Terrible Lie paper

Patrick Richards

Professor Mark Snyder

FSEM100L8

December 4, 2016

Understanding the “Terrible Lie”

Nine Inch Nails starting in 1989 the group consisting of Trent Reznor and no one else (officially). Terrible Lie was the second song on the NIN’s first album. Percussion and synthesizer heavy tracks, were the main focus on this first album. Terrible Lie the second most popular song on “Pretty Hate Machine” seemed to resonate with listeners in the late 80’s and early 90’s. With lyrics that scream at god for betrayal of trust, for having put so much time and energy into following in faith just for him to have seemingly realized that it was all a “Terrible Lie”. Terrible Lie, is a song that resonates with listeners for lyrical, emotional, and musical content, which shows the song is still timeless.

 

The lyrical content of “Terrible Lie” can dig into anyone. Whether people take the lyrics as a metaphor or can relate with them directly. The reoccurring theme with nin’s lyrics, is that they just like onions have layers, and can be interpreted to fit many different meanings. Even though the lyrics specifically call out god ergo “Hey God” (Reznor 1989) which is repeated over and over each time followed by lyrics of betrayal. This can also be interpreted as corporate fat cats or entities that see themselves as higher than other people (later on in nin’s music Reznor refers to them as “pigs” see Piggy, or March of the Pigs 1994). The lyrics and the harshness of the instrumentation, really adds to the feeling of betrayal and straight up rage felt by Reznor, putting emphasis to verses that really hit the point home, or the almost disturbing point where the words “Don’t tear it away from me, I need someone to hold on to” (Reznor, 1989) start off as a whisper and repeat to be screamed as if Reznor himself is being abused or violated, as something he once held onto was proven to be nothing but a lie Reznor is left unable to believe in anything later on stating “I lost my ignorance, security, and pride” (Reznor, 1989) and even past that wishing he could have something that he had to believe in, “I need someone to hold on to” (Reznor 1989). With lyrics that bring up such a relatable topic of betrayal, and the feeling of being lied to, it is very easy for people to really cling on to these lyrics and give them their own personalized meaning.

The emotionality of the song sticks with the listener making the song great for replayability. Hearing the raw emotion of this song, it’s easy for a listener to cling to it because it makes them feel connected to the music. Especially in live performance which is why during Lollapalooza and other live concerts where nin has not been the main act the audience can still get into the song until everyone is screaming out the 2 worded chorus. In live performances especially early on, Reznor’s performance of the song is downright gnarly, when the first chorus hits and he just screams, letting out only a portion of all the rage that emanates from his body as the song goes on. Even when Reznor isn’t particularly performing or into the song in the beginning, (Check out nin’s performance of the song at Big Day Out 2000), Reznor starts off almost relaxed or chill, but as the song progresses you can see the anger and color fill his face and his voice. Making this song an emotional rollercoaster from anger to violation and fear too full on hatred, and raw emotion of that sort really resonates with listeners.

 

Terrible Lie’s musical content is a very important part to make the song enjoyable to listen to. The songs key is hard to find but, the common answer to what key it is in as found in “Ultimateguitartabs.com”. Obviously it would make sense that with such an angry and sad tone it would make sense that the song is in a minor key otherwise it might throw listeners off, but the song is focused heavily on the lyrics so it wouldn’t make sense to throw off the listeners with a happier tone. Next the instrumentation and layering of the songs, because there is no information on how many layers there are, the only way to find out is to listen to the song. From what can be heard in the song, there are at least 14 layers, with at least 8 synth patches. The layers in the music can be very important in adding to the vibe even though at a first listen the song does not sound as complex as it is, just as the lyrics upon first listen may not seem as angry and upset as they are. The songs tempo is set to a ballad speed of 90 bpm, giving the song a very chant like feel that way listeners can take in the lyrics clearly without having other musical elements to distract from the main focus of the lyrics. All of these elements are extremely important to making this song so powerful and timeless.

 

The elements that put together Terrible Lie make it a very powerful song that continues to be timeless for fans. With musicality, emotion, and lyrical content Terrible Lie still holds its own as an important song in Nine Inch Nail’s library. In a library full of amazing music Terrible Lie holds its own compared to many other popular songs in its time period. For these reasons Terrible Lie is a great staple of Nine Inch Nails catalog.

