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Janis Joplin, ?New? Woman of Rock, 2004.
This paper discusses the life and contribution of the famous 1960s rock singer, Janis Joplin.
3,400 words (approx. 13.6 pages), 8 sources, APA, $ 96.95
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Abstract
This paper explains that, many times, childhood has an impact on the stars. This was the case with Janis Joplin, who lived in a town that hated her as much as she hated it. The author points out that Janis Joplin was not only a fantastically talented singer, but also the poster-child for everything the 1960s stood for; she was unconventional, loud, high on drugs, bisexual, and unwilling to compromise simply because she was female. The paper relates Joplin became a superstar because of her raspy, bellowing voice, singing lyrics that she wrote and that demonstrated the concerns of the era.
From the Paper
"When Janis arrived in Los Angeles, she initially moved in with one aunt and then a second aunt. She was not thrilled with the set up and longed to get out on her own but she saw it as a transitional move. She wanted out of Texas, and she wanted to live in California. This opportunity made both of those desires come true. It was at her Aunt Dorothy?s house that Janis found acceptance for the first time in her life. Her aunt led an unconventional life and did not care what the world thought of her ways. For once Joplin had a kindred spirit and that relationship helped her accept herself."
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Janis Joplin, 2007.
A biography of the life, music and style of Janis Joplin.
1,409 words (approx. 5.6 pages), 7 sources, MLA, $ 46.95
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Abstract
This paper traces the life and career of the singer Janis Joplin from her beginning as a 'beatnik' to her early death at the age of 27 from a heroin overdose. It also includes an analysis of the style and lyrics of one of her songs, "Get It While You Can".
From the Paper
"Janis's experience in Venice is one that would shape the rest of her life. The beatniks first introduced her to blues music, including one of her greatest influences Bessie Smith. She performed in public for the first time in Venice in 1962. Janis continued to sing publically in coffee houses and bars and recorded her first song, a jingle for a local bank. While in California Janis met a man by the name of Jorma Kaukonen, the future guitarist of Jefferson Airplane. "Janis began singing at The Coffee Gallery, occasionally at Coffee and Confusion. She sang alone, using her autoharp or backed by an accompanist, who was sometimes Jorma Kaukonen, later of the Jefferson Airplane. Word spread fast in North Beach."
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Janis Joplin and the Counterculture, 2002.
A brief biography of Janis Joplin, the blues artist and activist and the counter-culture movement.
1,027 words (approx. 4.1 pages), 3 sources, MLA, $ 36.95
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Abstract
This first part of this paper looks at Joplin?s road from a small Texas town to the counter-culture center in San Francisco, California. In the second part, the paper examines her contributions to the counterculture of the 1960s, particularly towards ideas relating to race and gender.
From the Paper
The life of Janis Joplin is a study in contrasts. She cultivated a bad-girl image but was deeply hurt by her status as a social outcast. She fought for recognition in the male-dominated recording industry but eschewed the feminist movement. She was a white girl from a conservative family in Texas who embraced the civil rights movement and blues music. An icon of the 1960s counterculture movement, Joplin is also widely regarded as one of the movement?s most tragic members."
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Echols, Psychology and Feminist Theory, 2002.
A review of Alice Echols' book "Scars of Sweet Paradise: The Life and Times of Janis Joplin".
2,525 words (approx. 10.1 pages), 8 sources, $ 93.95
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Abstract
This paper looks at Alice Echols' book Scars of Sweet Paradise: The Life and Times of Janis Joplin. She examines the life of Janis Joplin by incorporating radical feminist theory, focusing on the events and social attitudes that shaped Joplin's life, rather than just on Joplin's life in isolation. This paper not only describes the life of Joplin but also applies theories to understand why Joplin did what she did.
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Women Of Country Music, 2005.
This paper describes the lives of nine female country western singers and their contributions to the history of this musical genre.
