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Mother pink floyd analysis
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How did the constant turmoil within the band Pink Floyd effect their musical moods and styles? Did “mood music” replace “messege music” after the mental deterioration of Roger “Syd” Barrett? Were these artists trying to escape their melancholies sustained by the unfortunate decline in health of their musical messiah, or were they using a new techniques to send subtle messages about rebellion towards political scandals and war, eventually rising to the development of musical counterculture?
The band now known as Pink floyd (previously Sigma 6 and The Abdabs) had been the voice of a new era in the 1960s and 1970s, incorporating new technologies such as manual sound boards that produce echoes and electronic distortions; they continued to
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After his retreat back to Cambridge, the band fell in to a deep melancholy, and began to produce what they called “songscapes” (Roger Waters, youtube.com). Their sound after Barretts departure in 1968 was transformed from that of a man transmitting messages to the public about his ideals, emotions, and countercultural tendancies, with a side of psychadellic neuvau, to mostly instrumental records that were intended to provoke emotions in the listener that mimic the dispair and confusion of the rest of the band. Pink Floyd was constantly serarching for a direction after their songwriter had basically slipped in to a reclusive schitzophrenia. They had lost their guiding light, and thus began Pink Floyd’s age of “mood music”.
Their mostly instrumental album Ummagumma is a perfect depiction of how they temporarily set aside their need for a songwriter to produce skin-tingling instrumental sets that portray their dismay until they could find their way again. They were lost without Barrett, and had no words to describe their longing, only soothing soundboard echoes and aggressive arpeggios. Another great example of their wayward instrumental creativity is shown through Set The Controls For The Heart Of The Sun, and Let There Be
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They became widley recognized for their 1975 album Wish You Were Here, containing the song “Shine On You Crazy Diamond”, which was a great homage paid to their lost “heartbeat” of the band. Although they began to incorporate lyrics in to their music again, it was never the same without Barrett. The band lost Barretts strong English accent and creative fluidity of his experimental techniques, but gained a new muse: Tradgety, the loss of Syd Barrett.
Possibly one of the most famous albums produced by Pink Floyd, second to Dark Side of the Moon¸Which maintaned the top rated album for 741 weeks (youtube.com) was The Wall, which was eventually made in to a movie directed by Alan Parker (wikepida.com). The Movie was made to bring the album to life, and seems to be depiction of a combination of concepts: Richard Wright’s struggle with his father’s involvement in war, of the struggles with drugs and mental deterioration faced by Syd
Several even try to connect their music to the feelings of their audience. Some of the songs including, Jailhouse Rock, Good Vibrations, Purple Haze and Stayin’ Alive try to use women as the meaning of their songs. In addition, they are used to clarify the point in films of their time and influence an environmental change. Slowly, building into innovative ways to portray music that fits the era they were in. Each song was able to readjust the perception of war and help those forget the scary outcomes war was bringing. Therefore, music adapted by connecting the people as one to their era and providing them a tune that minimized their
The album The Dark Side of the Moon, by Pink Floyd was an album that pushed the boundaries on multi-tracking and tape looping, as well as mixing in1973. The engineer, Alan Parsons, use many unusual techniques to help create the sound that we know and love. Which landed the album on the charts for 750 weeks. Dark side of the moon was first lead engineering job Alan had with Pink Floyd and only took a year to record.
The Beatles and the Beach Boys are two of the most recognized, well-known and most popular musical acts of the 1960’s right through to the 1970’s. I will be focusing on the group acts rather than solo performers such as John Lennon, Paul McCartney and George Harrison of the Beatles, who took their own stylistic approach to their music after the Beatles’ separation. Each group’s arrangement and use of instruments classify them as part of the overall associated sound and typical subject matter of songs in the 1960’s, yet remain different enough to distinguish between each group’s desired sound.
Canadian filmmaker and cinephile, Guy Maddin once said, “I do feel a bit like Dracula in Winnipeg. I’m safe, but can travel abroad and suck up all sorts of ideas from other filmmakers… Then I can come back here and hoard these tropes and cinematic devices.” Here, Maddin addresses his filmmaking saying that he takes aspects from different film styles and appropriates them into his own work. In The Saddest Music in the World (2003), Maddin uses a combination of French Surrealist filmmaking and classical American Hollywood cinema, specifically melodrama, to create his own style. In an article by William Beard, Steven Shaviro talks about Maddin’s filmmaking, and he links Surrealism and melodrama together saying, “Maddin’s films are driven by a tension between romantic excess [melodrama] on the one hand and absurdist humour [Surrealism] on the other.” In regards to The Saddest Music in the World, the relationship between Surrealism and melodrama is not one of tension, as Shaviro suggests, but one of cooperation. This paper will analyze two films by filmmakers Maddin was familiar with —Un Chien Andalou (1929) by Luis Buñuel and Salvador Dali on the Surrealist side, and All That Heaven Allows (1955) by Douglas Sirk on the melodrama side—to showcase the important elements of each, concluding with an analysis of The Saddest Music in the World in conjunction with both film styles. Ultimately, it will be shown how Guy Maddin combines French Surrealist cinema and Hollywood melodrama in The Saddest Music in the World, to create his own unique film style.
