Rachel Zegler’s Lucy Gray Baird: Performing for Survival

Last week, I went to see The Hunger Games: A Ballad of Songbirds and Snakes. I read the entire series when I was young but I hadn’t got around to reading the prequel yet, and I went in with pretty high expectations. It was an okay movie. I never felt particularly blown away by the action or the visuals. But, one thing that was good on all fronts was the acting. Some incredible performances were turned in with this film, and none quite as spectacular as Rachel Zegler’s performance as a homegrown musician turned fighter, Lucy Gray Baird.

The first important thing about Lucy Gray Baird is that she is a performer. She’s introduced to us standing in line for the reaping, wearing a brightly coloured ballgown-esque dress, getting her name called as tribute. After causing a little mischief by dropping a snake down the mayor’s daughter’s dress, and consequentially being hit by the mayor, we see Lucy Gray sing her first song. On stage, before the Peace Keepers can take her away, Lucy Gray gives us the first three verses of “Nothing You Can Take From Me”. It’s a powerful song about self-identity and poverty, and it also serves as scathing foreshadowing for her relationship with Snow.

After getting carted to the Capitol, we start to see Lucy Gray’s star potential really come through as she reveals her country charm. Her mentor, future president Coriolanus Snow, tells Lucy Gray that the best way for her to survive the games is to perform. Lucy Gray responds that maybe she’d be more inclined to perform if he could get her a guitar. And, he does. After a scene where the arena gets bombed, Lucy Gray has her first tribute showcase and she performs her second song of the film, “The Ballad of Lucy Gray”. Hauntingly beautiful, this song is where public opinion of Lucy Gray begins to change. Snow observes as the people around him watching the performance are moved to tears by Lucy Gray’s powerful emotional torrent.

After this, the games begin. Even if I wasn’t only here to highlight Lucy Gray as a musician, the games aren’t very exciting anyway. Aside from a few key moments, the dramatization and stretched-out battle royale of the original series isn’t here. It’s the ending of the games where things are most interesting. In response to an insurgent attack against some Capitol residents, game maker Dr. Gaul releases a tank of hyperaggressive venomous snakes into the arena. Snow cheats to ensure Lucy Gray’s survival but she is unaware, and gives us her third song in a bid to calm the snakes down. “The Old Therebefore” is an incredible performance filled with desperation, with the striking imagery of Lucy Gray covered in snakes, truly believing she will die if she stops singing.

The next time we see Lucy Gray is back in District 12 after she’s won the games. We get another rendition of “Nothing You Can Take From Me” before she and Snow have a private meeting out in the countryside. We get Lucy Gray’s fourth song here, “The Hanging Tree”. It’s referring to a scene where a man was executed by Peace Keepers, and it’s potentially the most important song in the movie. In the future, Katniss will turn this song into a revolutionary call. But in this movie, it’s not angry or defiant, it’s sad. The somber melody is backed by Lucy Gray playing her guitar, mourning all of the violence and death she’s been forced to witness.

From there, Lucy Gray has one final song to sing for us. Simply titled “Lucy Gray”, it’s a two-part lament on her own status as a legend. She talks about a mythic version of herself, charming the world and leaving them all guessing as to who she truly is. She talks about the way she disappeared from the public eye after the games ended. This effectively foreshadows the movie’s ending, where Lucy Gray disappears never to be seen again, and the audience is left unsure of whether she’s even alive. This song is meta, almost self-aware, and it’s a gorgeous, bittersweet performance. All in all, it is a fitting end for the legendary Lucy Gray Baird.

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Jack is an aspiring writer in Algonquin’s Professional Writing program. He resides in Ottawa, Ontario despite absolutely despising the cold. His main interests are movies, food, and politics. He hopes to give you some insight into the world of film scores and soundtracks.

Aesop Rock: The Greatest Rapper You've Never Heard Of

The recent release of Aesop Rock’s ninth full-length solo studio album, Integrated Tech Solutions, makes this the perfect time to shine a light on the best rapper you’ve never heard of. With just over one million monthly listeners on Spotify, he is often overshadowed by the giants of the rap game, including the similarly named but unrelated A$AP Rocky.

But Aesop Rock has been putting in work since the 90s, self-funding his first two releases before he even graduated college, and building a devout cult following along the way.

Born Ian Bavitz in a sleepy Long Island town in 1976, he would go on to release an impressive body of work. Including those nine solo studio albums, several EPs and singles, soundtracks for movies and video games, a plethora of guest tracks, as well as numerous collaboration albums. Two notable collabs are the duos, Malibu Ken, composed of Aesop Rock and electronic musician TOBACCO, and Hail Mary Mallon, which released two albums featuring Aesop Rock and fellow rapper, Rob Sonic.

Aesop Rock

Intergrated Tech Solutions - 2023 Courtesy of Rhymesayers entertainment

New York’s influence is apparent in Aesop’s work, citing groups like Boogie Down Productions, Public Enemy, and Run DMC as his earliest rap influences. But he credits his older brother Chris for introducing him to rock acts like Dead Kennedys, Fugazi, and Ministry. This diverse influence can be felt in the uniqueness of his tracks and his collaboration with artists outside of the genre. New York is also where he met his long-time collaborator, producer, and friend, Blockhead.

Aesop Rock is famous (or infamous) for his lyricism.

While his critics say he is too verbose, even going so far as to say his lyrics are incomprehensible, I have to disagree. Though they aren’t without some merit.

According to a study by data scientist Matt Daniels, where he calculated the number of unique words in the first 35,000 words of the most famous rappers, Aesop Rock had used 7392 unique words. That put him almost 1000 unique words above the legendary GZA of Wu-Tang fame and over 2000 unique words above Shakespeare. However, using many words does not necessarily make for good lyrics. 

Still from the music video for “kirby” - Courtesy of rhymesayers entertainment

Aesop’s powerful command over his extensive vocabulary lets him weave metaphors and imagery rich with pop culture and mythology on top of complex internal rhyme schemes. His most popular song, “None Shall Pass,” the titular track of his 2007 album, is a prime example of his lyricism. The opening lines of the song manage to evoke the social disparity and discontent during an age of frightened uncertainty where wealth is flaunted as the masses are struggling to survive. All in just 14 words.

“Flash that buttery gold, jittery zeitgeist wither by a watering hole, what a patrol,”

Not all his songs are so densely metaphorical.

In his catalogue, you will find his retelling of witnessing a baseball coach brutally kill a gopher with a bat, a song about his cat, “Kirby,” and a children’s story about a frog called “Long Legged Larry,” just to name a few. You will also find many deeply personal accounts from Aesop’s life and his struggles with isolation, identity, and loss.

One heart-wrenching track for any artist is “Rings” from the 2016 album The Impossible Kid, where Aesop laments his lost practice of sketching and painting, saying,

“Used to paint. Hard to admit that I used to paint... Routine day with a dirt cheap brush. Then a week goes by, and it goes untouched. Then two, then three, then a month. And the rest of your life you beat yourself up.”

Artwork compilation from some of Aesop Rock’s albums

These all stand as examples to the critics of his more poetic tracks that Aesop’s grasp of language allows him to tell the stories he wants to tell. No matter how complex, or simple. Aesop puts it best himself, stating in an interview when asked about the criticisms of his lyrics being nonsensical, “you’d have to be an idiot to not at least grasp a few things from these songs. Or have had no interest in pulling anything from them in the first place.”

Aesop has proven that you don’t have to fit into the mainstream to be successful. If you are passionate about your work, your audience will find it, and it will be all the more impactful.

And maybe now you’ve just heard of your new favourite rapper.

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Alex is a second year student in the Algonquin Professional Writing program, but if you are here you probably already guessed that. 

He’s got a bass collecting dust in his closet so he’s a huge fan of Rush’s gnarly bass lines and lyrics about quests for the fountain of youth and riding a spaceship through a blackhole to mythical ancient Greece. 

But since he’s from Halifax he can’t help himself sing along and stomp his foot to Barrett’s Privateers if it hits his salty ears.  

Carrie Underwood: Powerhouse

Welcome back to my blog.

This week, I am so excited to be featuring Carrie Underwood. Yes, she’s country gold, but there’s so much more. She is an inspiration to other artists and women to follow your dream and believe in yourself. She got her big break in the 4th season of American Idol when she won the title, way back in 2005. Even back then, she was focused on success and received college credits while she was competing on Idol. That was such an intelligent thing to do, showing that she had the brains of a successful businesswoman right from the start.Since then, she worked very hard and has gone on to win over 100 major awards such as: Country Music Association award for a new artist, multiple Grammy Awards for Best Female Country Artist, American music Award for Artist of the year, Entertainer of the year, Album of the year, and the list goes on.

She is a powerhouse vocalist and performer.

Another cool fact about Carrie Underwood is that she lived in Ottawa for a couple of years. She had been dating and then married Ottawa Senators Mike Fisher in July of 2010. It wasn’t long after that they moved to Nashville so that she could continue with her music. He was traded to the Nashville Predator hockey team, so it worked out and they are recently celebrated their 13th wedding anniversary and have two beautiful sons.

I learned something recently about her that really makes me admire her even more. From about Sept to January every year since 2013, she rakes in $18 million dollars for a pre-recorded song on Sunday night Football! Isn’t that crazy and so amazing for her? She sings a rendition of Joan Jett’s “Hate myself for Loving you” adapted to “waiting all day for Sunday night” it is a spectacle and one of the things I do wait for every Sunday! I am in awe of her. Depending on what teams are playing I may or may not stay tuned for the game, as I am oddly a football fan too.