2,090 words (approx. 8.4 pages), 10 sources, MLA, $ 65.95
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Abstract
This paper explains that country western historically has been primarily a male-dominated industry but there are women that have been responsible for the major changes in this industry. The paper discuses some of the women that are responsible for these changes: Louise Massey, Rose Maddox, Dolly and Mille Good, Patsy Montana, Patsy Cline, Dolly Parton, Shania Twain and The Dixie Chicks. The paper relates that Louise Massey, who formed a band in 1918 with her father, husband and two brothers, are called the 'original rhinestone cowboys' because of the flashy clothing they introduced into the country music society. Blazing the hillbilly and rockabilly trails and still thriving in 1995, at the age of 70, when she received the Grammy nomination in the Bluegrass Category, Rose Maddox had a major influence on Loretta Lynn, Dolly Parton, and Janis Joplin.
From the Paper
""Come on Over" came out two and half years after her last release of "The Woman in Me". "The Woman in Me" is a nine time platinum album and spent over 140 weeks on the Billboard Country Albums chart. Shania was born in Timmons, Ontario and her name was Eileen. She started singing at a young age, being pulled out of bed to sing at midnight at a local bar. At 21, Shania lost her parents in a car accident and took on the responsibility of raising her three younger siblings. During this time she performed at Ontario's Deerhurst Resort, learning the ins and outs of theatrical performances."
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Classical Rock and Popular Prophecy, 2005.
A paper discussing the influence of classical music on rock music and why rock music is the classical music of the future.
2,873 words (approx. 11.5 pages), 10 sources, MLA, $ 85.95
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Abstract
This paper discusses the contention that pop music is tomorrow's classical music within the context of rock/classical music collaborations since the early 1950s. The paper makes the point that pop is as certainly the classical music of tomorrow as classical music is the spirit of rock today.
From the Paper
"Long before the official birth of Rock and Roll, the incorporation of old classics into a new sound was a common practice among trendsetters and musical rebels alike. Classical music is certainly not the only genre of music to be reinvented in meaning and sound, but the choice of Classical pieces is a popular one because of the impact on listeners. Classical pieces are almost universally recognized as familiar to an audience, whether they are able to make a distinct identification of the piece, or if it is simply a vague sense of deja vu influenced by the historical music. "Thus even the early days of ragtime and vaudeville produced their own variations on the classics, though we have few recordings. From the 1920s through the 1940s, James Price Johnson, Jelly Roll Morton, and Fats Waller 'jazzed up' the classics, alongside the Big Band versions of Paul Whiteman, Duke Ellington, Harry James, Tommy Dorsey, Glenn Miller, Les Brown... Many composers of Broadway shows also appropriated classical melodies." (Duxberry, "Nexus...") Pre-Rock Classical interpretations did not stir nearly the amount of controversy that would be seen in later years. The fervent nature of Rock and the moral/political rebellion associated with the genre, perhaps coupled with the passionate dedication of Rock musicians that equals that of the greatest Classical virtuosos, has been fuel for the fires of disapproval."
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"Rocking-Horse Winner", 2002.
A discussion of the symbolism of the Rocking-Horse in D.H. Lawrence?s "Rocking-Horse Winner".
1,580 words (approx. 6.3 pages), 6 sources, MLA, $ 51.95
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Abstract
This paper reviews the novel "Rocking-Horse Winner" by D.H. Lawrence about the devastating effects that money can have on a family. In particular it looks at how Lawrence uses the rocking-horse to symbolize not only the lost innocence of childhood but also the lost innocence of a world gone mad with greed. It examines how the meanings of the rocking-horse evolve through the story. The object first emerges as a symbol of the type of monetary greed expressed by a family attempting to live beyond their means in the form of a Christmas present. Later the horse becomes the avenue for which young Paul attempts to find the luck that his mother feels she and his father are missing. Further on in the novel, images of the horses at the races become superimposed over the idea of a little boy growing too large for his new, then old and worn, rocking-horse and this is the imagery that really influences the reader into the idea of the rocking-horse as a real sweating and shackled racer. It attempts to put forward the message that people living in a corrupt environment imagining that the bridle of a horse can bring them salvation can only receive salvation at a high price.