Jimi Hendrix Purple Haze

Jacob King

FSEM

Ballades, Beats and Band Camp

Purple Haze by Jimi Hendrix

Jimi Hendrix was born in Seattle Washington on November 27, 1942 and died in London, England on September 18, 1970.  Jimi Hendrix’s four-year career was cut short when he died from drug-related issues. He was originally born as Johnny Allen Hendrix but his father changed his name when he was three years old to James Marshall Hendrix. Jimi Hendrix was noticed by former bassist for The Animals, Chaz Chandler after only a year in New York. Chaz then brought Hendrix to London to start the Jimi Hendrix Experience. Three months after starting this newly founded band, in December of 1966, they released “Hey Joe” in London which hit #4 on British charts. Jimi’s next single “Purple Haze” hit #3 on British Charts. On the first album by The Jimi Hendrix Experience, “Purple Haze” was the first song to open people up to Jimi Hendrix’s psychedelic rock sound.

The 1960’s was considered the “Hippie” era. Teens were dropping out of school and sometimes political life as well. Those who were considered “Hippies” grew their hair out, practiced free love, and were big into psychedelic drugs. Although the 60’s went sour in 1968, 1969 brought Woodstock. Woodstock was a music festival in upper New York that lasted for three days.  August 15th, 1969 presented Sweetwater, Joan Baez, Tim Hardin, Ario Guthrie, Richie Havens, Incredible String Band, Ravi Shankar, Sly & the Family Stone, and Bert Sommer. August 16th, 1969 presented Canned Heat, Creedence Clearwater Revival, Grateful Dead, Keef Hartley, Janis Joplin, Jefferson Airplane, Mountain, Quill, Santana, and The Who. The final day of Woodstock August 17th, 1969 presented The Band, Jeff Beck Group, Blood, Sweat and Tears, Joe Crocker, Crosby, Stills and Nash, Jimi Hendrix, Iron Butterfly, Ten Years After, and Johnny Winter. Woodstock’s three days of love and peace concert brought a good end to the 60’s.

Jimi Hendrix wrote “Purple Haze” in 1966 during a gig at a club in London. In “Purple Haze” the lyrics Jimi Hendrix uses describes a sort of Psychedelic trip. In the second verse it says “Don’t know if I’m comin’ up or down” to say he doesn’t know if the drugs are kicking in or wearing off. Hendrix uses “Excuse me while I kiss the sky” to describe that he is high to the audience. “Purple Haze” uses a lot of imagery to show that Jimi is going through a sort of trip.

In the late 60’s and early 70’s most people were experimenting with psychedelics and hallucinogens.

In the music video of “Purple Haze” after close examination, and a list of guitars Jimi uses, the guitar Jimi uses resembles his 1966 Fender Stratocaster. The 1966 Fender Stratocaster has three pick-ups with a whammy bar and, with no effect pedals, gives off a warm and rich vintage sound. Since Hendrix is the main headliner people don’t focus on the other bands instruments. Jimi uses an Octavio and a “Cry baby” Wah-Wah pedal. The Cry-Baby pedal effect was intended to create a crying tone like a muted trumpet, the tone however makes a “wacka” sound, which is clearly heard in the “Purple Haze”. The Octavia pedal allows the guitarist to make their guitar sound either an octave higher or lower and even adds distortion to the tone. Distortion or overdrive sound is created when you increase the gain of the instrument either by using a pedal or increasing the gain on the amp. With the combinations of these pedals it helps gives the song Jimi’s signature sound. Without these effects the song wouldn’t have its psychedelic rock sound.

 

