Comparisons

I checked out Cracked.com first, which is noted for its highly humorous tone and style. Most of their articles are presented in lists and frequently use captions and images to further provide humor. The writing is typically informal and often involves slang and profanity. Often, the writers  reference geek humor and pop culture, thus having a broad appeal to several different types of audiences. Sources are often just direct links though, so it is not very professional. Another publication I looked at was Pitchfork.com, a music site. Pitchfork has a bit of a bad reputation for being pompous and overtly-critical in regards to its musical opinions. They are often deemed only for hipsters. While I think there is some legitimacy to this claim, it is not as bad as people depict it. Though the writing can be overly serious, it does go into some criticism that isn't popular to acknowledge and I respect that of them. Because it is largely opinion driven, there are no real sources. Articles are structured with a score towards the top of the page and a detailed review on the bottom.

Narrative Prompt

Often, insults are thrown about like they are meaningless. At older ages, most of us we understand the concepts of sarcasm and know when there are times when it is better to stay silent than to cause unnecessary controversy. However, at a younger age, we were unrestrained and ignorant to social courtesy, often letting our inconsiderate thoughts out even if it could potential harm another. A common social norm is that even though insults, teasing, etc. can be hurtful, it is just a part of growing up. I can subscribe to this ideal, as sarcasm is just another form of humor. However, I think there comes a point where insults start crossing the line and becoming incredibly scaring on young psyches. This is a constant issue at schools, and even though we acknowledge that it is there, we do little to truly counter it. It does not take long for simple childish fun to turn into personal persecution and abuse. Since I have had to deal with these issues, I know of how even innocent teasing can turn into torment after prolonged abuse. There are some repercussions that I seriously believe that people do not consider when they are raising their children and allowing them to continue behavior that could eventually spread hatred and conflict among the student body. Though there are psychological problems that arise in the individual, verbal and physical abuse in schools results in distractions from education, potentially diverting focus from actual learning. If this is prolonged, then the combined deviations from educational values would result in an overall decline in student performance. (Potentially for an entire school if the situation becomes that complicated and deeply-ingrained within the system.) This is not an issue that will simply vanish if we hope hard enough or pay it no attention, it needs to be addressed to minimize the amount of abuse students go through in school, especially in the earlier stages.

Logical fallacies

A) Examples of logical fallacies:

-Ad hominem: "You just oppose this bill because you're like all other conservatives."

- Faulty causality: "Because he was the president during a period of economic prosperity, his decisions must have caused that prosperity."

B) Example from a text.

"In Moby-Dick" Starbuck tries to distract Ahab from his monomania with evocations of family life in Nantucket. Under the spell of "a cruel, remorseless emperor" --his own single-mindedness -- Ahab stays his fatal course. Ahab's doom comes from his undistractibility."

This article attempts to defend distracted minds, viewing it as the more healthy alternative to obsessiveness. However, this quote supplies a false analogy as it equates focus with mania. A focused mind when it comes to activities such as reading is necessary for acquiring information and is not the same as being obsessed to the point of psychological disturbance.

Every Time I Die - Ex Lives

Every Time I Die has always been one of the most consistent metal bands. With a blend of progressive, southern and hardcore forms of music, Every Time I Die always managed to pull off songs that were both intense, catchy and provocative all at once. Lyricist and singer Keith Buckley contributes to this by providing lyrics that are both easy to remember, yet cryptic and philosophical. I often discover a few literature references every now and then which is surprising from a band of this style. These factors have not changed in their latest release, Ex Lives, but they are not quite the same band they were a few years ago.

Ex Lives is easily the heaviest record they've released since their earlier records Last Night in Town and Hot Damn! Songs like Underwater Bimbos from Outer Space, Typical Miracle, and Drag King are set to much more blistering speeds than their more recent releases. Earlier songs especially are characterized by quick paced riffs and style shifts in the matter of 1-3 minutes that simply blow my mind how well they flow together.  Though they have not really played this style in awhile, they pull it off with ease and still remain memorable and catchy. While this represents one extreme for Every Time I Die, they venture into uncharted territory by tackling on slower songs. Why they choose to do this on one of their fastest albums to date is beyond me but it surprisingly worked really well. Songs like Revival Mode and Indian Giver are practically ballads by the standards set by the album, yet their placement is so cohesive that they simply just work. I also enjoy the sludge-influenced riffs that show up from time to time and I think they were implemented well to really emphasis how heavy this album feels.

