Analysis Of Daniel Johnston's `` Lo Fi `` Music Genre

What is music? Denotatively speaking, music is sounds combined in such a way to produce beauty of form, harmony, and expression of emotion. Music to me is something that I rely on to get me through everything, it is the thing that has shaped me into the person I am today. But, if I asked you how many symphonies Beethoven had written, could you tell me? To be blunt, probably not. Not only is this a problem with people today, it is a recurring problem with our youth. In Daniel Felsenfeld’s essay “Rebel Music,” he explains the fault in our youth when it comes to being musically cultured. Throughout his essay he acknowledges how he was a stereotypical teenager who just listened to whatever was on KROQ. However, he also talks about how he changed and cultured himself, unlike all of his peers. In his essay, Felsenfeld proves his message that younger generations are musically uncultured through his use of allusions, connotative diction, and critical tone.

Dawes explains the critics she got from other blacks who accused her of living like the whites since she had a liking for white’s bands such as The Violent Flame and The Clash. She had emotional attachment to music as she describes in the book. Before globalization and invention of internet technology, she worked hand to ensure she access the kind of music that she found pleasing unlike other kinds of music that other people liked listening to. Her interest led him to become a music journalist, which was a great success to her music interest which resulted in writing of this book. The book contains Dawes’ personal bibliography, an analysis of the culture of the blacks in a perspective of political history, and heavy metal artists especially the black females.

Now a days, we are used to shocking lyrics and eye catching looks. It seems that every artist now is fighting to be so different that everyone is drawn to them. It was not always like this. In the late nineties and early two-thousands, most artists tried to fit in with the other blonde, processed pop stars that the industry was spitting out. When there was an artist who was not always happy and did sing about PG rated topics, they were blamed for what was wrong with the world, especially teenagers. In his article ‘I’d Sell You Suicide: Pop Music and Moral Panic in the Age of Marilyn Manson”, Robert Wright delves into and debunks claims that rock music, especially that of Marilyn Manson, is a main cause for teenage suicide.

When it comes to influential people who have shaped the music industry and society itself, not many artists come to mind when thinking of this particular subject. This can be debated on many platforms, but one can argue that Kid Cudi has been an exception, he has exceeded expectation and obstacles throughout his life. From working with the biggest artists all over world, to becoming the unofficial spokesperson for the youth and suicide awareness. Kid Cudi has done it all, but the journey to the top wasn’t always smooth sailing. The events that have occurred in the life of Kid Cudi have played a major role in the creation of his music.

The perception of one’s role and how they fit into a particular community can very important, so it makes sense that feelings of exclusion can be particularly devastating, especially at a young age. Shelby Martinez, who has been my closest friend since high school, has shared her adolescent experiences with these feelings of exclusion, with me on numerous occasions. On many of those instances, she reflected on how much time she spent by herself in her bedroom with headphones on, just listening to music. It was clear that music played a big role for her growing up, so I decided to do my musical ethnography on her. Shelby spent her adolescence in Yuba City, which is a relatively small Northern Californian town that embraces country life, with big focus on agriculture, hunting, and country music. However, Shelby was didn’t hold this same affinity for a rural

Exam #2: Brian’s Song, Flow, and Culture In “Television: Technology and Cultural Form”, Williams labels flow as “the defining characteristic of broadcasting, simultaneously as a technology and as a cultural form”. TV broadcasting slowly expanded its straightforward approach to programming by developing a “planned flow”, tying programs into a larger goal of subtly goading audiences to “stay tuned” for other (sometimes related, sometimes not) programming. Brian’s Song, maybe the most successful TV movie to come out in 1971 (along with Spielberg’s Duel), is a prime example of a TV network both capitalizing on its existing base and inviting new audiences while at the same time promoting its own brand (ABC’s still fairly new Monday Night Football

To every present there is a past. Looking into someone's past, you can begin to understand how their upbringing molded them into the person they are right now. John Abbott is prime example of this. He grew from a young boy, living in a small town, into a loving, caring, hard working father. John was shaped into a grateful son and a supportive brother through his childhood experiences. His passion for music drove him to look at life in a new light. Listening and feeling the lyrics that related to his actions and individual thoughts. Through John’s upbringing into the genre of specifically, hip-hop, he was able to let loose and use it as a perfect outlet for the stress of the world around him, he explained it as “Music is the positive thing”. John looked up to the men who created this music, creating a bond with their style and lyrical composition. They helped influence the man he is today.

