The meanings to ziggy stardust and wont get fulled again. My own meanings

we were discussing these two songs in class and i really didnt say much, but i found a few things on the internet that ill post. Ziggy Stardust is a character Bowie created with the help of his then-wife, Angela. The character’s name was inspired by the ’60s psychobilly musician, Legendary Stardust Cowboy. Bowie performed under the Stardust persona for about a year. This specific song is about Stardust growing too conceited: “Making love with his ego, Ziggy sucked up into his mind.” Stardust’s band, The Spiders From Mars, consequently plan to get revenge on the egotistical front man: “So we bitched about his fans, and should we crush his sweet hands?” Bowie said that the song is “about the ultimate rock superstar destroyed by the fanaticism he creates”

 

from what i have been reading his wife helped create some of his character, he said that this song is just a song about the ultimate superstar that is destroyed by fanaticism he creates. Iggy Pop (note the name: zIGGY), Lou Reed, Marc Bolan, Gene Vincent and Jimi Hendrix (“He played it left hand, but made it too far” – Hendrix was left-handed), were all likely influences on the character Ziggy Stardust, but the only musician Bowie admits was a direct influence is Vince Taylor, an English singer who took the “rock star” persona to the extreme, calling himself Mateus and declaring himself the son of God. Taylor was popular in France in the early ’60s, and Bowie met him in 1966, after his popularity had faded.

as we were talking in class about jimi hendrix being a very big influence on this song, i found other people who could of helped influenced this character.

 

After discussing the song “wont get fooled again” by the who, i wanted to read about it alittle more and find out what the story behind it is. if there is one. Pete Townshend wrote this song about a revolution. In the first verse, there is an uprising. In the middle, they overthrow those in power, but in the end, the new regime becomes just like the old one (“Meet the new boss, same as the old boss”). Townshend felt revolution was pointless because whoever takes over is destined to become corrupt. In Townshend: A Career Biography, Pete explained that the song was anti establishment, but that “revolution is not going to change anything in the long run, and people are going to get hurt.” The synthesizer represents the revolution. It builds at the beginning when the uprising starts, and comes back at the end when a new revolution is brewing. Townshend wrote this as part of his “Lifehouse” project. He wanted to release a film about a futuristic world where the people are enslaved, but saved by a rock concert. Townshend couldn’t get enough support to finish the project, but most of the songs he wrote were used on the Who’s Next album. And they say Roger Daltrey’s scream is considered one of the best on any rock song. It was quite a convincing wail – so convincing that the rest of the band, lunching nearby, thought Daltrey was brawling with the engineer.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

jackson 5

at this point in time i believe the jackson 5 were probably the most popular motown band, if you would consider them that. Michael jackson was said to be very young when joining. Maybe still in  the single digits and took the popularity from everyone. its crazy how much of a impact he put on music and still does even though he is dead.

Ruth brown and the record labels she was with

Ruth brown actually didn’t stay with Atlantic her whole life she was signed to a few

like…

Albums
1957: Rock & Roll (Atlantic)
1959: Late Date with Ruth Brown (Atlantic)
1959: Miss Rhythm (Atlantic)
1962: Along Comes Ruth (Philips Records)
1962: Gospel Time (Philips Records)
1964: Ruth Brown ’65 (Mainstream)
1968: The Big Band Sound of Thad Jones/Mel Lewis Featuring Miss Ruth Brown (Solid State)
1969: Black Is Brown and Brown Is Beautiful (Skye Records)
1972: The Real Ruth Brown (Cobblestone Records)
1978: You Don’t Know Me (Dobre Records)
1989: Blues on Broadway (Fantasy Records)
1991: Fine and Mellow (Fantasy Records)
1993: The Songs of My Life (Fantasy Records)
1997: R+B=Ruth Brown (Bullseye Blues)
1999: A Good Day for the Blues (Bullseye Blues)
2006: Rockin’ in Rhythm – The Best of Ruth Brown (compilation, Atlantic/Rhino)
2006: Jukebox Hits (compilation, Acrobat)
2007: The Definitive Soul Collection (2-CD compilation, Atlantic/Rhino)

she has been with a lot of different ones including cobblestone, the sound guy at cobblestone, broke away and started his own company called cobble sound which is actually the record company I record at so that’s cool

 

but later on in her life she went back to Atlanta as seen in 2006 and on till she passed away.

 

 

http://en.m.wikipedia.org/wiki/Ruth_Brown

 

Blues people and the classic blues

My reaction

it was a great article, I did not know that in the 1920s through 1940s any music that was made by and directed towards African americans was refered to as “race music.” And the growing of gospel music was around this time. Why was there so many types of blues? It almost seems that everyone had a different opinion back then. it seems like all these blues songs have a funny meaning to them.

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