Every Time I die has never failed to disappoint me and at the rate they are going, it does not seem like that is about to change. Always ready to perfect their craft, Every Time I Die has proven time and time again that they know what they are capable of just about anything they put their mind to.

Trophy Scars

Trophy Scars is a complicated band. While initially starting off with a straight-forward post-hardcore sound, Trophy Scars later began to branch off into multiple genres not commonly witness in their scene. With an eclectic range of influences that allow them to implement various styles into their own brand, Trophy Scars is a band that never seems to stop growing and is always impressive.

Initial Sound:

Darts to the Sea, Hospital Music for the Aesthetics of Language, Goodnight Alchemy 

 

As previously stated, Trophy Scars began as more of a post-hardcore act. Even then however, Trophy Scars was prepared to separate themselves from the rest of the pack. This can be seen in the groundwork that establishes the band in their later work and how it evolves in later albums. Trophy Scars lyricism is a clear distinction from other hardcore bands. Most of their lyrics are in the style of narratives, sometimes switching between first- and third-person point of views in between songs. (Even when telling personal stories about the band members themselves.) Trophy Scars songs often feel like stories about romance, tragedy and personal connections set to music. The music itself helps to amplify the effect that these stories have on the listener. Unlike other hardcore bands that focus on fast-paced riffs and drumming, Trophy Scars is willing to go to calmer paces to emphasize the more tragic elements of their songs. While they are not afraid to use breakdowns and other techniques commonly associated with hardcore bands, Trophy Scars uses them sparingly to increase the effect rather than move from riff to riff in a pointless spontaneous fashion. This both contrast and compliments vocalist Jerry Jones. Jones uses a particularly harsh scream that in enhances the anguish of their lyrics more than conventional vocals. He's often thought of as a detractor to the band by non-fans, but I consider him a vital part of the band's flow. Jones does a great way of combining the band's influences in his vocals alone. Though it may not be as apparent on their earlier material, later releases will see Jones as a key figure in their signature sound. Still, through out their career, Jones provides an effect that would be completely lost if Trophy Scars had any other vocalist.

Alphabet. Alphabets.

 In some ways, the release of their second-full length, Alphabet. Alphabets., saw a strange mix of what Trophy Scars was and what they would later develop into. Still keeping true to their post-hardcore roots, Trophy Scars consistently kept to their initial sound. However, it was the little nuances in each song that later established Trophy Scars as the post-hardcore band it is currently. Nearly every single song tries to deviate from post-hardcore norms by featuring unconventional styles. Artist. Artists. has a few progressive moments added, especially in the guitars. Assistants. Assistants. incorporates an well-timed group chant that is not only very catchy but helps convey the overall message of the song. Assassin. Assassin. even includes a hip-hop section that is so strange but works so well. Combined with hardcore songs like Yes. and No. with instrument and sample heavy songs like Alligator. Alligators., Trophy Scars saw a dramatic difference from their previous material with this release. While their later sound may be a bit odd, it is understandable given the development in this album.

Later Sound:

Bad Luck; Darkness, Oh Hell; Never Born, Never Dead 

A question I commonly ask myself when listening to newer Trophy Scars is just how to define them. Over the period between Alphabet. Alphabets. and Bad Luck, Trophy Scars expanded their horizons greatly to become a completely new band. Newer Trophy Scars contains heavy blues, jazz, and swing influence that still manage to include their hardcore past. This is just such a unique mix that I'm still kind of baffled by it to this day. In terms of experimentation, Trophy Scars has surpassed the standard set on Alphabet. Alphabets. The instruments are much diverse. The usual line-up is still there though, they've just drastically changed how they want they play. Guitars/drums are much more exciting with swing and jazz moments that completely set the mood for much more variation and 

