well as the longest- running Broadway musical. The back ground to the piece

My capstone project was to go to Chicago and to see many high quality art in art museum and murals/monuments in public in the city. It was also to study the diverse art culture of Chicago.

BAMS Fest was founded by Catherine T. Morris born in Jamaica Plain and raised in Roxbury, Mass. Ms. Morris has spent 15 years planning, supporting and producing events as well as programs for her community. Ms. Morris has earned her Bachelors of Science degree in Tourism and Hospitality Management from Temple University in Philadelphia and graduated from Simmons College with a Master’s of Science degree in Management. Ms. Morris now pursues her passion for bringing communities together for a music and arts festival that honors, celebrates and promotes the contributions of rising and legendary African-American musicians and artists whose work has shaped American pop culture. Boston Art & Music Soul (BAMS) Fest will become a pipeline to arts and culture ecosystems that permeate the streets of where we live, and can positively impact the livelihoods of our youth, families, seniors and future generations.