She also seems super down to earth and nature loving, another interest of mine so I started following her on Instagram she has some decent gardening tips from time to time. A good place to go for some inspiration and recharge my mindset.

Some days, it’s hard to keep motivated and positive. Ms. Underwood is one of the women I look to, to find strength, courage and to keep going to find my inner powerhouse.

Keeping that in mind in my short career as a breeder, in which the purpose was to preserve an ancient dying breed, the beautiful Barbet.  One of my litters was named “Celebration of Music” Litter. One of those special puppies was a rare fawn/blonde and is registered as Carrie Underwood. From the research that I have been doing on Carrie, I feel that she would appreciate the fact that I honoured her by naming one of my puppies after her.  To me, it is the highest honour.

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My name is Tammy. I am an avid lover of animals, music, and nature. I have 15 dogs and 1 cat, and spend most of my free time exploring nature, swimming, reading, and writing.

Yoann Lemoine: Still in his Golden Age

A man with a brilliantly trimmed beard wearing a black baseball cap. That imagery points to Yoann Lemoine, better known by his stage name “Woodkid.” He’s a French musician who excels in making chamber pop music. He was born in 1983 in central-eastern France. He is also a graphic designer and a director for music videos, in which some of the notable artists he’s worked with include Taylor Swift, Katy Perry, and Harry Styles, among others.

Yoann worked with different artists for a while. He eventually came out with his first album, The Golden Age, in 2013. Some tracks were previously released as a single EP in 2011; “Iron” was the only one to make it to the full release.

Chamber pop is a genre that combines pop or rock with classical music, typically featuring string and brass instruments as well as pianos. Dynamic shifts to create dramatic listening experiences are a common trend in the genre, and it’s definitely present in Woodkid’s work. I find that it creates an almost surreal tone, as if it’s the sound from a vivid dream.

His lyrics are very solid, too. He’s the lead singer in all his songs, and despite having a noticeably heavy French accent, his English singing is clearly understandable. A lot of his work is deeply emotional and based around his prior life experiences. They deal with topics like relationships with the formation and separation of couples, growing up and leaving childhood, depression, and other heavy themes.

Yoann Lemoine performing at the “Melt! Festival” in 2013. Photo by Henry Laurisch.

I found out about Woodkid through an online music forum, where one user recommended “The Great Escape,” a song from the first album. At that time, The Golden Age was his only studio release aside from the Desierto movie soundtrack. His latest one, S16, had only been announced.

For a while, my favourite song of his was “The Great Escape,” which starts slow and quickly speeds up. It’s about finding freedom from problems and meeting with a romantic partner. Yoann himself is openly gay, which makes a lot of his songs about romance (including this one) much more personal for those who can relate. In a 2017 radio interview with Têtu, he talks about “the desire to build one’s identity as one wishes.”

One of my other favourites from that album is “I Love You,” which is more of a pop song with the same orchestral feel as the others. It sounds unique, with a scream sound acting in sync with the bass. The lyrics are emotional; it’s about lovers drifting apart in a one-sided relationship.

Like my previous blog where I talked about Avenged Sevenfold’s Life Is But a Dream, there was a seven-year gap between The Golden Age and S16. Like his first album, Woodkid released a few singles leading up to the release to build hype. There was even an ARG (alternate reality game) website called Adaptive Minerals, with cryptic details about the new tracks. I didn’t follow along with it myself, but I paid attention to what other people discovered as more content was gradually added.

As someone who’s been a Woodkid fan for several years, I want to gush about his music. “Run Boy Run” is the second track from The Golden Age, and it’s arguably one of his most popular songs. It was featured in TV commercials and the trailer for Dying Light, as well as the film adaptation of Divergent. The lyrics are simple yet catchy and the pace is rapid, but it’s ultimately a message about pressing on through hardship. He also wrote a song called “Guns for Hire” for Arcane, a Netflix show based on the popular video game League of Legends.

S16 is much like The Golden Age. It’s more of the same style of music, but the production value is higher due to his years of experience. It was released in 2020, and I picked up a CD copy from a record store soon after. The first track, “Goliath,” is my favourite from this album. It has a music video with very compelling imagery surrounding the idea of the relationship between individual people and the figurative monster created through excessive industrialisation.

Woodkid, “Goliath,” 2020.

My opinion about the first track being good doesn’t discredit the rest of S16, though. It’s like a continuation of his first album, where he channels his life experiences and personal struggles to make a very compelling narrative.

Ratings weren’t everything for Woodkid when the album was in production. The sudden success of The Golden Age left him with the problem of living up to expectations, which might have been why the gap between releases was so long.

In a 2020 interview with NBHAP (Nothing But Hope And Passion) when discussing his initial success, he said, “I had to step away from the idea that success is necessarily something you can count with numbers. I had to realize that it also is something you can feel intimately without being definable. It can be about pride, about creative accomplishment or about joy you can have with many things in your life. And I had lost this joy for some time after my massive success. For that reason, I needed time to redefine my standards.”

I’m a huge Woodkid fan, that’s obvious enough. I find his music to be a refreshing take on chamber pop, and I hope more attention will come his way in the future. Whether he collaborates with more artists or goes solo, I’m looking forward to hearing more from him.

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Hey, it’s Lucas. I’m a student from Canada who’s just a little too into heavy metal and video games. Thankfully, one of those is useful for this blog. I’m an avid fan of cats (yes, I will pet them if I can) and a bird lover, too. I love a good plot twist, so I especially love it when artists take an unexpected turn with their work. You can expect to hear about rock, metal, or punk when you read my posts. Remember: it’s not about the blog, but the blogger behind it.

Doja Cat Will Leave You Behind

courtesy of rca records

courtesy of rca records

courtesy of rca records

courtesy of rca records

Doja Cat stoked a lot of flames this year. She posed for a photo in a Sam Hyde shirt. She fought with her fans online. Most importantly, she switched sounds for her latest album, Scarlet, leaving her brand of addictive dance-pop behind for east-coast rap. It seemed like she was doing everything she could to reject the idol-status that Planet Her and Hot Pink gave her. Was this a calculated move? An attempt to get out of the mainstream media’s all-seeing eye? Does she feel trapped knowing this year’s antics didn’t make a dent in her popularity? I don’t have the answers to these questions, but they do draw up an image of a complicated artist, one struggling to deal with her stardom.

But enough speculation. Let’s talk about the music.

Amala

Doja Cat’s 2018 debut, Amala, sounds like it came from an artist who didn’t have a firm grasp on their own sound. And even though she dismissed her follow-up albums Hot Pink and Planet Her as “cash-grabs,” Amala feels more corporate than anything on those two records. The production is generic–the album is filled with familiar trap beats–and the songs lack substance. But still, Doja’s talents are undeniable, and Amala is not without a few great tracks.

courtesy of tyla

She gives a fantastic vocal performance on “Candy.” “Casual” features a lullaby-like chorus that Doja sells with her unaffected delivery. And on “Down Low,” she gives us sleek flows filled with internal rhymes: “Don’t tell them secrets, I’ll give ‘em reasons to keep ‘em bae.”

Hot Pink

2019’s Hot Pink gives us a more refined Doja Cat. The production is far better on this record than it was on Amala. It drips with originality. On songs like “Cyber Sex” and “Say So,” the instrumentation reacts to Doja’s verses, stopping at precisely the right moments to emphasize killer lines. Her vocals on the chorus of “Talk Dirty” are harsh, as if they’re coming out of a blown-out speaker. It’s these interesting details that take Hot Pink to the next level.

There are several high points on the record. Doja spits quickly on “Rules,” a track with dirty guitars and solid drums–such an improvement from the beats on Amala, which sound like templates. The reverb on “Streets” floods the track with atmosphere, and “Addiction” evokes nights where pills blur club lights while turning every song into a visible frequency. The chorus on this one is an intoxicated Doja trying to explain herself to worried friends: “I’m just a little bit, I’m just a little bit/I’m just a little bit, I’m just a little bit.”

Planet Her

Photo by shareif ziyadat

2021’s Planet Her is Doja at her best. It’s a shame she publicly disowned the album. She blends rap with pop beautifully on this record, perfecting the sound she developed on Hot Pink. Each track is a soundscape you can get lost in. Each hook is crafted to get lodged in your brain, making it an album you can listen to repeatedly without skipping a single song.

To dismiss Planet Her as a “cash-grab” makes little sense to me. Especially considering it features some of Doja’s best songs to date. “Been Like This” is a slow and dreamy track. You’ll find her strongest vocal performance on this one, as well as a crisp line directed at her bitter ex: “Hatin’ me ain’t gon’ get you love.” “Options” is an ear-wormy trap song, complete with vibrating kick drums and Doja’s impressive falsetto. Another standout, “Alone” gives her a chance to come to terms with a break-up. This cut displays the kind of emotion that elevates Planet Her above other pop records.

Scarlet

A reaction to the success of Hot Pink and Planet Her, Scarlet is full of speaker-thumping rap. Traces of her old sound show up on tracks like “Paint The Town Red” and “Agora Hills.” But don’t assume these are leftovers from Planet Her. No, Doja lets loose on these songs, delivering gritty flows to remind you that she’s a rapper, not a pop star. On “Love Life,” she says, “I love it when my fans love change.” And if you’re one of those fans who’s willing to embrace such a stark change, you’ll appreciate Scarlet for what it is: a well-crafted rap album.

It’s full of hard punchlines: “Copy this/Copy that/Every bitch that is here copy Cat.” And the beats are intricate. On “Attention,” Doja raps over live bass and drums instead of the computer-generated kick and snare featured on most rap songs.