surprise. Trophy Scars calm instrumentation is replaced with more bluesy riffs and drumming that I think helps transitions into different sections of their songs perfectly  Along with common instruments, trumpets and pianos are new norms in Trophy Scars repertoire. While this not only goes along with their new found jazz and swing sound, it goes great with their softer instrumental moments and especially the more bluesy moments. Jerry Jones also sees a change in his vocal styles. He keeps this traditional harshness but adds a bit of Tom Waits that is initially very polarizing, but grows into a great effect. Jones' soft vocals are also used more often and they are well done when used. The little nuances from Alphabet. Alphabets have no disappeared either. Many songs now

contain samples or unique instruments to further the songs. This creates my initial questions, just what are Trophy Scars right now? Are they a jazz band with hardcore influences? A hardcore band with jazz influences? Is it fair to just call them experimental? Experimental is such a vague term though, I don't think it fits them. No matter what genre they really fall under, they're a great band that means a lot to me. I think they as a band have grown significantly and deserve more recognition for their accomplishments and originality. They've gone a long way and they've accomplished most of their feats solely on their own. Trophy Scars is a very DIY band so they handle most of their booking and management on their own. Overall, they're a great band with even greater potential in the future. I cannot wait to hear what else they produce.

Neutral Milk Hotel - In the Aeroplane over the Sea

Neutral Milk Hotel - In the Aeroplane over the Sea

This album has perplexed me since I had first listened to it. Along with Sigur Rós, Neutral Milk Hotel was a band that I just did not get when I was younger. When I first listened to them in fact, I found their music boring and their singer obnoxious. To me, this was just some hipster band people listened to for the sake of sounding superior. I revisited this album recently, and I was surprised when I was actually enjoying what I was listening to. I was shocked because I still do not get what makes this album "work".

The music is still relatively simple. I can appreciate their singer, Jeff Mangum, now more than I did previously, but I still think there are better singers out there and that he can be very polarizing. Their lyrics are still cryptic and difficult to relate to. Despite all of this though, I'm still attracted to their music, more so every time I listen to this record.

Whenever I hear the opening track, "King of Carrot Flowers Pt. 1", part of me just wants to start singing along, though I don't know all of the lyrics yet. Listening to the entire album just gives off such a feeling of completeness. I don't know what adventure I went on, or what happened on it, but something great happened because I feel fantastic. 

Maybe I'll just realize it later. Maybe the album's greatness lies in its simplicity and I just don't see it yet. Maybe there is a more complex issue that I'm not getting, but this is a great album, even it does take some time to get used to it.

Oldies

One of my biggest gripes with some music listeners are music purists who only listen to one genre or one generation of music. Whether they're complaining that today's music is trash or yesterday's music is boring, all they're doing is denying themselves a chance to listen to something great. There is great music (and trash music) in every generation. 

I felt like I've been focusing too much on the music of my lifetime and thought it would be a breather to dedicate a small blog on some of the music my grandparents would enjoy.

Frank Sinatra

Sinatra easily ranks on my list of favorite singers. During his life, Sinatra was capable of great ranges and tones, making him an effective force in all of his songs. The songs themselves had a fantastic diversity. Though he stuck to the genres of swing and jazz, Sinatra's music can be smoothing, relaxing and relaxing depending on the song. Overall though, his music is very "feel-good" and always puts me in a brighter mood. It's easy to see why years after his death, Sinatra is still one of the largest figures of the swing generation and a symbol of American music.

Johnny Cash

"The Man in Black" is to this day a country superstar. Very few dedicated country listeners do not know of Cash. Johnny Cash had a very low, but powerful voice. The beginning of his career was highlighted by themes of romance, patriotism and outlaws with Cash's sense of style that would help define the genre. Towards the end of his life though, Cash's music became much more harrowing and mournful. However, this did not deteriorate Cash's optimism, even though he was clearly going through hard times, coping with multiple diseases and the death of his wife. Cash's later songs dealt with death, sorrow and loss but also the potential of rebirth.