  • By Backing down His Guitar’s Volume Control, Hendrix Used the Exaggerated Treble Bite and Hyper-sensitive Attack the Fuzz Face Offers to Enhance Clean Tones and Make Them Really Speak. Another Example of This Sonic Yin-yang Is, among Others,. “Dunlop Blog » Hendrix: His Effects and How He Used Them.” Dunlop Blog Hendrix His Effects and How He Used Them Comments. N.p., n.d. Web. 04 Oct. 2016.
  • com. A&E Networks Television, n.d. Web. 04 Oct. 2016.
  • “Purple Haze.” Wikipedia. Wikimedia Foundation, n.d. Web. 04 Oct. 2016.
  • “”Hey Joe” & “Purple Haze” Recorded on Telecaster?” Telecaster Guitar Forum. N.p., n.d. Web. 04 Oct. 2016.
  • “The Pop History Dig, LLC | Facebook.” The Pop History Dig, LLC | Facebook. N.p., n.d. Web. 04 Oct. 2016.
  • “Purple Haze Strain Information.” Leafly. N.p., n.d. Web. 04 Oct. 2016.
  • Gallup, Inc. “Decades of Drug Use: Data From the ’60s and ’70s.” com. N.p., 02 July 2002. Web. 04 Oct. 2016.
  • Code by Nathan Swartz (ClickNathan.com), Content by Gavin Edwards. “Rule Forty Two: The Self-Aggrandizing Website of Gavin Edwards.” Rule Forty Two RSS. N.p., n.d. Web. 04 Oct. 2016.
  • “Jimi Hendrix’s Guitars and Gear.” Jimi Hendrix’s Guitars and Gear. N.p., n.d. Web. 04 Oct. 2016.
  • “Jimi Hendrix Setlist at Woodstock.” fm. N.p., n.d. Web. 15 Nov. 2016.

Song Analysis Final

Gabriela Rangel Cardozo

Mark Snyder

Ballads, Beats, and Band camp

December 2, 2016

How New York State of Mind helped New York

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Picture of the 9/11 attack on the twin towers in NY

 

On September 11, 2001, the country suffered a terrorist attack. Many people died. Many people injured. Many people had their hopes and dreams crushed. A place which was known for its rude people, was experiencing love from every direction. People have this sense of pride and love towards the state they are from. Something that helped them spread that love was music. One of the songs that helped people at this time was New York State of Mind by Billy Joel. The song was released in 1976 on the Turnstiles album. It was never released as a single. New York State of Mind was written and produced by Billy Joel. It was recorded at Ultra Sonic Studio Hempstead, NY under the label Columbia. After returning to New York after living in California for 4 years, Joel decided to write this song about his love for New York, since he missed it after being away for a long time. In an interview on The Howard Stern Show, Joel said that he was literally on the Greyhound bus on the Hudson River Line when the idea for the song came to him, and the song was finished as soon as he arrived home. The lyrics, the instruments, and rhythm, of the song had a great impact on the listener’s emotions after the 9/11 attacks. 

The lyrics of New York State of Mind have a powerful meaning.

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Turnstiles Album cover

They demonstrate a man saying how much he loves his home state. According to song critic Stewart Mason “the lyrics are among Joel’s finest”. Having such meaningful and personal lyrics, the song became one of Joel’s more popular songs. Stewart Mason also said that the song was “worthy of some of the best pre-rock composers of pop standards in their juxtaposition of concrete real-world details and more impressionistic washes of emotion”. A line in the song is “Hop a flight to Miami Beach or to Hollywood” which he follows with “but I’m takin’ a Greyhound on the Hudson River line I’m in a New York state of mind”. By mentioning that some people would rather go on these expensive and luxurious vacations, shows the listener how much he loves his home state because he is saying that instead of doing what everyone else wants to do he would rather stay in New York and be happy in a place he loves. This connected with the people who were affected by 9/11 because his lyrics showed this pride in being from New York, which is what these people were feeling. Although the lyrics in this song were a huge part of why the public loved the song it wasn’t the only factor that made this song a hit. Something that the lyrics complimented well with was the music or the instruments used.

The actual music of the song is very captivating. The listeners immediately get hooked when Joel starts to play the 56 second piano solo in the beginning of the song. Billy Joel is known for his piano playing. Most of his greatest hits have him playing piano in them, for example, Piano Man, Movin’ Out, My Life, Just The Way You Are. Another instrument that was used in the song was a saxophone. Richie Cannata has a saxophone solo right in the middle of the song. This solo helps bring together that slow tempo that is played throughout the whole song. With having a slower tempo, the lyrics were emphasized more because the listener could hear and understand each lyric that was sung by Joel. Also, the listener was able to get in that mood that Billy Joel was in when he was writing and singing the song. This built a connection between Joel and the listener. With this combination of lyrics, music, and rhythm, no wonder it became such a hit and one of Billy Joel’s most popular songs.