From the Paper
"Paul steps away from innocence and embraces the faith that embodies the world of horse racing. The track representing almost a poor mans modern cathedral. His cohorts look upon the manner in which Paul receives the knowledge of the name of the winner as a mystical occurrence. When Paul?s Uncle Oscar questions the servant Basset about just how the whole betting process occurs with his young nephew, he still thinks it rather comical and is not quite sure how much to believe."
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Rock and Roll Film Genre, 1982.
This paper examines the Rock and Roll film genre and the correlation between movie outlaws and Rock and Roll music by looking at films: ?The Wild One?, ?Rock around the Clock?, ?Shake, Rattle and Roll? and ?Hot Rod Gang?,
1,125 words (approx. 4.5 pages), 1 source, $ 39.95
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From the Paper
"The rock and roll film came into being at the same time as the music began to make itself known. The use of "Rock Around the Clock" in The Blackboard Jungle was one of the first instances of this type of music serving as background to a film, though it was only used in the titles and was not embedded into the film itself in any significant degree. The music was popular, though, and within a short time films specifically about the music were being produced. The early films were primarily intended to assuage parental concerns, though they usually had an attitude of defiance as well. Over time, though, rock became more and more associated with the idea of the outlaw. Performers in the early films were clean-cut types trying to make a success with something new and innovative, but over time this image shifted to the musician as ... "
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Rock-n-Roll History, 2005.
A comparison of today's rock-n-roll with the original rock-n-roll music.
1,300 words (approx. 5.2 pages), 8 sources, MLA, $ 43.95
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Abstract
This paper compares the stars and music of today's rock-n-roll to the stars and music of yesterday's rock-n-roll. The paper points out that while early rock-n-roll music and its stars wrote and performed original music with social messages, today's rock-n-roll songs and performers are unoriginal and express no social consciousness.
From the Paper
"As a way of setting the cultural stage for the process of comparing and contrasting newer musical groups with older rock groups - since music reflects culture in the same way literature does - it is worth taking a look to see if "The Times (have been) A-Changin," (or how much they have been changing) as Bob Dylan wrote in the Sixties. The times have changed from yesterday's consistently progressive, liberal, and into social change activities, to today's more "party-oriented" young people who espouse a more conservative brand of politics and enjoy music that tends toward the predictable and bland."
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Rock Musician David Bowie, 2005.
This paper explores the music of David Bowie, especially his character Ziggy Stardust, which was a reaction to the latter half of the 1960's British rock movement.
3,330 words (approx. 13.3 pages), 4 sources, MLA, $ 95.95
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Abstract
This paper explains that the concept album "The Rise and Fall of Ziggy Stardust and the Spiders from Mars" by David Bowie, the self-made man who is famous for his fleeting construction of personas, changed the way heavy metal, hard rock, punk music, glam rock and progressive rock sounded. The author points out that David Bowie's teenage wilderness years coincided with the gold-lame era of vintage rock 'n' roll, which reached England in the late 1950s in the form of American hip-swinging, lip-curling singers giving vent to youthful frustrations in a way seen as morally threatening such as Elvis Presley's "Hound Dog", Fats Domino's "Blueberry Hill" and Little Richard. The paper states that the album represented the archetypal rise and fall of the world of pop, which recently had experienced a sense of lost with the breakup of the Beatles and, with them, the cheery innocence of the 1960's; thereby, Ziggy became for many people the missing link between American punk and tight Beatle melodies.