Scarlet is great. I won’t deny that, and I appreciate the guts it takes to reinvent your sound at the peak of your popularity. That being said, for my money, it doesn’t come close to touching Hot Pink or Planet Her. Until her next album, I think I’ll stick to the “cash-grabs.”

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Will is a second year Professional Writing student at Algonquin College. He likes to write about obscure punk bands for street cred, but his most listened to artist on Spotify is Doja Cat. So what? He likes to dance. He’s also quite defensive.

Jack Harlow’s Still Getting Cuter, Even After That Halftime Show.

Image Courtesy of Daily Mail

Fresh out of a failed halftime show, Jack Harlow is feeling resentment from every direction. The social media platform X is riddled with criticisms against the acclaimed rapper.  Some users have even said that he “ruined their Thanksgiving,” and they’ve got a point.

Whether we’re talking about the set design, described as having a budget of “49.99,” or the one and only backup dancer that Barstool Sports referred to as an “ASL translator,” that performance didn’t pass anybody’s vibe check.

If I were in Harlow’s position right now, I’d be burying my head in the sand, and I think that most people would say the same. But Harlow isn’t most people, and he’ll be just fine.

It’s easy to forget that there was a time in Jack Harlow’s life when he wasn’t the coolest guy in the room. Before the viral interview clips, where he charmed us all, Harlow was putting the work in, and sometimes that work sucked.

Now, I’m not talking about the quality of his music. What I’m talking about are the early shows he’s referred to as “character builders.” Jack Harlow wasn’t an overnight sensation. Not so long ago, he was doing tours with just as many people in his posse as there were in his crowds.

In a 2021 interview with Sean Evans, host of the YouTube show Hot Ones, he addressed this, saying, “I had some humbling shows, but they prepared me for this…I think it made me a better performer.”

Image courtesy of First We Feast

Sure, an empty show is an entirely different type of embarrassment from a mediocre one seen by millions, but that kind of experience builds character. The type of character that can carry the Kentucky rapper through the relentless mockery aimed at him right now. Being a millionaire will probably help, too.

Since his viral hit “What’s Poppin” hit the billboard charts back in 2020, Harlow hasn’t wasted any time in making the most of his success. In 2021, Forbes estimated that the artist made an easy five million from brand deals and his 44 million monthly listeners on Spotify that year, and there’s no evidence to suggest that his annual income has diminished since.

But even without the money, Harlow has no reason to fret over one botched performance. Because, at the end of the day, he produces good rap music.

From early mixtape tracks like “Dark Knight” to mainstream hits like “First Class,” Harlow’s music hasn’t failed to entertain. A big part of that is its compatibility with social media like TikTok. “What’s Poppin” is undoubtedly the best example of this. In 2020, Vulture magazine even speculated that it might be “the song of the summer” after it appeared in over 400,000 TikToks in the six months after its release.

And if TikTok success is like getting struck by lightning, Jack Harlow’s been struck twice. After winning the world over with “What’s Poppin” and going viral, he did it all again. On April 1st, 2022, Harlow teased a 13-second clip of the track “First Class.” A week later, the same clip had been featured in 50,000 TikToks. The complete version of “First Class” went on to become the rapper's second number-one single when it was released. The man has a strategy, and it works.

Image courtesy of vogue

So, was that halftime show an embarrassment for everyone involved? Yes. But will it damage Jack Harlow’s career in the long run? No. He’s going to be just fine.

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I’m Owen, and you can think of me as the group’s roadie, just along for the ride. I’m the type of guy who hops in his car, turns the discovery playlist on and lets the algorithm choose his music. This has led to my commutes having backtracks that range from metal to pop and everything in between. Maybe I’ll be more decisive about my listening habits one day, but for now, I’m just going to ride the soundwave.

The Billie Eilish Phenomenon

A Portrait of Billie Eilish

Billie Eilish has captivated audiences worldwide with her ethereal voice and unique style from a very young age. In her 21 years, Billie has achieved what others can only dream about. With her talent and distinctive voice, Grammy-winning artist Billie Eilish has become a cultural phenomenon, leaving an indelible mark on the contemporary music scene.

The Birth of a Star:

On December 18, 2001, a star was born in sunny Los Angeles, California. Her name—drumroll, please—was Billie Eilish Pirate Baird O’Connell. Billie wasn’t raised like an ordinary kid; she was homeschooled by her parents, Maggie Baird and Patrick O’Connell, who are also musicians. Billie was encouraged to sing, dance, and ride horses. At the age of 6, she learned to play the Beatles’ “I Will” on the ukulele. By the age of 8, she had joined the Los Angeles Children’s Chorus, and at 11, she began earnestly writing songs.

Billie Eilish portrait

The Beginning of a Star:

So, how did she become the sensation she is today? It all started when her brother, Finneas, wrote the song “Ocean Eyes” when Billie was only 13. The song was originally written and produced for Finneas’ band, but when Billie added her vocals, something magical happened. The song went viral on SoundCloud, and people loved it so much that it found its way to the radio. After that, her career skyrocketed.

The Goals of a Star:

Billie Eilish must be made of fairy dust because all her dreams seem to come true. Yet, the artist remains humble and quirky. Here are a few of her achievements:

• James Bond: There is no surprise that Billie Eilish is the youngest artist to record a track for a Bond movie. Writing a James Bond song was one of Billie’s dreams. Alongside her brother, Finneas, and legendary composer Hans Zimmer, Billie created a masterpiece to be remembered for years to come. The name of the soundtrack, “No Time to Die”.

• Grammy: In 2020, Billie Eilish became the youngest artist to win all four major Grammy categories in a single year, including Album of the Year for “When We All Fall Asleep, Where Do We Go?”. That achievement established her status in the industry and earned her the respect of peers and industry veterans alike.

The Future of a Star:

Portrait of billie eilish looking back at the camera

Billie Eilish is not just having a moment; she is here to stay.

In the ever-evolving landscape of the music industry, Billie Eilish stands as a timeless force, defying conventional norms and rewriting the narrative of success. Her ethereal voice and genre-defying style have not only captivated audiences worldwide but have also cemented her status as a cultural phenomenon. Billie's journey, from the early days of learning the ukulele to becoming the youngest artist to win all four major Grammy categories, is a testament to her unwavering dedication and extraordinary talent. As she continues to break barriers, collaborate with industry legends, and leave an indelible mark on the fabric of contemporary music, it becomes clear that Billie Eilish is not merely having a moment; she is a celestial presence here to stay, shaping the future of music with her unique artistry and boundless creativity.

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Hello! My name is Eirini Katsika (but you can call me Rena). I studied Film and Television back home in Greece, and I am currently in the Professional Writing program at Algonquin College in Canada (a long way from home.)

Now the good stuff. I grew up in a very music-friendly house. My mother introduced me to classical and opera music. And yes, I still love classical music. It’s great for cooking. I also have an older brother who is obsessed with rock and metal music, so I did go through that phase.

I took piano and electric guitar lessons, which sounds cool, but I can’t remember anything.

I am currently into house and Lofi music but I’m open to anything.

The Music Journey of James Bond

Actor pierce Brosnan.

Since 1962 until now, the mysterious, martini-sipping spy James Bond has captivated audiences worldwide with his charm, intrigue, and daring escapades. But it’s the iconic music and the distinguishable theme that separates James Bond from other action-packed movies. In this blog post, we’ll delve into the history of James Bond music, exploring its birth, the artists who helped bring it to life, and the elements that make the James Bond theme so symbolic.

The Birth of the Bond Music

composer Monty norman.

It all started when the composer Monty Norman presented his song “Good Sign, Bad Sign” to the producers of James Bond. Originally the song was written for a musical stage adaptation of an Indian novel.

Even though Norman made a few minor changes to the song, the producers still thought that the tune was heavy with Indian influence and wouldn’t be appreciated by a worldwide audience.

But then the English producer John Barry stepped in and saved the day, or more like helped shape one of the most influential and acclaimed songs in the history of music.

Barry gave the song an orchestral arrangement and just like that the “James Bond Theme” was created.

The song debuted in Dr. No (1962) and became synonymous with the character, opening and closing each film.

Iconic Bond Singers

a collage of some of the James Bond singers.

From the dramatic tone of Shirley Bassey to the hauntingly beautiful voice of Billie Eilish, every artist has helped build the legendary James Bond music.

Here are a few artists that, in my opinion, are notable:

1.     Shirley Bassey

How can I not mention Shirley Bassey with her iconic performance on “Diamonds Are Forever”? But Bassey has not one, not two, but three James Bond theme songs.

a.     “Goldfinger” from the film Goldfinger (1964)

b.     "Diamonds Are Forever" from the film Diamonds Are Forever (1971)

c.     "Moonraker" from the film Moonraker (1979) 

2.     Nancy Sinatra

Nancy Sinatra gives her own unique touch to the Bond song “You Only Live Twice” (1967). She doesn’t follow in the steps of Tom Jones and Shirley Bassey before her. Instead, she gives a more gentle and graceful touch to it. 

3.     Tina Turner

In her performance of “GoldenEye” (1995), Tina Turner gives it her all. She is bold, mysterious, and her vocals at the end of the chorus are dauntless.

4.     Billie Eilish

It was her dream to write and sing a James Bond song, and Billie Eilish managed to do that at the age of 18 with her brother by her side. “No Time To Die” (2020) is the perfect example of a Bond song as it contains plenty of the motifs, the high piano notes, and chorus strings. Her melancholic voice only adds to the greatness of the song.   

