Let The Music Play 2 The Philosophy Of Soft Rock

Soft rock, a genre that has been ingrained in American pop culture since the 1970s and 1980s, holds a special place in the hearts of music lovers. It was a time when artists like Chicago and America dominated the airwaves with their iconic hits. Songs like "You're The Inspiration" by Chicago and "A Horse With No Name" by America became anthems for a generation. Soft rock, as the name suggests, embodies a mellow and soothing sound that resonates with listeners of all ages. Its melodic tunes and heartfelt lyrics have a way of touching the soul and evoking a sense of nostalgia. Whether you're driving in your car, relaxing at home, or enjoying a cup of coffee at a cafe, soft rock provides the perfect soundtrack for life's moments.

Welcome to the world of spontaneous laughter and unscripted humor! In this chapter, we will delve into the essence of real improvisational comedy and explore why having a keen sense of humor is the ultimate good laughing practice. Improvised comedy is like a rollercoaster ride through a funhouse – you never know what unexpected twists and turns await you, but you're guaranteed a good time. It's all about embracing the unknown, trusting your instincts, and letting go of inhibitions to create moments of pure hilarity. Imagine a scenario where you're given a random prompt, a quirky character to portray, or a ridiculous situation to act out with your fellow comedians. The magic of improv lies in your ability to think on your feet, respond in the moment, and weave a narrative that keeps the audience in stitches. But beyond the sheer entertainment value, improvisational comedy teaches us valuable lessons about collaboration, creativity, and quick thinking. It challenges us to step outside our comfort zones, embrace the absurdity of life, and find humor in the most unexpected places.

The progressive/hard rock band Rush has never been as popular as it is now. A documentary film about the band, Rush: Beyond the Lighted Stage, which was released in the summer of 2010 has been universally well received. They had a cameo in the movie I Love You Man. Their seven-part song “2112” was included in a version of “Guitar Hero” released in 2010. The group even appeared on The Colbert Report. Even legendary trios such as Led Zeppelin, Cream, and The Police don’t enjoy the commitment and devotion that Rush’s fans lavish on Alex, Geddy, and Neil. In part, this is because Rush is equally devoted to its fans. Since their first album in 1974, they have released 18 additional albums and toured the world following nearly every release. Today, when other 70s-bands have either broken up or become nostalgia acts, Rush continues to sell out arenas and amphitheatres and sell albums—to date Rush has sold over 40 million albums. They are ranked fourth after The Beatles, The Rolling Stones, and Aerosmith for the most consecutive gold or platinum albums by a rock band. Rush’s success is also due to its intellectual approach to music and sound. The concept album 2112 made Rush a world-class band and cemented its reputation as the thinking-person’s progressive rock trio. Rush’s interest in political philosophy, mind-control, the nature of free-will, of individuality, and our relationship to machines makes Rush a band that matters and which speaks to its fans directly and honestly like no other. Lyricist Niel Peart has even built a following by writing books, both about his motorcycle travels and about the tragic death of his daughter, which have only furthered the respect Rush’s fans have for (arguably) rock’s greatest drummer and lyricist. Fiercely independent of trends, Rush has maintained a clear mission and purpose throughout their career. With the unique “Rush sound,” the band has been able to blend thought-provoking lyrics and music for almost four decades. The Rush style of music can trigger the unusual combination of air-drumming, air-guitar, singing along, and fist-pumping, just as much as it can thoughtful reflection and deep thinking, making Rush “The Thinking Man’s Band.” Rush and Philosophy does not set out to sway the public’s opinion, nor is it an awkward gushing of how much the authors love Rush. Rush and Philosophy is a fascinating look at the music and lyrics of the band, setting out to address thought-provoking questions. For example, elements of philosophical thinking from the likes of Jean Paul-Sartre, Ayn Rand, and Plato can be found in Peart’s lyrics; does this make Peart a disciple of philosophy? In what ways has technology influenced the band through the decades? Can there be too much technology for a power-trio? Can listening to Rush’s music and lyrics lead listeners to think more clearly, responsibly, and happily? Is the band’s music a “pleasant distraction” from the singing of Geddy Lee? In what ways is Rush Canadian? How can a band that has been referred to as “right-wing” also criticize big government, religion, and imperialism? Rush and Philosophy is written by an assortment of philosophers and scholars with eclectic and diverse backgrounds who love Rush’s music and who “get” the meaning and importance of it. They discuss Rush with the enthusiasm of fan. The book will be a must-read for the many fans who have long known that Rush deserves as much respect as the ideas, concepts, and puzzles about human existence they write and compose music about.