My introduction to the work of Alex Turner came as a recommendation from a friend in High School. As a huge indie rock, music-enthusiast the chance to hear work that was unfamiliar always excited me. So immediately after school that afternoon, I downloaded the entire discography Alex Turner wrote and recorded with his band, The Arctic Monkeys, along with a solo album of his own. The themes discussed in those albums ranged from; heartbreak, experiencing night life, falling love, and the confusion and frustration of

Meadow, Eddie. Bebop To Cool: Context, Ideologoy, and Musical Identity. Westport: Praeger Publishers, 2003. Print.

Music is often considered “the universal language.” Throughout, history it has symbolized love, brought people together, and has been the cornerstone of many lives. In the 1950s, a new form of music entered American mass culture that drastically changed the culture of the United States (U.S.): rock music. In the U.S., it began as Rock ‘n’ Roll, a originally “black” music genre that was then taken and promulgated by white Americans. Post WWII, many Americans—especially teenagers—struggled with the newfound societal conformity and normalcy, and rock provided them a form of retaliation. From its beginning, Rock united the younger generation of Americans, stirring up a sense of community amongst teenagers and troubling many adults by their actions—heightening

The music is rebellious and its uncompromising intensity is uncatagorizable for its urgent flooding past genre definitions. Miles’ music of the five-year period is unlike any music that preceded it, and still, 30 years later, so original, so Progressive, and so inadequately described.

Beginning with the late 1960’s counterculture in San Francisco, music and drugs will forever be inter-linked. Hippie bands such as the Grateful Dead, the Allman Brothers, and Phish are associated with marijuana, mushrooms, and LSD. Modern electronic “rave” , or club music is associated with MDMA or Ecstasy. When one thinks of rock and roll, sex and drugs immediately come to mind. While the use of drugs is not essential for the creation or performance of all new music, it was certainly in important factor for the counterculture music of the late 1960’s. While some of the most important and influential music was made with the help of psychoactive drugs, it was often to the detriment of the artist. Janis

Questioning the correlation of commercial success and true artistry began in the light of mainstream music. Mainstream music has been given a negative connotation due to the supposed lack of originality of the artists. Repetitive chord progressions and meaningless lyrics compose the majority of “mainstream music,” making each song sound like the next . Despite these patterns in music, artists still ventured outside of what was societally normal and created music that was unheard of. Despite the potential risks in being an individual in the music industry, several groups achieved high success and maintain the popularity in the present. Creativity and commercial success can definitely exist alongside one another, and this paper will prove that through the music of the Beatles, the performance styles of David Bowie, and the grunge movement in Seattle which was fueled by Nirvana.

The 1960’s were arguably the most influential years in American music’s history. The music helped connect people of all races, whom enjoyed visiting jazz-clubs in the early to mid-60s, to listen to the music and poetry performed by African-Americans. Much of the music from the 1960s also led to the creation and popularization of new genres and subgenres, such as rock-and-roll. These new music styles influenced the lifestyles of a large majority of Americans, particularly teenagers and young-adults, who mimicked the lifestyles of many stars of the time.

Throughout the evolution of popular music in American culture, many factors have been instrumental in the inspiration musical artists. The wide range of sources reflects the variety and creativity of music in the modern day that musicians claim as their muses, ranging from religious beliefs to love interests. However, the primary driving force behind the creative minds in music in the United States has undeniably been the drug subculture that was the largest at the given time period. Without the use of recreational drugs by artists, popular music would have taken an entirely different and unimaginable evolutionary path, resulting in a completely different musical world. Music is what is taken from drug culture to be incorporated and sold