From the Paper
"Kenneth Pitt first entered Bowie's life when he made a suggestion to Bowie's manager that there were already too many Joneses in the entertainment world. The Bromley-raised David Jones saw the adoption of a new stage name as an opportunity to redefine his faltering career and changed his name to David Bowie, after the American Colonel James Bowie, Davy Crockett's sidekick in The Alamo. Pitt and Bowie soon paired up, and it became apparent the Bowie desired to become the "renaissance man of pop". Bowie's aspirations were to sing and dance; he wanted to be seen as an artiste rather than someone who had only just recently shed his rough and ready R&B skin."
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Rock Films, 1982.
This paper discusses the presentation of rock and roll on film, from the 1956 dramatic film "Don't Knock the Rock" through later documentaries like "Woodstock", "D.O.A." and "The Decline of Western Civilization".
675 words (approx. 2.7 pages), 1 source, $ 23.95
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From the Paper
"The sexual component of rock and roll has been a strong element in films about and featuring rock and roll from the beginning. In the 1950s, when rock music was new, the films featuring rock often were based around parental fears of the rampant sexuality supposed to go with the music. In films like Don't Knock the Rock (1956), the plot revolved around convincing parents that kids listening to rock and roll were not inevitably preparing for an orgy. Ironically, the sexual component of rock became stronger and more overt as initial parental fears were sublimated if not eliminated, and rock on film would become sold for its sexual content rather than in spite of it.
Ehrenstein and Reed note how rock and roll fit with the rebellious spirit of teenagers in the 1950s, specifically ... "
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?The Rocking-Horse Winner?, 2004.
A critique of ?The Rocking-Horse Winner? by D.H. Lawrence.
981 words (approx. 3.9 pages), 2 sources, MLA, $ 34.95
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Abstract
This paper examines the story, ?The Rocking-Horse Winner? by D.H. Lawrence, in which the main character, a young boy named Paul, constantly hears voices whispering in the house about the family?s need for money, causing him to get involved in a series of events that eventually lead to his demise. In particular, it looks at how the symbols of money and rocking horse play a significant role in the story?s theme; the money symbolizes desire, and the rocking horse symbolizes inspiration and ambition.
From the Paper
"According to Lawrence, Paul?s family enjoyed living in style yet always lived beyond their means. There was never enough money, causing a great deal of anxiety in the house. The parents dreaded the fact children were growing up, as they knew they would need money to send their children to school. As a result of the all the psychological trauma associated with money, the house became haunted with the phrase: ?There must be more money! There must be more money!?"
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Three Generations of Rock and Roll, 2005.
Examines the life and career histories of rock and roll musicians, Elvis Presley, Jim Morrison and Kurt Cobain.
1,400 words (approx. 5.6 pages), 6 sources, MLA, $ 46.95
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Abstract
Over time, many musicians have shown us what good rock and roll music is all about. Musicians such as Elvis Presley (the king of rock and roll), Jim Morrison (lead singer and songwriter for the 'Doors'), and Kurt Cobain (musical genius from 'Nirvana'), are discussed in this paper to try and understand the fascination of rock and roll.
From the Paper
"Kurt Cobain was the lead singer and guitarist of Nirvana. He started the group with Krist Novoselic, a fellow punk rock devotee. They developed a style that became known as "Grunge Music". "It was a style that evolved as a reaction against the perceived superficiality of 1980s stadium rock and the over the top metal bands of the time" (5). Nirvana was an underground band with a devoted following. After four years of playing, the band just exploded into the mainstream. Cobain struggled with the band's success and felt the success was contradictory to their beliefs and what they stood for. The Nirvana song, "Smells Like Teen Spirit", became the anthem for Generation X. (3)"
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Censorship of Rock 'n Roll Music, 2002.
Explores the controversial issues surrounding Rock 'n roll music.
2,400 words (approx. 9.6 pages), 13 sources, $ 89.95
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Abstract
Rock 'n roll music violated many cultural and social taboos of the 1950s. Performers and their recordings were frequently subject to censorship. This paper traces society's responses to pioneer rock stars such as Elvis Presley and Jerry Lee Lewis and examines why rock 'n roll has stirred so much controversy since its inception.
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