What Makes a Perfect James Bond Song

Black and white James bond logo.

But what is it that gives the James Bond songs that perfect spy feeling? That unites these songs from totally different eras.

According to Meredith Geaghan-Breiner, a video journalist who focuses on illustrating technical aspects of film and music production, with the help of Jon Burlingame, a film-music historian and author of The Music of James Bond, there are three key elements:

1)    The Instruments:

Let’s start from the beginning. The “James Bond Theme”. And here comes the importance of the brilliant composer John Barry. He is the one who brought jazz, rock, and orchestra together and created the instrumental template for Bond music.

Who hasn’t heard the classical:

#Da, da, da-da# #Da da da#

After being shot by Sean Connery.

And we hear all those brassy instruments merging with a full orchestra in all the James Bond themes songs. Even the ones that seem to stray from that Bond theme, like Madonna’s song “Die Another Day”. It’s more electronic but is still based on John Barry’s template, recorded with a 60-string orchestra.

2)    The Suspense Motif:

The suspense motif is the graceful rising and falling line. It’s a descending, often repeated four-note motif that started from Goldfinger and the composer John Barry. Essentially, it’s what gives the Bond theme that enthralling sound.

The motif is used in almost every Bond movie.

3)    The James Bond Chord:

The “James Bond Chord” or “Spy Chord” or “007 Chord” was first featured in the very first Bond movie, Dr. No. It was created by John Barry and performed by the guitarist maestro Vic Flick.

It is the last chord of the theme and it consists of more than three notes.     

**Fun fact: It’s also the last chord of the Pink Panther theme song.**

It is what makes the theme mysterious and dangerous.

In conclusion, the enduring allure of James Bond transcends its cinematic brilliance. The symphonic genius of John Barry, coupled with iconic performances by singers like Shirley Bassey and modern greats like Billie Eilish, has crafted a musical legacy. The harmonious blend of instruments, the suspense motif, and the enigmatic "James Bond Chord" collectively define a timeless, espionage-inspired musical experience.

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Hello! My name is Eirini Katsika (but you can call me Rena). I studied Film and Television back home in Greece, and I am currently in the Professional Writing program at Algonquin College in Canada (a long way from home.)

Now the good stuff. I grew up in a very music-friendly house. My mother introduced me to classical and opera music. And yes, I still love classical music. It’s great for cooking. I also have an older brother who is obsessed with rock and metal music, so I did go through that phase.

I took piano and electric guitar lessons, which sounds cool, but I can’t remember anything.

I am currently into house and Lofi music but I’m open to anything.

Top Five Prog Rock Odysseys By Rush

Music has always been used to tell stories. Stories of life, love, and loss are told by musicians worldwide. But the Canadian three-piece progressive rock titan Rush has an impressive catalogue of songs that go beyond the scope of the usual fare. 

Join me as we examine the sagas told by Rush's top five epics. With a collective runtime approaching that of a feature-length film, get comfortable, grab some popcorn, and listen along as we explore time, space, life after death, and the quest for eternal youth. 

Warning: Spoilers Ahead

Rush Featured on the back album cover of 2112 - 1976 Image Courtesy of Mercury Records

Caress of steel - 1975 COURTESY OF MERCURY Records

"The Necromancer" - Caress of Steel 1975 (Runtime - 12:28)

Don your cloak and pull it tight as we begin our journey in "the dark and forbidding lands of the Necromancer." This is the tale of three men whose travels take them too close to an evil wizard's tower. 

With his dark powers, the titular villain imprisons the travellers in his dungeons to be turned into "empty, mindless spectres." Fortunately, their captor is slain by one of his rebellious thralls, Prince By-Tor. And with his death, the prisoners and the lands are freed from the dread influence of the Necromancer. 

This was one of Rush's earlier forays into long-form stories, and as such, it’s not quite as strong as some of the others featured here. It is, however, a sign of great things to come as we see drummer Neil Peart's lyricism shining through with influence from and allusions to Tolkien's work; this song features all the hallmarks of a fantasy epic.

A farewell to kings - 1977 Courtesy of Mercury Records

"Cygnus X-1 Book I: The Voyage" - A Farewell to Kings 1977 (Runtime - 10:25)

Hop aboard the ship "Rocinante" and set off on a journey into the stars. Our destination? The heart of the constellation of Cygnus, to a "mysterious, invisible force, the black hole of Cygnus X-1." This song poses the question of what lies beyond the void? Is there life after death?

As the X-ray's "siren song" draws us into the heart of Cygnus, we wonder, will we be "atomized at the core" or pass "through the astral door – to soar?"

We see the band's love of Sci-Fi in this song as it draws on real-world science and lays it on top of an extravagant tale of flying a spaceship through a black hole.

This song is the scantest on the list regarding length and lyrics. Nevertheless, it evokes a sense of exploration and discovery beautifully. It also sets the stage for the more ambitious Book II, released the following year.

HEMISPHERES - 1978 Courtesy of Mercury Records

"Cygnus X-1 Book 2: Hemispheres" - Hemispheres 1978 (Runtime - 18:08)

The second half of the Cygnus X-1 saga takes us rocketing through time to the mythological days of ancient Greece and into the struggle for control of the hearts and minds of humankind between the "gods of Love and Reason," Dionysus and Apollo.

This conflict leads to a climactic battle between the warring factions and the revelation of an ancient tale of the Rocinate's final flight. With the nature of time now in question, our narrator from Book I returns as a "disembodied spirit" and emissary of peace amid the chaos. 

Our narrator experiences apotheosis, becoming "Cygnus, the god of balance," uniting the heart and mind "in a single perfect sphere."   

With a tale as mythological as its setting, this song is a shining example of the power of music as a vessel for storytelling. This song draws on the oral history of humanity and the way these stories connect with us at our most fundamental nature.   

2112 - 1976 Courtesy of mercury records

"2112" - 2112 1976 (Runtime - 20:34)

The year is 2112, and society is controlled by a ruling priest class of the “Temples of Syrinx.” These priests control every aspect of life, from books and art to stock and trade, uniting the "planets of The Solar Federation" under the banner of the Red Star.

Our protagonist finds a mysterious music-producing object that we know is a guitar. Thinking this beauty will change the world, he brings it to the priests, who chastise him for wasting their time. They already know all about these things and claim that they led to the ruin of the "Elder Race."

Enter a mysterious oracle who leads our hero on a nocturnal odyssey. He is shown how the world was before the Elders left, and the planets were taken over by the Temple. He falls into a deep depression before passing away, unable to see the return of the Elders to "tear the temples down."  

"2112" is one of the best examples of Rush's achievements. Its driving sound and heady themes blend flawlessly into a masterful work of musical storytelling, as well as being a stone-cold banger. For many, "2112" is Rush's crowning piece, and it's hard to argue.

But for me, there is one more song that doesn't always get the love it deserves.

Back Cover of Caress of steel - 1975 Courtesy of mercury Records

"The Fountain of Lamneth" - Caress of Steel 1975 (Runtime - 19:57)

Our final stop is following the footsteps of one man's lifelong quest to find the legendary "Fountain of Lamneth." We trade a comfortable life for adventure. We survive a shipwreck, find love and loss, and lose our way and ourselves. We drown our sorrows as we "draw another goblet" amid the endless days.

But we persist in "hope and fear" and find our way to the "dancing waters." Sadly, we lament the discovery with our hero, "I thought I would be singing, but I'm tired… out of breath," as they learn that the journey, not the destination, gave their life meaning.

Of all the grandiose stories told in these songs, this one is the most human. While the adventures recounted here are no less fantastic than the others, the message at this story's heart is universally relatable. Our pursuits will never imbue our lives with lasting purpose when they cost us our meaningful connections.

As the song says, "Life is just a candle, and a dream must give it flame."

---

Alex is a second year student in the Algonquin Professional Writing program, but if you are here you probably already guessed that. 

He’s got a bass collecting dust in his closet so he’s a huge fan of Rush’s gnarly bass lines and lyrics about quests for the fountain of youth and riding a spaceship through a blackhole to mythical ancient Greece. 

But since he’s from Halifax he can’t help himself sing along and stomp his foot to Barrett’s Privateers if it hits his salty ears.  

The De-Slayification of Disney Villains

Disney’s next upcoming musical Wish is already receiving backlash online. Some promotional material is beginning to come out and the response has been lukewarm at best. Questionable animation aside, a couple songs from the new soundtrack have been released and audiences are not impressed. Animated musicals are Disney’s bread and butter, but they might have dropped the ball on this one. The new villain number, “This is the Thanks I Get”, has seen the most of this hate, and it just might be deserved.

Disney villain songs have a long history of being standout songs on their tracks. Not every antagonist in Disney gets their own dedicated song, but when they do there’s typically a sense of drama and style that punctuates them. From “Poor Unfortunate Souls” to “Friends on the Other Side”, Disney often gives its villains some of the strongest songs in their movies.

Walt disney studios

Take my personal favourite, “Hellfire” from Hunchback of Notre Dame. The passion, the visuals, the melody; it all comes together to create a sequence with so much edge. Minister Frollo comes across as skin-crawlingly creepy as he laments on his own lustful feelings for Esmeralda, accuses her of seducing him with witchcraft, and then declares that God would want Esmeralda to be his wife. It’s a chilling representation of religious corruption and bigotry. Also, The music itself is so hard-hitting. There are dips and crescendos and choirs singing in Latin. Here is a Disney villain number that is just dripping with style.