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The Concert for New York City advertisement picture

Some people like Glenn Gamboa, a writer for newsday.com, believe that the song has a different meaning today than it had when it was first released. Glenn Gamboa mentioned that “after the 9/11 terrorist attacks, it took on a whole new meaning. It captured what had been lost and chronicled what remained.” When the terrorist attacks happened on September 11, 2001 the country was scared and held on to anything that comforted them. This included music because music helps the body release endorphin which counteract pain. Music with slow tempos, like this song, help slow down breathing and heart rate, which can help with anxiety. This song helped many people remember how much they loved their state. Being in a “New York state of mind” is what needed people to be in at that time. The state had just suffered a great loss and people were devastated and they needed to be reminded of how great New York was. After 9/11 the song reached a whole new respect and popularity. Billy Joel was even asked to play the song at The Concert for New York City in October of 2001, a benefit concert for the New York City Fire and Police Departments and the families of the first respondents lost on 9/11. Which proves how much the song was loved during that time.

By having prideful and personal lyrics and a slower tempo the song was able to help in the healing process after 9/11. The song New York State of Mind by Billy Joel, although not being released as a single, was always a fan favorite and now has become one of Joel’s most popular songs. The lyrics were meaningful and showed a lot about Billy Joel’s love toward New York. Being paired with a powerful piano solo and a stand out saxophone solo, helped the lyrics become very personal and build that slow tempo. This helped the listener connect more to the song and helped Joel portray his feeling more. This is why the song became a big factor in the comforting of the people of New York after the 9/11 attack. Overall the song is a famous, well-known piece and will keep on being one of Billy Joel’s best works.

 

Works Cited

“Readers’ Poll: The Best Billy Joel Songs of All Time.” Rolling Stone. Web. 10 Nov. 2016.

“How Music Affects Us and Promotes Health.” Surprising Effects Of Music. Health on the Net Foundation, 18 Feb. 2016. Web. 10 Nov. 2016.

Billy Joel interview. YouTube. The Howard Stern Show.

“New York State Of Mind by Billy Joel Songfacts.” New York State Of Mind by Billy Joel Songfacts. Songfacts®, LLC, 2016. Web. 29 Sept. 2016.

Dean, Maury (2003). Rock N’ Roll Gold Rush. Algora. p. 309. ISBN 0-87586-207-1.

Mason, Stewart. “Billy Joel New York State of MInd.” www.allmusic.com. ©2016 AllMusic, Member of the RhythmOne Group, 2016. Web. 1 Oct. 2016.

Biography.com Editors. “Billy Joel Biography.” Bio.com. A&E Networks Television, 27 Apr. 2016. Web. 01 Oct. 2016.

Gamboa, Glenn. “Billy Joel’s 14 Best Songs.” Newsday. Newsday, 18 Dec. 2014. Web. 05 Oct. 2016.

Sexy Sadie Final – Stefano Coronado

People everywhere have seen a rise in false stories to satisfy one viewpoint. This has led many to believe the convincing headlines and articles seen on the internet by unverified publishers to be factually accurate on the basis that the source appeared on social media and appeared to be true. Sexy Sadie covers a topic that was never true, despite implied insistence from the author.


Maharishi Mahesh Yogi in 1978 – Taken from http://pourlebiendetous.free.fr/.

Sexy Sadie” is a song by The Beatles written in India about Maharishi Mahesh Yogi, who had allegedly made a sexual advance to actress Mia Farrow, which was not true (Anthology, 285-86). In 1968, The Beatles were receiving spiritual guidance from Maharishi Yogi, along with other celebrities (Anthology, 285-86). The working tile “Maharishi” was changed to “Sexy Sadie” when John Lennon and George Harrison were sitting in a car ride heading towards Delhi. George then came up with the title “Sexy Sadie” after suggesting that Lennon use that instead of naming the Maharishi directly (Anthology, 286). John Lennon confirms that the song is about the Maharishi in a 1970 interview with Rolling Stone, Lennon recalls, “That’s about the Maharishi, yeah. I copped out and wouldn’t write ‘Maharishi, what have you done, you made a fool of everyone.’ [leaning into mike of tape recorder], but now it can be told, fab listeners.” (Wenner, 27) . George Harrison summarized an final encounter with the Maharishi where John Lennon had responded, “Well, you’re supposed to be the mystic, you should know” (Anthology, 286). This implies that John Lennon was exposed to a false prophet.


