In a recent article by CNN, pop artist Bruno Mars was found accused of “cultural appropriation,” by critics of his new album, “24k Magic.” The Cambridge Dictionary defines “cultural appropriation” as “the act of taking or using things from a culture that is not your own, especially without showing that you understand or respect this culture." Writer and activist, Seren Sensei posits that Mars’ “takes pre-existing work and he just completely, word-for-word recreates it, extrapolates it," she added. "He does not create it, he does not improve upon it, he does not make it better.” The singer is known for combining different genres such as hip-hop, soul, R&B, and others rooted in traditionally African-American culture. While some saw his new album
However, post-tourists avoid „must-see“ tourist spaces, having been fed-up with their media over-representation. Urry (1990) developed the concept by interpreting post-tourism as a quest for sensations pertaining to extraordinary life that is different from the everyday life. Extraordinary experiences might not neccessary involve a criterion of authenticity, sometimes all that it takes are pure fun and
The composer can be trying to convey a positive or negative message with the song and the audience can grasp the complete opposite. In the essay "Against Interpretation", I agree with Sontag in that many interpretations are a simple statement that take away the deep meaning it originally had. Sontag makes a strong argument that with time, the interpretation has changed immensely over time. She mentions how nowadays, people take interpretation too literal but not as serious. She believes that when it comes to someone 's work or art, many do not take the original message as serious as it is meant to be.
Gaddis’s self who could do more is dispensable in the utopia envisioned in the wish image that he ironizes because utopia does not need artists of the kind that Gaddis describes. So while it appears as though outrage about mechanization compels Gaddis to write, the player piano’s perceived threat to dispense with the artist, transforming the turbulent artist into a pleasant performer, turning Wagner into “phantom hands” (86), is also its utopian fascination. Although Gaddis’s speaker insists that art without the artist becomes mindless pleasure and entertainment, the utopian wish surrounding the player piano for participation in art without the burden of being an artist is the deep wish in Gaddis’s text for blissful relief from the self who could do more. Perhaps the deepest root of Gaddis’s obsession with the antiquated player piano is the unconscious recognition that the player piano offers the wish image of
The street not taken is a reasonable title as the entire ballad hovers around it. We can legitimize the title in two ways. On the off chance that the title is "The Road Less Traveled", it implies that the writer chooses the less frequented street and that has had all effect. He rejects the dominant part of decision and picks an audacious street for trip of his life. In any case, on the off chance that we concentrate on the title "The Road Not Taken" it implies that the artist is atoning on why he has selected the less frequented street.
Adorno and Horkheimer would argue that we are manipulated to tune in and stay within the status quo, because the very few times Z100 plays a new song and everyone is tweeting about it, we will feel out of place or as if we missed something. The culture industry is manipulating us into believing that these "new" songs are different but they are just recycled formulas. For instance when new songs sample parts of song olds, they are recycling the same sound and so we are basically paying for the same
They praise the way society is, both insisting to Montag that they are happy and attempting to get him to conform in the same way they have. However, they both show evidence that they are not truly happy with their hollow lives, which lack emotion and meaningfulness. Beatty acts as symbolism for what Montag could have become. Similar to Montag, Beatty is a firefighter who has read books and educated himself. However, he insists on continuing to conform to society and tries to convince Montag to do so as well, claiming that literature is too controversial, which causes tension and does not lead to happiness.
The real risk of vulgar music Music acts as the rhythm to our lives, being played in a grocery store, on the radio,and even as a little jingle for a product nobody needs. Music affects individuals a lot more than people in both positive and negative ways, The most negative music is purely vulgar and contains illegal activities for the sole reason of being popular.This kind of music is becoming increasingly common in our culture. People, especially youth, are starting to mimic the behaviors within the music as the result of the influence it has .The vulgar contents are negatively affecting the people who listen to and it’s influencing them to do bad things.Modern music has too much vulgarity solely for the purpose of being popular and people should be extremely wary of it and its effects.The growing popularity of it is also a factor on its influence on society and It will continue to have a detrimental effect on society if it continues Music is a powerful medium that has a large influence on its listeners.Since this is true, music should not be overly vulgar and descriptive of illegal and obscene topics or actions.This is true because music, especially the unnecessarily vulgar kind, effects its listeners .However occasions exist in which this kind of music is used for a very specific purpose, such as to describe a traumatic addiction or incident.Music should not have overly inappropriate themes just because they are popular, but instead it should convey an experience or
Similarly, Copeland also critiqued the traditional canon but through making his music relevant to the time. Copeland's symphony "Fanfare for the Common Man" (1942) reflected the europhic spirit of the country at the time as the US entered World War II (Lecture, 2/1). Through this symphony, Copeland changed the sound of the traditional symphony, a genre that at the time was largely dominated by German musicians and made it sound American (Lecture, 2/1). The point that Copeland wanted to make was that music should have a message and should reflect what is going on at the time. Overall, both of these composers were making the point that music needs to be relevant to the time in which it is being produced instead of sticking with what is traditional and repeating the same message over and over
He depicts an ancient India fantastic yet realistic. Being a student of literature who felt offended when I came across Macaulay’s perspective of Indian literature as “abounding with kings thirty feet high and reigns thirty thousand years long” and “seas of treacle and seas of butter”; rationalising Indian mythology, or erasing the absurdities in a representation seems to be a writing back against labels of superstitions. But from a critical perception, I hold that in such a recreation and attempt to humanise and rationalise a god, Tripathi seems to have overlooked the fact that the end product, Shiva, no longer remains a god but only a hero. Indian mythologies unlike its western counterparts feature gods, goddesses in their focal roles. Tripathi in an attempt to rationalise divinity omits it entirely.