Juxtapose this with “This is the Thanks I Get” and the disappointment is immediate. Many people blame this song on Lin Manuel Miranda’s influence on Disney, and while I absolutely see his style creeping in, I don’t think that’s at the heart of this issue. “This is the Thanks I Get” is bright and punchy. It’s lighthearted and meant to portray a villain who is still acting as the nice guy, but the song just has no teeth. There’s no flair. I don’t see the passion, so it just feels flat. “Mother Knows Best” from Tangled also features a villain playing the role of a good guy, and it still manages a dark gritty tone that makes Mother Gothel appear to be a formidable antagonist. “This is the Thanks I Get” is downright forgettable.

I wanted to know whether this was an ongoing problem with modern Disney or if Wish just missed the mark, so I looked into what songs Disney has been giving to its villains lately. Interestingly, “Mother Knows Best” seems to be the last true villain song we’d gotten before this. The movies in between Tangled and Wish either weren’t musicals, or they didn’t have clear-cut villains, instead focusing on more complex interpersonal conflict. The only exception is Frozen, which does reveal Hans as a primary villain, but he does not get a song in that movie. So, it’s hard to say whether this has been coming for a while or Disney is having an off day. Maybe the studio is just out of practice when it comes to villain numbers.

walt disney-pixar studios

I, however, believe that the problem stems from Disney’s new approach to antagonists. I do like how the studio stepped away from clear-cut antagonists with movies like Encanto, but when they do include villains, they tend to be a little lackluster. We used to have the imposing figure of Maleficent and the impeccable fashion choices of Cruella de Ville. Now we get Luca’s Ercole Visconti, whose design could be swapped with any male background character to little effect. Maybe it’s because Disney has moved away from queer coding its villains, maybe it’s because Disney wants to send a message about subtle evils, but whatever it is, villains are just boring now.

So maybe its no surprise that this corporate blandness has bled into the music as well. I think this is what happens when a studio becomes over-reliant on playing it safe. Disney hasn’t been taking a lot of risks lately and there’s definitely more focus on following trends. Even Wish’s terrible animation stems from their attempts to jump on the 3D-that-looks-like-2D trend. Old Disney villains were bold. They stood out and even stole the show a little bit. Now Disney cares about making everything as digestible as possible for movie goers. Now, Disney villain songs are skippable tracks where the antagonist whines for three minutes, and it might stay that way forever.

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Jack is an aspiring writer in Algonquin’s Professional Writing program. He resides in Ottawa, Ontario despite absolutely despising the cold. His main interests are movies, food, and politics. He hopes to give you some insight into the world of film scores and soundtracks.

Avenged Sevenfold - Is Change Always Good?

Have you ever tried to get back into an artist’s work after not following them for a while? Maybe you tried watching some newer episodes of a TV show or listened to a band’s new songs, only to find that it was totally different than how you remembered it being? That’s not too uncommon, as it turns out. In this case, however, the change was worth the wait.

I’ve been an avid listener of Avenged Sevenfold’s discography for years. I first heard their music through a crossover in an older Call of Duty game, but I found more of their songs while trying Spotify for the first time around 2017. It got me back into listening to metal.

It didn’t take long for me to notice the differences between their albums. The first few are rough and less polished, being a product of the (very early) 2000s. But they quickly refined their sound and became a staple of American metal, growing more popular by the late 2000s.

Photo taken by Gino037 from Wikimedia Commons.

From City of Evil to Nightmare, they just couldn’t lose when it came to ratings. Then Hail to the King was released. It’s not a bad album, not at all. It’s packed with quality metal tracks, just like the albums before it. But, in my opinion, it just doesn’t do anything unique. Many of the songs sound sort of familiar, like the structure and lyrics have been heard elsewhere.  It simply took too much inspiration from metal songs that were already popular.

The band took notice of this, and they tried a new approach from there. In 2016 they made a big change and put out something new, The Stage. It’s experimental, with some tracks featuring acoustic guitars and brass instruments while others include unusual time signatures. The last song, “Exist,” is their longest studio track and has an outro spoken by Neil deGrasse Tyson. It wasn’t too similar to their old stuff, but it also wasn’t a total departure from how they’d always been. The first song in this album, also titled “The Stage,” took the throne as my favourite song for a long while.

Aside from another Call of Duty tie-in in 2018 and a few compilations, the band went silent for years. Then, in 2023, they finally released a new album called Life Is But a Dream. The excitement from their fanbase was through the roof, and I know I was cheering alongside them. By that point I’d gotten all caught up with their music, so to have something new was great. I gave it a listen when it dropped.

Art by Wes Lang, courtesy of Warner Records Inc.

They’d always changed a few things about their music between albums, but this toys with the idea of absurdism and really sounds like nothing they’ve made before, which shocked me. It lacks consistency and it’s proud of that. It’s still metal, but the use of unusual instruments, audio effects, and rough transitions all creates an extremely interesting experience. It’s so weird, but it’s also so catchy and memorable that the weirdness ends up making it better. It’s refreshing to hear something that isn’t regurgitated guitar riffs and reused beats, which makes me glad they changed directions after Hail to the King. It’s hard to describe with words alone, so I’d like to encourage listening to it on YouTube, where they’ve made it available.

I even saw them perform many of the new songs live at their 2023 North American Tour, where they came to Ontario on July 24th. I noticed that the excitement in the crowd was far more noticeable when they played their older hits as opposed to tracks from Life Is But a Dream, so maybe it’s just not for everyone.

Nonetheless, I’m excited to see where they take it from here. They could do a return to form where they play it safe, or they could go further with their experimental streak and really make something special. Whatever the future holds for Avenged Sevenfold, whatever they change next, I’m sure it will be… creative. Good or bad, that’s up to the listener.

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Hey, it’s Lucas. I’m a student from Canada who’s just a little too into heavy metal and video games. Thankfully, one of those is useful for this blog. I’m an avid fan of cats (yes, I will pet them if I can) and a bird lover, too. I love a good plot twist, so I especially love it when artists take an unexpected turn with their work. You can expect to hear about rock, metal, or punk when you read my posts. Remember: it’s not about the blog, but the blogger behind it.

Garage Bands or Banjos? My Flirtation with Country Music

Sunset and dry grass. Photo by Jack Redgate

Whether we’re country haters, country lovers, or something in between, we can all agree on one thing: Artists in the genre love to sing about beer and trucks. Or do they? This week, I took it upon myself to dive into the genre’s content and see if I’ve been wrong. I looked at its lyrics, style, and statistics, and what I found made me second-guess what I thought I knew about the genre. For a moment, it even made me wonder if I could give pop, punk, and rock a break to be a country fan myself.

Pickup truck on highway. Photo by athena

In 2020, Youtuber and country fan Grady Smith released a video titled “Every country song has these lyrics. Right?” In it, he provides a breakdown of the most common lyrics from Country Billboard's top 30 songs from 2014 to 2019. Surprisingly, “truck” only appeared in 46 of the 471 songs, and “beer” appeared even less. It only appeared in 32 of the 471 songs. Yeah, I was shocked, too. And if you’re anything like me, you’re probably wondering what did show up in most of these songs. What really sits at the heart of country music?

In a twist anyone could see, it turns out country’s key themes are romantic. That’s right. Most country music isn’t about trucks, beer, or tailgates. It’s about men and women. Smith’s analysis ranks the word “girl” as the third most common country lyric, with almost as many mentions of it in one year as “truck” had in the study’s full run. Suddenly, country music feels a lot more accessible. After all, what genre isn’t filled with songs about guys, girls, and their attraction toward each other?

Maybe that common ground can help explain country rap, a genre fusion that I never saw coming. I had a good laugh when I found out about it. But the combination isn’t completely uncalled for. As Country Rap News points out (Yes, that’s a real website,) artists in the genre have been making “Talking Tunes” since Tex Williams released the song “Smoke! Smoke! Smoke! (That Cigarette,)” in 1947. But it didn’t stop there. The world had a full-on genre crossover on its hands when the Bellamy Brothers released their album titled Country Rap in 1987. This trend has continued into the present day, with Lil Nas X’s “Old Town Road” being an obvious example.

People at concert. Photo by elise bunting

Unfortunately, things like hick-hop (Yes, people really call it that.) are the exception rather than the rule when it comes to country culture, and the genre is nowhere near as diverse as the crossover would indicate. In a 2021 report by The SongData Project, Dr. Jada E. Watson highlights some troubling statistics in modern country. It turns out that 98 percent of the country music artists from the years 2000 to 2020 were white, and 74.3 percent of them were white men.

Those stats raise enough red flags alone. But alongside coverage, like this article by NBC, of racially charged controversies around artists like Morgan Wallen, it’s impossible not to draw some damning conclusions. It all makes sense in hindsight. The same article on Wallen also highlights how modern country has its roots in the 1920s when record labels were sorting music by race. The survival of those sentiments in the present day is clear when black country artists like Darius Rucker report receiving racially charged hate mail.

Maybe I’ll be a country fan one day, but the genre has some serious work to do before I’m ready to take it seriously. I used to dislike the genre for the wrong reasons, and now I dislike it for the right ones.

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I’m Owen, and you can think of me as the group’s roadie, just along for the ride. I’m the type of guy who hops in his car, turns the discovery playlist on and lets the algorithm choose his music. This has led to my commutes having backtracks that range from metal to pop and everything in between. Maybe I’ll be more decisive about my listening habits one day, but for now, I’m just going to ride the soundwave.