John Lennon performing “Give Peace a Chance” 1969 Bed in – Taken from http://www.johnlennonbedin.com/

This song can indirectly spark a debate on false stories. Since the sexual allegation was never proven true, those who read such articles may be lead to believe that the facts claimed in a given source are true. Due to a human characteristic confirmation bias, a large amount of engagements have been recorded on false articles. The chart, published by Statista, gives a clear indicator of this issue. Headlines, such as “Pope Francis Shocks World, Endorses Trump for President, Releases Statement” are seen to have engaged 960,000 times on social media websites such as Facebook (Dunn, n.p.). Based on the evidence of false news headlines, it is safe to assume that a fictional headline such as “Spiritual Guru Gropes Student!” shared on Facebook within groups that promote the discrediting of the Maharishi would have been engaged similarly.

Chart taken from http://businessinsider.com/

The first and second verses directly introduce listeners to the the author’s purpose at hand. Specifically, on the lines, “what have you done, you made a fool of everyone” (Lennon, n.p.) suggest that this Sadie character tricked everyone, either his band or everyone involved, into thinking that his or her beliefs lead to a healthy and prosperous life. One would think that joining a spiritual movement, exactly like transcendental meditation as The Beatles had when they decided to travel to India, that the head guru in charge of teaching this information would be sexually abstinent, which may give listeners a closer insight to where Lennon is getting his ideas from. Within the bridge, “One sunny day the world was waiting for a lover, she came on and turned everyone, Sexy Sadie the greatest of them all” (Lennon, n.p.), there is a sense of allusion to the same accusation that the subject of the song is facing.

Sexy Sadie was performed in the G major key along with the G, C, F#, Bm, and D chords, worked out on the piano and heard throughout the song (Pollack, n.p.). It is very important to note that due to the Bm chord that occupies the iii minor spot, this makes the song differ from the traditional I-IV-V releases from more well-known hits earlier in The Beatles career and by similar artists. (Ultimate Guitar, n.p.) The introduction of the song itself is a six-measure phrase that begins on the IV (C chord), then the V (D chord), the I (G chord), VII (F# chord), before taking another hit at the V chord. (Pollack, n.p.).The IV-V-I-(VII)-V progression, has been cited as a form of direct inspiration or similarity to the chord structure of other songs, more notably Karma Police by English Rock band Radiohead, which presents a similar experience to the listeners’ perspective. (Webb, n.p.) The fourteen measures of verses progress utilizing of the same G major key as, I-V/iii-iii before returning to the IV-V-I-(VII)-V as shown in the introduction (Pollack, n.p.). The bridge, which corresponds with the lyric “One sunny day, the world was waiting for a lover” and “We gave her everything we owned just to sit at her table” “utilizes an ascending I-ii-iii-IV before repeating itself to the next line before descending from the V/V-flat VII-I-V/III (essentially the A , A flat, G, and F# chords) (Pollack, n.p.). Chords have been written for the listener to experience a false sense of a silver lining or hope as the ascending progression grows until it retreats, reminding the listener that this is still a sad song.

Sexy Sadie is a song by The Beatles that appears on their self titled 1968 release of The Beatles. The song is primarily about John Lennon indirectly calling out the Maharishi over his alleged sexual allegations in a meditation trip, which has never been proven to be true. This can prompt a discussion on how far can misinformation can be carried to satisfy what people want to see. Despite the claims, Sexy Sadie is both musically justified to fit the narrative of the lyrics.

Works Cited

The Beatles Anthology. San Francisco: Chronicle, 2000. Print.

Webb, Robbert. “Muse: ‘We Blew Them All off the Stage'” The Independent. Independent

Digital News and Media, 14 Sept. 2006. Web. 26 Sept. 2016.

Pollack, Alan W. “Notes on “Sexy Sadie”” Sounscapes.info. N.p., n.d. Web. 26 Sept. 2016.

“What Are I IV V (1 4 5) Chords and Why Should You Care?” ULTIMATE GUITAR TABS. 800,000 Songs Catalog N.p., 25 Dec. 2014. Web. 26 Sept. 2016.