Why is music significant in life and education? What shall we teach? How? To whom? Where and when? The praxial philosophy espoused in Music Matters: A Philosophy of Music Education offers an integrated sociocultural, artistic, participatory, and ethics-based concept of the natures and values of musics, education, musicing and listening, community music, musical understanding, musical emotions, creativity, and more. Embodied-enactive concepts of action, perception, and personhood weave through the book's proposals. Practical principles for curriculum and instruction emerge from the authors' praxial themes.

Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.

This monster Rock-n-Roll survey focuses on the songs and the vibrant personalities who create them, for college audiences and the general public. Dean published the world's first history of Rock in 1966. Here, in his ebullient style, he buzzes through piles of musical singles from the whole last half century, describing what is fun about each major and minor hit, pointing out what elements were exciting or new or significant in the development of musical styles. He relates some tantalizing tidbits about the earlier musical heritage that artists have drawn upon in crafting ever more amazing evolutions of rock music. This snappy, witty and informative album has universal appeal, doubling as a coffee-table trivia treasure and a college-level popular music history text. It includes hundreds of photos, chapter questions, and an extensive index. Reader-friendly and informationally complete, it covers soft rock, heavy metal, rhythm & blues, country rock and classic oldies, all with tender loving care, for the specialist and casual listener alike. Its mini-portraits of the artists who move so many hearts (and feet), the photos and the insightful sound bites get to the essence of each song and each musician's contribution to the music of our age. The single-song focus makes the book unique. It's a playlist for R'n'R professors and the general public, written with a collegiate vocabulary, tight organization and a respect for all. "Hearing Elvis for the first time was like busting out of jail." - Bob Dylan That being said, no one is being incited, here, to bust out of jail or to emulate the quixotic habits of rock stars. "There's nothing in here to hide from the kids, the clergy or grandma." Gold Rush can be used as a university or community college text, but most people will grab it for the sheer pleasure of reading about everyone's favorites. Great gift for Rock enthusiasts. Gold Rush is the first book of its kind to feature a celebration of the great single songs of the rock era and beyond. Gold Rush takes thousands of songs, spanning three centuries, and brings them back uniquely as if they came out just yesterday. Gold Rush unites the Anglo-American and later worldwide spirit of Rock and Roll in a tapestry of interconnected melodies and adventures. As Leonard Maltin's Movie Guide helps you select videos at Blockbuster, so Gold Rush is a powerful playlist for your music collection, with many new and fascinating photos of favorite stars. Gold Rush explains the most important stories behind the songs you picked to be played, the songs that 'went gold,' from the 1897 Alaska/Klondike Gold Rush to the #1 songs of today and beyond.

(Applause Libretto Library). Finally, an authorized libretto to this modern day classic! Rent won the 1996 Pulitzer Prize for Drama, as well as four Tony Awards, including Best Musical, Best Book, and Best Score for Jonathan Larson. The story of Mark, Roger, Maureen, Tom Collins, Angel, Mimi, JoAnne, and their friends on the Lower East Side of New York City will live on, along with the affirmation that there is "no day but today." Includes 16 color photographs of productions of Rent from around the world, plus an introduction ("Rent Is Real") by Victoria Leacock Hoffman.