Album Review: Paramore - This is Why

Courtesy of atlantic records

Paramore’s sixth studio album is an eclectic one. While working on This is Why, the band revisited their strongest influences, resulting in a record that’s hard to define. It’s post-punk, post-hardcore, post-everything. The new wave frequencies from their last album, 2017’s After Laughter, make appearances here and there. Echoes of shoegaze and dream pop announce themselves for the first time while ear-blasting guitar tones make a welcome return, having been gone for far too long.

On “This is Why,” the album’s title track, the band treads water in bright but familiar territory. It opens with 30 seconds of instrumentation: a jazzy bassline paired with crisp hi-hats and crackling snare hits. It feels like we’re overhearing the band members jamming. The hook is reminiscent of the one found on “Hard Times,” their last album’s opening track. Layered vocals. Staccato delivery. They’re giving listeners one last taste of After Laughter’s new wave sound before ushering them in the band’s new direction.

But what direction is that? Hayley Williams hinted at the sound of Paramore’s next album–what would eventually become This is Why–in a 2020 interview with NME, mentioning her preference for music that’s “a bit more ratty sounding.” Fans of Paramore’s early emo-rock albums latched onto the idea that the band would ditch the sleek pop of After Laughter and return to the music that brought the band fame. Luckily for those fans, This is Why delivers a lot of the harsh rock sound Paramore teased in that interview.

“The News” is the first cut on the album to plant the band firmly back in rock territory. Screeching guitars wail against thudding drums, and we get the first glimpse of the scratchy vocals that shot Williams into rock stardom. Anger bursts through her voice on a chorus that will worm its way into your brain, like most of the choruses on the record. But while this song works sonically, it leaves a lot to be desired lyrically.

It’s about the 24 hour news cycle and the anxious nation it’s created. On the bridge, Williams refers to the news as “Rhetorical, deplorable, historical,” adding “And all along we called it normal.” And then I think you’re supposed to have some sort of major epiphany. The lyrics are doing a lot more telling than showing here, and the anthemic music presupposes that this is some sort of revolutionary message which it just isn’t.

photo by jeff kravitz

But politics is not a recurring theme on This is Why. Most of the songs are about relationships, and the lyrics on these tracks are a lot stronger. On “Big Man, Little Dignity,” muted guitars carry us through verses about a pathological liar who weaseled his way into Williams’ life. We hear her vocal cords scrape together on the hook as she tells him off. “Liar” covers Williams’ attempts to put up walls between her and her partner–the falsetto on this one will cut you open.

“You First” oscillates between softer reflective moments and guitar-driven outbursts, a vehicle for Williams’ intense paranoia: “Turns out I’m living in a horror film/where I’m both the killer and the final girl/so who, who are you?” This track and “Figure 8,” a pulsing song about Williams losing herself in a toxic relationship, are notable high points on the record.

Although the album reflects Paramore’s emo-rock sensibility for the most part, the band experiments here and there to great effect. Instruments blend together on “Crave,” creating an ethereal sound. And “C’est Comme Ça” evokes Talking Heads frontman, David Byrne.

This is Why is Paramore looking back without regressing. They make nods to their earlier sound but move forward with experimental tracks that make just as much noise as the conventional ones. Mileage may vary with songs like “The News,” but this is an incredibly strong album overall, one of my favourites of the year.

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Will is a second year Professional Writing student at Algonquin College. He likes to write about obscure punk bands for street cred, but his most listened to artist on Spotify is Doja Cat. So what? He likes to dance. He’s also quite defensive.

Music is the pill to a happier life

Photo by Antoni Shkraba: https://www.pexels.com/photo/woman-taking-a-floral-bath-and-listening-to-music-on-headphones-6728308/

Wouldn’t it be nice if there was a pill that could take all the pain and stress away? A pill that is not harmful or addictive but makes all your problems disappear. It sounds very appealing, right? Even though music isn’t a magical solution, it certainly makes our lives better. It helps manage pain, reduce stress and anxiety, and even helps with sleep deprivation.

Photo by Andrea Piacquadio: https://www.pexels.com/photo/woman-in-black-crew-neck-t-shirt-wearing-white-headphones-3767420/

Studies show that listening to music can help manage pain. An experimental test, with sixty participants diagnosed with fibromyalgia, found that the patients who listened to music once a day for four consecutive weeks experienced a significant reduction in pain compared to those in a control group. Trials like that emphasize the importance of music therapy in treating chronic pain. Instead of shoving pills down your throat every day, take one hour a day and enjoy your favourite music. Or, after a stressful day with the physiotherapist, music can help reduce inflammation, stiffness, or soreness.

One of the great benefits of music is that it reduces stress and anxiety. It is also a safe way to treat various disorders like depression. We all feel the pressure of everyday life in our work, school, and relationships. We eventually seek a pressure release. Some people find it in substances and other unhealthy options. But that is not a solution in the long run. Music therapy is a great and beneficial way to reduce or manage pain. It is important to note that the type of music is vital. For example, classical and meditative music is a great way to relax the body and soothe the mind. On the other hand, heavy metal or, despite its name, trance has the opposite effect and can even be harmful. So, choosing the appropriate music for the right mood is crucial.

Photo by Karolina Grabowska: https://www.pexels.com/photo/young-woman-listening-to-music-in-earphones-in-apartment-4498195/

Insomnia is linked to many chronic health problems and increases mental health disorders and their severity. Unfortunately, it affects people of all age groups, and it is considered a serious problem. While there are a lot of ways to approach and treat sleep deprivation, a study, looking at ninety-four college students with sleep complaints, found that listening to relaxing classical music is a safe, cheap, drug-free cure. They separated the participants into three groups. Group one had to listen to classical music before bed. Group two had to listen to audiobooks. And group three received no intervention. We all know who slept. So, next time you are tossing and turning in your bed, try listening to some relaxing music.

Music therapy helps with improving quality of life. It assists with treating chronic pain. It reduces stress and anxiety. And finally, it soothes sleepless nights. With the right type of music, you don’t need any harmful substances to temporarily patch your problems. You can safely and effectively put on your headphones and transcend into a world where pain and stress don’t exist.  

Works Cited 

Maria Dolores Onieva-Zafra, Adelaida María Castro-Sánchez, Guillermo A. Matarán-Peñarrocha, Carmen Moreno-Lorenzo. “Effect of Music as Nursing Intervention for People Diagnosed with Fibromyalgia.” Pain Management Nursing, 29 November 2010,  https://www.painmanagementnursing.org/article/S1524-9042(10)00139-6/fulltext

László Harmat, Johanna Takács, Róbert Bódizs. “Music improves sleep quality in students.” Wiley Online Library, 18 April 2008,  https://onlinelibrary.wiley.com/doi/10.1111/j.1365-2648.2008.04602.x

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Hello! My name is Eirini Katsika (but you can call me Rena). I studied Film and Television back home in Greece, and I am currently in the Professional Writing program at Algonquin College in Canada (a long way from home.)

Now the good stuff. I grew up in a very music-friendly house. My mother introduced me to classical and opera music. And yes, I still love classical music. It’s great for cooking. I also have an older brother who is obsessed with rock and metal music, so I did go through that phase.

I took piano and electric guitar lessons, which sounds cool, but I can’t remember anything.

I am currently into house and Lofi music but I’m open to anything.

A Gap in Western Girl Groups

Throughout history, girl groups have had a strong presence in the world of music in the west. Whichever decade you inspect, there had always been at least a handful of girl groups capturing public attention at a time. The debate on who is or was the most popular group typically fluctuated depending on the year. However, if you ask anyone now who the greatest western girl groups are nowadays, they’d probably still tell you about groups from the 50s or 60s, and the 80s-2000s. In particular, groups I see mentioned the most are The Supremes, Destiny’s Child, TLC, and Spice Girls. When it comes to the late 2000s and the entirety of the 2010s, there’s only really two groups that the majority of people seem to mention.  

Little Mix  

“Little Mix at the confetti tour in Leeds” (april 30, 2022) courtesy of wikimedia, by Katlyn Amelia

Little Mix was formed in 2011 on the UK version of the show The X Factor. Being the first group to win the show, Little Mix found immediate success in Europe. Since their debut the group has had 5 of their singles hit number 1 on the UK charts. Though they never charted quite as high in North America, the group was still able to form a health fan base here. In 2020, the group recorded and released Confetti, the final album featuring all 4 girls. Following that, Jesy Nelson would depart from Little Mix in the same year. Despite her departure, Little Mix went on a successful album tour in 2022. It will be their last for an indefinite amount of time though. Wrapping the tour, Little Mix decided to go on hiatus and have not released new music since 2020 and have only put out an album of greatest hits in 2021.   

Fifth Harmony 

“Fifth Harmony perform at the los angeles county fair” (Sep 15, 2017) courtesy of flickr, by aitchisons

Fifth harmony was a group formed in 2012 on the US version of The X Factor. Although they did not win the show, they had massive success in their run from 2012-2018. Fifth Harmony charted consistently throughout their career together and made equally consistent sales. Plenty of their songs were platinum certified as well as 2 out of their 3 albums. The group lost member Camila Cabello in 2016, and despite their prior success they would only continue to last as a group until 2018.  

Currently, there’s a lot of room for new girl groups to find success and popularity in the west. So where are they? I’ve seen plenty girl groups forming and getting their start on social media in recent years, and while they’ve been able to gain some attention it seems no one has been able to break out quite yet. I’ve seen people around the internet say that there just isn’t any interest in girl groups right now, but I don’t really believe that. South Korean based girl groups such as Blackpink and Twice have had a great year not only in the west but the whole world. Blackpink recently wrapped their highly successful “Born Pink” tour which included 66 shows taking place in 22 countries. They even headlined the popular US music festival, Coachella, becoming the first girl group to ever do so. Twice is currently still on their “Ready to Be” tour which began in April of 2023 and will now continue into 2024 due to adding of more shows. Before their tour even began, Twice performed at the Billboard’s Women in Music 2023 event and accepted the award for Breakthrough Artist.  