The movie represents a change in all of culture, including rock and roll. The mother of William represents the traditional type of mentality as it relates to rock and roll. At one time, rock and roll was considered ‘the Devil’s music’. The culture shift in rock n roll itself can be shown through capitalism. The big record companies wanted to expand the artist’s skillset in order to profit from more revenue. The pressure of the group as a whole suffered in this process.
I believe that the west coast psychedelic music, such as Jimi Hendrix’s "Voodoo Child (Slight Return)" in 1968, played a huge part in the Counter Culture movement. This musical piece by Jimi Hendrix embodies the West Coas...
Led Zeppelin was one of the giants of the 1970’s in hard rock. They were also one of the greatest success stories that ever played hard rock music. The group was one the more popular hard rock groups that performed in the seventies, and even had some hits in the 1960’s.
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 Joplin, Jimi Hendrix, Jim Morrison, and countless other tremendously talented artists had their lives cut short due to drug use. Drugs were most often good for the music, but deadly for the music makers.
Pink Floyd and the Beatles had more in common then they’re often credited. Both bands members were raised in the United Kingdom. The original framework for “The Beatles” was conspired by the best friends, John Lennon and Paul McCartney. Likewise, “Pink Floyd” was created by best friends Nick Mason and Roger Waters. By the same token, both bands were founded while the members received their education. World War II was a pin point in each of the band members lives, if not directly affecting them, then they were affected through their parents. Ironically, the two bands were also branded for the sixties, largely the Beatles who were believed to be an instrument, attempted to be used for ending the Vietnam War. As musicians often feel pressured to change in New Eras, or rise to the occasion, the Beatles and Pink Floyd were no exception. The Beatles changed their music from a pop, heartthrob sound to a more psychedelic sound to express the Counterculture. Accordingly, Pink Floyd altered their sound from a Blues like sound, to a Mystique, psychedelic tune. With the music, comes the managing, The Beatles were rejected by Decca, a recording company, similarly, as Pink Floyd was cut loose from their recording producer, Jenner, before the bands settled with different companies. Of course, the bands succeeded beyond the rejection, at some point the groups both enthused their movies: Yellow Submarine and The Wall. That being said, both bands have a reputation to have experimented with the Hippie drug of the sixties; lysergic acid diethylamide, otherwise known as LSD. It is commonly believed that both bands creativity sparked with LSD, one of the most notorious songs being the Beatles “Lucy in the Sky with Diamonds”, and likewise, agreeing with...
My Appetite for Destruction: Sex, Drugs, and Guns N’ Roses recounts the many highs, both literal and figurative, and lows of Steven Adler’s life. From a young age, Steven Adler was
middle of paper ... ... The multiplicity of visions found within Morrison’s novel mirrors the multi-instrumentation of combo jazz and various solo ‘viewpoints’ from which a tune is played by different band members (Pici). Such a non-omniscient and non-omnipotent narrator makes storytelling an ongoing development, just like it is with the jazz music.
Madness is a disease. It’s a disease that can exponentially consume the host and make them lose their minds overnight. Allen Ginsberg, a famous beat poet, was a victim to madness. Under his circumstances, it was a disease that was incurable. Ginsberg, along with the other famous beat poets of his time in the 1950s’, had a remedy to his madness which was what he did best, create poems. In his famous poem, Howl, he vividly and emotionally paints a picture of a horrifying time in his life in which he was consumed and destroyed by madness. In HOWL, it is clear that the three parts of Ginsberg’s poem echoes the theme of madness with the use of form, tone, and language which in turn shows us of how our society really is
The 1970s was a time for social and cultural transformation. Glam rock, Funk, and Disco sculpted their place in music history. After, The Vietnam War ended and ‘Beatlemania’ was disbanding with the members starting their solo careers, it would influence the next top charting musicians of the new era. An era full of ostentatious fashion, bright makeup, glitter, and the mixture of pop and rock music. Early glimpses of Glam Rock were shown in 1968 with Alice Cooper’s shocking, villainous look in frayed famine clothing and dark makeup with the intent to provoke social controversy.
Even with this so-called “escape” that psychedelics created for producing music, the production of capitalism still controlled it. Everything is still consumed into the time and space that is capitalism. Despite the new experience and way of life that coincides with the music of the 1960’s, the Situationists would critique it with the notion that sales numbers were still the measure of worth for artistic merit. It is still an industry controlled by capitalism through the market of concert sales, record sales, and advertising. Music was more or less judged by whether it was a best seller or its status on the rating charts, therefore abandoning the ideals of true
Foragers, the people who live in hunter-gatherer societies, have no artists. It is only when society becomes complex enough to support a division of labor do artists emerge-first as shamans, then as the painters, singers, writers, etc., that we usually think of today. Society, then, creates the artist, but it can also destroy him. In A Portrait of the Artist as A Young Man, James Joyce describes the particular development of Stephan Dedalus that led to his becoming an artist. Pink's development in Pink Floyd's The Wall, mirrors that of Stephen yet concludes in the destruction of the artist.