Wenner, Jann. Lennon Remembers. London: Verso, 2001. Print.

Lennon, John, and Paul McCartney. Sexy Sadie. The Beatles. Rec 14 Oct. 1968. George Martin, 1968

Vinyl recording.

Fortunet, Jean. Maharishi Mahesh Yogi in 1978. Digital image. La Méditation Transcendantale

Pour Le Bien De Tous. N.p., n.d. Web. 28 Sept. 2016.

Kerwood, Roy. John Lennon Bed-in. Digital image. John Lennon Bed In. N.p., 11 May 2006. Web. 28 Sept. 2016.

Dunn, Jeff. “Facebook’s Fake News Problem in One Chart.” Business Insider. Business Insider, 18 Nov. 2016. Web. 03 Dec. 2016.

Two Vines and Futurism Final – John Huebler

 

the-fountainhead-by-ayn-rand

Ayn Rand’s 1943 Novel, The Fountainhead

In 1943, philosopher Ayn Rand wrote a book called The Fountainhead. In this book one is introduced to an architect by the name of Howard Roark. Roark is not like many of the other architects. While many architects are taught to model and appreciate the works of the Greeks and Romans, Roark consistently decides to make buildings of his own imagination rather than adhere to classical styles. Others make banks with marble pillars or Victorian Style Houses, but Roark makes buildings that had never been seen or thought of before. The key here is that while many are stuck in the past, someone like Roark can come along and push humanity along to the future with creativity and innovation. While one may become complacent in the past as it is easy and familiar, Ayn Rand’s story is a reminder for one to draw from individuality and imagination in order to innovate and improve. In a similar vein of thought there is the band Empire of the Sun who released their latest album entitled Two Vines on October 28th (Monroe 2016). Nick Littlemore, a  founding member of the group, has described the inspiration for their album as “this image of a modern city overtaken by jungle, almost like mother nature taking back the planet” (Pearce 2016). In this description one sees the same theme found in The Fountainhead: a world that tries to move on beyond the sprawling metropolis of the past as nature slowly takes it back for the future by covering it in vines in a process of decomposition. Working for a better future and correcting previous shortcomings is a message that is very dear to the band as member, Nick Littlemore, describes, “We want to channel all the wasted tears towards a useful future. Take the darkness and make it light again” (Littlemore 2016). Clearly they aim to show that the darkness of the past can be converted into a good for the future. The title song off of the Two Vines album is a perfect example of this theme at play in its lyrics and instrumentation.

Album Cover For Empire of the Sun's latest album, Two Vines

Album Cover For Empire of the Sun’s latest album, Two Vines

The first verse of Two Vines explains a problem. You know that the future holds good things, but you are still “Caught in the fuss above” even though you are “Right in the prime of your life” (Empire of the Sun 2016). It is unclear as to what this fuss is, but it is made more clear in the second verse where Empire of the Sun sings, “We’re going out/ Tonight, won’t you come along?/ We’ll wake the dawn/ Not replaying memories” (Empire of the Sun 2016). This makes it compelling to say that the fuss is being caused by replaying past memories over and over again. The song uses vines to describe what it looks like when one is able to move on. The vines mentioned in this song symbolize growth as a person. This is made evident in the refrain and the bridge which use the words, “And all because we trust two vines/ slowly growing right into your ears/ show me all the life/ lead us in your wind tonight,” as well as, “ I wonder what it’s like/ Slowly growing right into your ears/ there’s only one way tonight/ Soon you’ll see, soon you’ll see the light/ I wonder every time/ why go to a place that no one’s ever been before?” (Empire of the Sun 2016). When one thinks of vines, one typically thinks of how they weave around everything from trees to abandoned buildings. Many are quick to cut these away to prevent them from growing, but what if they are allowed to grow? The parallel here is that the future is natural and attempts to cover up the past. If these vines are allowed to grow and change is allowed to take place, one will find herself materially better off. With this lyrical analysis, it is easy to conclude that Empire of the Sun wrote the song, Two Vines, as a way to explain that it is better to let go of the past and move into the future.