With the popularity of these girl groups in the west, I’m hoping that means we’ll be seeing even more who will leave their mark on music. With that being said, here is a girl group that I’ve personally been really invested in lately!  

FLO  

“FLO at the flo live tour in manchester” (April 3, 2023) courtesy of wikimedia, by Emma Houghton

FLO is a UK based R&B/pop group formed in 2019. The group consists of 3 members: Jorja, Stella, and Renée. The trio currently doesn’t have any albums out, but they have a couple of singles and EP releases. Their most recent EP, 3 of Us, released on July 7th of 2023 and it has 4 songs on it. I’ve been loving all of them but my favourite off this EP has to be “Control Freak”. If you’re as into girl groups as I am, I hope you’ll give them a listen! In the meantime, I’ll be on the lookout for more groups. 

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Hey, I’m Dayton! Currently, I’m a Professional Writing student at Algonquin College. I’m in my second year now, and one of the biggest things that powered me through my first year was probably music. What can you expect to find in my music library? A bit of everything, and yes, that includes country. I’m a huge fan of all kinds of music and I’m always on the lookout for new songs to add to my collection. I hope you enjoy the blog :)

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Heavy Mithril: The Magical Mixture of Metal & Fantasy

The connection between music and the fantasy genre runs deep. Musicians may have a mystique and allure of coolness around them but many, if not most, are big nerds at heart. This should come as no surprise to anyone who took part in a high school band class. This is reflected in the many nerd-centric genres of music; nerdcore rap, filk, chiptune, even music festivals like Nerdapalooza. But perhaps no genre has fully embraced and unabashedly celebrated its nerd roots like Metal.

Metal wields fantasy themes with all the power and grace of a +2 longsword.

Rainbow’s Rising - 1976

Fantasy has been a part of metal since the formation of the genre. Black Sabbath, often credited as one of the founders of heavy metal, had a song on their debut titled “The Wizard.” It's hard to look anywhere in the early days of metal and not find an elf or an orc hiding in the liner notes. Bands like Led Zeppelin, Uriah Heep, Rainbow, or anything Ronnie James Dio was involved in, all heavily featured themes that would be equally at home on a table top covered in graph paper, polyhedral dice and Mountain Dew as they would be layered on top of a shedding guitar riff.

But why are Metal and Fantasy so interlinked like rings in a coat of mail?

Like trying to mine a vein of Mithril, we need to dig back to the bedrock that built the foundation upon which Heavy Metal was forged.

The earliest recognized Heavy Metal bands all started in England in the 1960’s during the postwar boom period where British culture exploded onto the world stage. This is the Britain that gave us The Beatles and The Stones. As the Swinging Sixties swung along, music got pretty mind bending thanks to Psychedelic Rock bands like Pink Floyd. As the themes of the music became more esoteric, and less sock hop, the now familiar tropes of fantasy began to appear.

We can almost see that gleaming Mithril ore now, but we still need to go a little deeper.

Uriah Heep’s Demons and wizards -1972

England in the 1950’s was a very different place. The country was still reeling from the end of the Second World War. Suffering from the destruction of the bombings, its resources were strained thin, and its people were exhausted from the largest world conflict to date. But something very special came out of the dark beginning of this decade.

Fantasy classics began to appear at a staggering rate. Tolkein’s The Lord of the Rings, Lewis’ Chronicles of Narnia, Leiber’s Fafhrd and the Grey Mouser series all had their beginnings in the 1950’s. Tales like these breathed new life into the pulp Swords and Sorcery genre that started in the 1930’s, inspiring a generation of young Brits to weave these heroic and fantastic themes into their music.

Rhapsody of fire’s legendary tales - 1997

The need for escapism and mental adventure has persisted long past postwar England and is felt by all of us at some point in our lives. And that need has seen the themes of fantasy blend together with Metal like an alchemical elixir.

The love of fantasy in metal has spawned countless sub-genres but perhaps the pinnacle of this is Power Metal. Bands across the world like Italy’s Rhapsody of Fire, Germany’s Blind Guardian, Finland’s Nightwish, and Canada’s own 3 Inches of Blood, all take the fantasy theme to its ultimate conclusion with soaring anthems of epic quests, rampaging monsters, valiant warriors, and magical mysteries.

There is no shortage of theories on how and why fantasy and metal became linked. Complex theories on the sociopolitical landscape after the Second World War and the way this influenced the themes of escapism and ideology in the arts. But ultimately I think it is just that people are always looking for an escape from the everyday. Some of us find it in sex, drugs, and rock and roll, others in swords, sorcery, and fantasy.

And for some of us, we find it in all of the above.

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Alex is a second year student in the Algonquin Professional Writing program, but if you are here you probably already guessed that. 

He’s got a bass collecting dust in his closet so he’s a huge fan of Rush’s gnarly bass lines and lyrics about quests for the fountain of youth and riding a spaceship through a blackhole to mythical ancient Greece. 

But since he’s from Halifax he can’t help himself sing along and stomp his foot to Barrett’s Privateers if it hits his salty ears.  

Beethoven Found Alive and Well

That’s right, Beethoven, Bach, Mozart, many other famous composers composers are alive and well in today’s music world.

In fact, classical music is hiding in plain sight everywhere in the music industry.

I can almost see you shaking your head no and rolling your eyes at me. Please, hear me out.

“Back in the pioneer days”, as my kids say to me from time to time, I was a piano student, and yes, I studied classical music. Back then, I didn’t think it was that interesting or fascinating at all, until I started making the connections of music from then with the music of today.

One of my studies included “Plasir d’amour”, by Martini. It was beautiful, I admit, but as I improved on my playing, I realized how much it reminded me of “I can’t help falling in love”, by Elvis Presley/Corey Hart, and I’m sure more artists over the years. Suddenly, I found learning classical music interesting and I started listening for it day to day music. It was everywhere, I was amazed. I thought this was so clever of new artists to include these works to make them new again, make them exciting to listen to.   

Think about it for a minute.

Imagine many of these artists probably started their musical journey learning classical music. Does it not make sense then, that they would find a way to incorporate those experiences and tools into their music. It seems that the most popular musical time periods that artists are in touch with are the Baroque (1600-1750) and the Romantic (1830-1900) period. The Beethoven’s. Bach’s Mozart, Vivaldi.

For fun, although, I haven’t referenced any music of today that incorporated female composers, there were we substantial number of successful women composers during those time periods. Some of these are: Francesca Caccini, Isabella Leonarda, Hildagard von Bingen. But more about these fabulous artists in my next blog.

I shall digress and get back to my list of todays artist who leveraged some of the most famous classical composer’s music as an inspiration to create new music for us today.

Artists such as:

Led Zeppelin “Stairway to Heaven”-Johann Sebastian Bach’s Bourree in E minor

The Beatles “Blackbird” also used Johann Sebastian Bach’s Bourree in E minor

Maroon 5-“Memories” uses Pachelbel’s eight-note harmonic progression from Canon

Elvis Presley “Can’t help falling in love” from Jean-Paul Martini’s Plaisir d’amour

One Republic “Secrets” uses Beethoven’s 5th Symphony

Ludacris “Coming 2 America” uses Mozart’s Requiem Mass in D minor ll)

DJ Premier and Nas “Regeneration” Uses Vivaldi Concerto No 2 in g minor

Nas “I can” contains Beethoven’s Fur Elise

Capone-N-Norega (Straight Like that)

Beyonce “Ava Maria” Song by Franz Schubert

I truly appreciate and believe that the classical era was the foundation for music today.

It is so powerful, even without lyrics. Classical music is so intense and rich that it fills you with wonder. Maybe that’s where the saying came from “music to my ears”.

I wonder if Beethoven and the rest of the gang would agree with how their work is being presented in today’s music world.

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My name is Tammy. I am an avid lover of animals, music, and nature. I have 15 dogs and 1 cat, and spend most of my free time exploring nature, swimming, reading, and writing.

What’s the Deal With Temp Music?

Recently, I went to see Teenage Mutant Ninja Turtles: Mutant Mayhem in theatres. It had received lots of criticism for copying Into the Spider-Verse’s distinct animation style, so I was excited to find that it was actually very unique, breaking away from the Sony hit’s focus on print media by using a more rough-sketch style to get its comic book feel. But there was one aspect of the movie that did continuously remind me of Spider-Verse, and that was the music. The score at points felt so obviously reminiscent of it that I even checked to see if they share a composer. They were composed by two different people with two different teams, so how did it end up with such a similar score? Well, the answer may well be temp music.

Temp music, also referred to as temp tracks or temp scores, is score music used by filmmakers to help edit early cuts of a film. At this point in the filmmaking process the score has no completed tracks, so alternate music is brought in to create a tone and tempo for the editing process. This temp music isn’t intended to be part of the final cut of the film so copyrighted music, especially music from already existing film scores, is typically used. The film is then edited set to this temporary soundtrack so it can be replaced later with the official score. This process has become a bit of a contentious issue in the world of filmmaking.

Temp music serves as a placeholder because something is needed to set the pace for editors, so what’s the problem? Well, directors have a bad habit of getting attached to their temp music, and when it’s time to add in the score the studio has paid for they struggle to let go of the cut of the film that uses temp tracks. When this happens, some directors go to their composers and essentially ask them to recreate the temp score as best as they can within the limits of copyright law. This is not only limiting to the composers’ creative process but, because all of these directors are feeding off of each other’s scores, it can lead to bland and uninspired music in the final cut.

