.... overt lyrical references to Kurt Cobain's "Dumb". Then, again, maybe they're in on the joke. I mean, c'mon leading off an album as bad as this with a track called "Emotion Sickness!" Someone is pulling our collective legs here. Sure enough, the boys deliver on the promise of that title, creating a miserable mishmash of Nirvana in a soft mode, Zeppelin playing "Kashmir" on a bad drug day, even throwing in a little flatulent. Yes-ish prog-rock to boot, all of which staggers around a bit and then proceeds to fall flat on its sunburnt face. Silverchair's leader Daniel Johns has been thinking long and hard about what's happening today, and through he's made a killing off the re ....

.... or a rock. Like in the second poem, where he says that he "has no need of friendship." The person in the poem wants to be left alone, like an island, or a rock. In the second stanza, he says "I've built a wall, a fortress deep and mighty." He has built a mental block to all outsiders, and he compares this to an inpenetrable wall. Inpenetrable walls keep unwanted things out: bad feelings, love, etc. Then, in the third line of this stanza, he says "I have no need of friendship - friendship causes pain, It's laughter and loving I disdain." He said that he doesn't want friendship because it just causes pain, and that the laughter and loving he hates or despises. He wa ....

.... movement and self-respect. He never really became involved politically, but he did disband his original band, "The Experience", because it had a white rhythm section, and created his all black "Band of Gypsies." Politically, this may have seemed necessary, but musically it was a mistake, the Gypsies were never as solid as the Experience. Increasingly, the effects of the music being produced, both by Jimi, and other acts relied heavily on the use of volume as a musical component. Most bands of the 70's would hold true to the mantra and turn their amplifiers to the symbolic ten. Lyrical messages were also changing. The main themes of sixties music were peace and unity, the 7 ....

.... the deft , blues-inflected mandolin playing and mournful, high-lonesome vocal style of Bill Monroe, the principal founder of bluegrass. When Garcia was ten, his mother, Ruth, brought him to live with her at a sailor's hotel and bar that she ran near the city's waterfront. He spent much of his time there listening to the drunks', fanciful stories; or sitting alone reading Disney and horror comics and pouring through science-fiction novels. When Garcia was fifteen, his older brother Tiff - who years earlier had accidentally chopped off Jerry's right-hand middle finger while the two were chopping wood - introduced him to early rock & roll and rhythm & blues music. G ....

.... Victorian clothes. The women wear long dresses. The wealthy women carry parasols. The men wear old fashioned suits. One of the characters is a sailor and he wears a Victorian Naval uniform. The sets are fairly elaborate. Sweeney's barber shop is above the bakery. His barber chair flips back to send the dead bodies of his victims downstairs so Mrs. Lovett can prepare them for the pies. My favorite song is the title song, "The Demon Barber of Fleet Street". It tells the story of Sweeney Todd. Although what Sweeney Todd does is wrong, I did feel sorry for him. He had lost his family and lost his mind also. Mrs. Lovett helped him for two reasons. She needed the m ....

.... and that everyone is searching for the meaning of their life. In this instance Matthews feels he is lost in the world and anything he does not matter. This theme of not mattering in the world is continued throughout the song. “ Well I know these voices must be my soul I’ve had enough of being alone I got no place to go.” The theme of dying is also a big part of this song. Dave talks about dying through his own devices and “ ending up 6 feet underground” because “ he needs to kill his pain”. In addition to showing that death is the ultimate end, this also shows that happiness only exists in the present. By needing “to kill his pain” Dave shows that h ....

.... of leading composers in the 19th century were extremely interested and articulate in literary expression, and leading Romantic novelists and poets wrote about music with deep love and insight. The conflict between the ideal of pure instrumental music (absolute music) as the ultimate Romantic mode of expression, and the strong literary orientation of the 19th century, was resolved in the conception of program music.  Program music, as Liszt and others in the 19th century used the term, is music associated with poetic, descriptive, and even narrative subject matter.  This is done not by means of musical figures imitating natural sounds and movements, but by imagi ....

.... in arts or matter of state, create a new world only by sacrificing the old. Jazz had been centered in three or four major cities for a good part of the twenties. By the late twenties, improvisation had expanded to the extent of improvisation we ordinarily expect from jazz today. It was the roaring twenties that a group of new tonalities entered the mainstream, fixing the sound and the forms of our popular music for the next thirty years. Louie Armstrong closed the book on the dynastic tradition in New Orleans jazz. The first true virtuoso soloist of jazz, Louie Armstrong was a dazzling improviser, technically, emotionally, and intellectually. Armstrong, often called t ....