The instruments used by Empire of the Sun have always been innovative. They have been known for their use of older sounding instruments mixed with modern synths (Fitzpatrick). In Two Vines, this style is also found. Throughout the first verse one sees a combination of both acoustic guitar and synth but as the song moves into the refrain, only the synth remains. This progression makes sense with the overarching theme of moving on from the past since the song begins with a combination of the past and the present as they battle with each other to make some sort of harmony; however, as the song transitions to the refrain one sees that the synths, the future, wins out. This is by design of course, since as noted in the previous paragraph the refrain talks about letting the future take hold so that one can escape the clutches of living in the past.

Towards the end of The Fountainhead, Roark is conversing with one of the antagonists of the story. In one of the longest portions of dialogue in the whole book, Roark says this about people who live in the past: “ They don’t ask: ‘Is this true?’ They ask: ‘Is this what others think is true?’ Not to judge, but to repeat . Not to do, but to give the impression of doing. Not creation, but show” (Rand 633). In this quote Ayn Rand describes the problem that is run into if everyone bases their actions and ideals solely on those of other people or past actions. One will forever be stuck in the status quo without ever a chance at improving. Similarly, Two Vines by Empire of the Sun shows the problems of this mentality. By looking into the lyrics and instrumentation of this song, it is easy to see that the overarching theme is to not merely live in the past by perpetuating the present but instead to let the future envelop in order to live a brighter future. This is a lesson that has wider implications beyond a mere song analysis. Imagine if at any point in history everyone  agreed that every social norm and every law was fine and the world was to live with those norms and laws for the rest of time. This would be undesirable since imagine if these were times of slavery and oppression. Simply put, there always seems to be room for improvement for norms, laws, ideals, and any other facet of life that can be made better. The first step though, is to not live in the past.

Works Cited

Empire of the Sun. “Two Vines.” Two Vines, Universal Music Austrailia, 2016.Fitzpatrick, Rob. “Space Cadets” The Guardian, 20 Feb. 2016.https://www.theguardian.com/music/2009/feb/21/emipre-of-the-sun-interview. Accessed 22 Sept. 2016

Littlemore, Nick. Interviewed by Rob Fitzpatrick. Space cadets, 20 Feb. 2016. https://www.theguardian.com/music/2009/feb/21/emipre-of-the-sun-interview. Accessed 22 Sept. 2016.

Monroe, Jazz. “Listen to Empire of the Sun’s New Song ‘Two Vines.’” Pitchfork, 25 Aug. 2016. http://pitchfork.com/news/67789-listen-to-empire-of-the-suns-new-song-two-vines/Accessed 18 Sept. 2016.

Pearce, Sean. “Empire of the Sun Announce New Album Two Vines.” Pitchfork, 22 Aug. 2016. http://pitchfork.com/news/67672-empire-of-the-sun-announce-new-album-two-vines/Accessed 18 Sept. 2016.

Rand, Ayn. The Fountainhead. New York: Plume, 2005. Print.

Jimi Hendrix Purple Haze

 

woodstock-set-list

1969 Woodstock band list- to show the different popular bands as well as Jimi who will be tehre

jimi-hendrix-wardrobe

Jimi Hendrix weird wardrobe- to show how he dressed differently then most other people in this time period

jimi-hendrix

Jimi Hendrix

35-jimi-hendrix-are-you-experienced

The Jimi Hendrix experience “Are You Experienced” the first album

Visual Aids – Jason Tillerson

-There will be a section of the song played to show Legend’s powerful voice and range throughout different parts of the song

marital_status_of_residents_of_the_united_states_of_america_in_2004

-Used to show the viewers how much of americas population has ended up in divorce

get-lifted-album-cover

-Showing what the album artwork looks like and what John Legend (The artist of the song looks like)

percentage-thought-about-leaving

-Showing how many marriages and relationships are unhappy and are trying to work through problems in their relationships (2014)

 

Two Vines Visual Aids – John Huebler

eots_twovines_digitalcover

-upcoming album’s art

howard-roark-1949

-postmodern building from fountainhead movie to help explain the analogy of buildings to rand’s philosophy

The new Campus Center, Sunday August 23, 1015.  (Photo by Norm Shafer).

-The UC and virginia hall to show buildings that seem to be stuck in a past of roman, georgian, and federalist architecture

the-fountainhead-by-ayn-rand

-the edition of the fountainhead I use

-the rest will be filler images of empire of the sun

empire-of-the-sun

empire-of-the-sun-high-low-compressed

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