Worse yet, some directors cut their composers out of the film entirely. Famously, Stanley Kubrick did this for 2001: A Space Odyssey. Kubrick had used a number of classical pieces as temp music for the movie, and he approached Alex North, a famous composer in his own right, about making similar pieces for the movie score. When reviewing the edits, Kubrick ultimately decided that the original version of the film worked better and opted to use it, something he could get away with because he had used classical music rather than another film’s score. He didn’t even inform Alex North of this decision, North had to find out for himself when he went to see the film in theatres.

This issue is complex though. Despite what some film composers say, it’s hard to do away with temp music altogether. It might work for some directing/editing teams to work to a metronome or some other way of maintaining pacing, but some creatives need to feel the music to create the best possible piece. Certainly, temp music can work against a scene, like when Mad Max: Fury Road based its score off of Captain America’s, creating an obvious tonal disconnect. But temp music isn’t always the wrong choice for the final cut. In one of the more well-known examples, 300 copied a theme from the 1999 film TITUS; personally, I believe this theme was the right choice for the scene and it’s hard to imagine anything fitting better.

Ultimately, directors, producers, and composers need to come together and figure out what the hell they want. In a case like 300, it probably would have been much better to just shell out for the rights to another theme rather than make their composer copy someone else’s work. Directors also need to be willing to step back and not get so smitten with their temp tracks; maybe switching up the music for subsequent edits of each scene would give them more distance when approaching the final score. Composers, in my opinion, are pretty blameless here and I just wish higher-ups would have more faith in their ability to do their job. The less the industry relies on temp music as the be-all end-all, the better film scores, and films themselves, will be.

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Jack is an aspiring writer in Algonquin’s Professional Writing program. He resides in Ottawa, Ontario despite absolutely despising the cold. His main interests are movies, food, and politics. He hopes to give you some insight into the world of film scores and soundtracks.

Punk in North America and the U.K. – Who was Louder?

American punk emerged from the garages of aspiring bands, but British punk gave it a signature edgy twist that North Americans adopted. Finding its way over the sea from New York to London and beyond, it reflected a wilder shade of rock than what came before. Being a punk fan, I want to save my thoughts for after my overview. As with anything that goes international, it just needs to be a competition; who did it better?

American punk spilled out of New York and Michigan in the 1970s, exposing the world to bands like the New York Dolls and MC5. Over in London, the Sex Pistols were formed to promote a clothing store. They rose to infamy with tracks like “Anarchy in the U.K.,” and “God Save the Queen.” Other influential U.K. groups like the Clash came together in the mid-70s, inspired by the Sex Pistols’ fresh flavour of rebellion. Britian’s music scene was changed with provocative lyrics and no-holds-barred attitudes.

However, the Sex Pistols broke up. A messy separation and successful bans from the government, mostly because of the anarchic nature of their songs, left a void to be filled. Fortunately, their tours in North America inspired like-minded groups to pick up the pieces. Black Flag formed in 1977 in Los Angeles, renewing the hardcore side of punk with singles like “Nervous Breakdown,” and “Police Story.”

“Sex Pistols in Paradiso.” Image courtesy of Wikimedia Commons, taken by Koen Suyk.

Ask different punk fans which bands sang better from where, and you’ll get many answers. The British wave of the 70s aimed to be different from the stagnant rock scene of the time. American offerings ranged from well-composed complaints to directionless rambling. Both shared a mutual distaste towards the government. Canadians jumped in with bands like D.O.A. in the late 70s, proving the growing influence of hardcore punk rock. What’s ultimately consistent between the N.A. and the U.K. is the overly political tone, delivered in what I’d call delightfully angsty doses. The answer here is really a matter of opinion.

At its core, punk is all about counterculture. Controversy is fuel for the punk engine. Politics are inseparable from the genre, we can’t deny that. The Sex Pistols angered authorities with lyrics like, “Anarchy for the UK / It’s coming sometime and maybe / I give a wrong time stop at traffic line / Your future dream is a shopping scheme” (Sex Pistols, 1976) to share their frustrations with the turn towards cheap consumer goods. MDC tuned in from San Francisco in the 1980s and expressed far-left political views. Their sound, often rough and unrefined, gave their discography a genuine feel. They blasted American icons, celebrities and businesses alike, targeting American fast food by saying, “Change from your five / Ankles deep in blood / Make it your career / Sell billions every year” (MDC, 1982) in “Corporate Deathburger.” We can see that punk has similar ideas no matter where it comes from. The nature of these ideas isn’t always the same, though. In my opinion, the biggest difference between N.A. and U.K. punk is the sound. When looking purely at the instrumental side of things, British punk tends to sound refined and concise, while American and Canadian punk is rougher around the edges. Of course, there are exceptions to this on both sides.

The punk scene has certainly slowed since the 70s and 80s, but it hasn’t disappeared. MDC, for example, is still around and continues to make politically charged tracks to this day. The internet is a great tool for discovering less mainstream artists, which is how I got into punk.

So, the question remains. North America vs the United Kingdom, who has the best punk music? Well, it depends on what you’re looking for. They both tend to have sarcasm dripping through their lyrics, but the North American stuff can be more satirical at times. Both are genuine and both have deeper motivations. I like almost all of it, but American punk is my favourite. In the end, it’s up to the audience to decide. No matter the answer you, I, or anyone else give, we’re all punks if we want to be.

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Hey, it’s Lucas. I’m a student from Canada who’s just a little too into heavy metal and video games. Thankfully, one of those is useful for this blog. I’m an avid fan of cats (yes, I will pet them if I can) and a bird lover, too. I love a good plot twist, so I especially love it when artists take an unexpected turn with their work. You can expect to hear about rock, metal, or punk when you read my posts. Remember: it’s not about the blog, but the blogger behind it.

Fighting for Change: How Punk Rock Pushed for More

people standing on the street during protests at night. (Photo by Maurício Mascaro)

Drugs. Sex. Violence. These might be the first things that come to mind when you hear the words “Punk Rock,” but what if I told you there’s a compassionate side to this abrasive genre of music? Bands like The Sex Pistols may be known for their controversial relationships with recreational drugs, but what about the ones fed up with how a culture centred around freedom enslaved itself with substance abuse? It’s time to buckle up and learn about the straight edge movement, a group of rebels amongst rebels who decided that anarchy wasn’t enough.

The origins of the straight edge movement can be traced back to Ian Mackay, vocalist of the punk band Minor Threat. In 1981, Mackay and his band released a song titled “Straight Edge,” which expressed Mackay’s frustration with the drug abuse that was running wild in the punk community at the time.

Group of people at an event. (Photo by anna-m.w.)

Mackay’s anti-drug sentiment caught on with certain members of the punk community, and before long, the words “straight edge” were more than a song title. As members of a budding subculture, people who adopted straight edge values would show up to punk shows with large black “Xs” on their hands. Initially, this symbol had meant that someone at a punk show was underage and bartenders shouldn’t serve them alcohol, but it quickly transformed into an emblem for this fringe group of punks.

Imagine how surprised straight edgers must have been to learn that Mackay didn’t want anything to do with them. He even explicitly states in the track “Out of Step” that what he said in “Straight Edge” wasn’t meant to start a movement; it was just him talking about how much he didn’t like drinking, drugs and casual sex. To this day, Mackay and Minor Threat have never identified as straight edge at any point in their careers. Regardless, their song gave rise to a new type of punk, and those punks carried on without them.

By the end of the 1980s, some straight edge punks were condemning more than just drugs and alcohol. In 1988, the band Youth of Today released a song titled “No More.” The song advocates for a vegetarian lifestyle, claiming that society is selfish and hardened and we need to stop eating animals to be moral.

Coupling vegetarianism with punk might sound like a recipe for disaster when you consider the violent nature of punk rock, but Youth of Today wanted to be more than what people expected of them. They were a part of what’s known as the “positive mental attitude” or “P.M.A.” movement. Started by the reggae punk group Bad Brains in 1979, P.M.A. infiltrated punk's typically nihilistic and violent culture to spread a message more positive than the punk norm. Armed with this outlook, Youth of Today spent their free time pooling funds to help the homeless and working towards making the world a better place.

With their positive outlook and compassionate ideals, straight edge punk bands like Youth of Today could have done a lot of good for people in need and the animal rights movement. But there was just one small problem—their fans.

a Blazing car wreck. (Photo by Flavio)

Hardcore punk has always attracted young people willing to go to extremes, and straight edge is no exception. Over the years, the movement has become known for the violence carried out by some of its advocates just as much or even more than the compassionate acts of others. In their 2008 documentary Inside Straight Edge, National Geographic explores the subculture in three American cities: Boston, Salt Lake City, and Reno. They found that acts of violence carried out by the straight edge community were so common that local law enforcement in Boston and Salt Lake City had even classified the community as a gang.

So, is there more to punk rock than drugs, sex, and violence? Yes. But despite their good intentions, straight edge bands like Youth of Today were fighting an uphill battle to transform punk rock, and what good is fighting when violence is the problem?

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I’m Owen, and you can think of me as the group’s roadie, just along for the ride. I’m the type of guy who hops in his car, turns the discovery playlist on and lets the algorithm choose his music. This has led to my commutes having backtracks that range from metal to pop and everything in between. Maybe I’ll be more decisive about my listening habits one day, but for now, I’m just going to ride the soundwave.