Category: Rock Music

Introduction

U2, the Irish Rock Band, has been under the guidance of the songster called Bono since 1980s. During most nationalized prayers particularly the February 2006 Washington, DC state mealtime payers, Bono offered a crucial speech concerning religious issues.

The affair was planned by the evangelical Christian charity and was attended by various world leaders, congress members, George Bush, and over three thousand people across the world. Before this crowd, Bono admitted that there could be something inappropriate or something deviant a propos the rock stars going to the podiums and starting to preach at the world leaders.

According to Bono sermon virtues, instead of preaching to the presidents, the rock stars should give aid to the poor Africans and the sick. With reference to the universal higher bylaws, Bono on behalf of U2 implored global elected officials to go past religion since it usually obstructs Gods ways. In fact, politicians are requested by Bono to hold the grace period that instigated with the Jubilee year, which is the new millennium.

The speeches offered by Bono during most mealtime prayers have made fanatics as well as the popular press associates to label Bono as the Messiah of Roll and Rock. Whereas since 1980s this songster has been infusing opinionated and theological teachings in the U2 lyrics, Bono transformed songs discourses into persistent political actions (Lofton, 2006).

In fact, Bono united with Pope Paul John 2 together with others in the waive debt drive. The songster invoked the Jubilee period as noted in the customs of Leviticus when most arrears were waived devoid of penalties. Songster, as a manager of DATA, spiritual and U2 pop group organizer has habitually been rising to the arena to sermonize to elected official and states heads.

The procedures and promotion schemes used by the songster are akin to those utilized by the present-day American renaissance evangelists that scholars idealized. Similar to Billy and Moody, who are the United States of America evangelical complements, the songster travelled the universe to urge the developed nations to waive the arrears poor nations owe them.

Bono via advocating for the Africans debt waiving fuses the revival strands and the American roll and rock in the politics of religion. The backing of the inclusive politics by the songster serves as an image of what various sociological practitioners dubbed the internationalization of dogmas.

However, to take part in the modern world politics, Casanova claims that social artists should accept the modernity commands that accrue from the desire. This is particularly factual for the religious conviction according to Casanova.

In fact, Bono asserts that, just the religions that have included as their personal enlightenment religion critique, the central aspects affecting poor nations stand a chance of playing the optimistic responsibilities in advancing the realistic rationalization progression (Lealand, 1994).

Bono and the U2 Irish Band act as religious brokers and the negation techniques used to advocate for the African debt waiving materialize to be religious. The data foundation, which is a poor state construction venture initiated by the songster in support of U2 pop group is both a wholeheartedly spiritual observer as well as an indisputably material undertaking.

Advocating for poor nations basically demonstrates what Asad Talal tentatively argued concerning the secular conception claiming that the practice can hardly happen devoid of the religious notion (Lofton, 2006). Through advocating for the poor African nations, the U2 Irish band songster preaches the secularized soteriology.

This emerges to be the communal fiscal and spiritual prescription for deliverance unrestrained by the religious organizations. Whilst committed to the saintly behaviors as mature and material activism which incorporates the undertakings of creed, the U2 pop group has upheld the West overall diplomatic status with eschatological prospects and gospel sparkles.

This paper illustrates the Irish Rock band U2 as a critique of modern religion. The salvation messages asserted by Bono as Max Weber indebted are incorporated in the paper.

For instance, by linking the personal deliverance soteriology lyrics to the opinionated direction on what poor nations ought to undertake to be salvated, the analysis of Bono and U2 band works in this paper symbolizes the three features of Max Weber soteriology hypothetical accounts. The first section claims that social agents may not receive deliverance or salvation devoid a rational global reflection offered by the prevailing humanity.

Part two utilizes Marxist designs on simplified conceptions or the humankind theodicy to elucidate the Almightys folklore. The last section asserts what Max Weber claimed that some theodicy sufferings instigate from the deliverance hope.

The Irish Rock Band U2 and global politicians

The songster and U2 pop group move athwart capital avenues to pastoral mountains, athwart ecological milieus, chronological architects, gaps, and era, to the Western nations from Ireland. Bono in this lyrical image depicts the true American image that is tangled up. In fact, U2 and Bono snatched a limelight intended to shine the blue-sky bullet that darkened the stage.

Throughout the lyrics, Bono and U2 band lament about the capitalism evils, but through highlighting and advocating against the capitalists ideas, Bono shades light across the board. Bono blames Americans for ignoring the African AIDS disaster through hoarding wealth (Finney, 2003).

The U2 band praised the Beastie Boys, the UN representatives, and Bill Clinton for the humanitarian responsibilities assumed, though Bono requested them to give out additional aid to the developing nations and fund research studies conducted on AIDS.

Bono manages to blend the political convictions with religious renderings by calling on the Americans religious commitment. The devout backwoods for the songster could be developed nations and U2 pop group perceives America as a terrain of opinionated leeway and pious assurances. When compared to the bands political messages, the divine passion of Bono are somehow unstructured (Trachtenberg, 2008).

Throughout Bonos speaking engagements, concert performances, and references lyrics, Bono portrays the bands religious thoughts. During public religious politics performances, the Irish Rock Band U2 undertakes the communal theologians responsibilities.

Despite his liking of America, Bono and U2 band claim that American has been consuming various poor nations. In fact, America is Bono and the U2 band pulpit, but the songster tells the graduating populace that in the Ten Commandments given to Moses by God, loving thy neighbors residing in the universal villages is convenient. Thus, Bono calls upon developed nations to waive the debts given to the third world nations.

The Irish Rock Band U2 in pop, the most non-judgmental album, claims that not everything can be reached, grubbed, nor forced, and they cannot be religiously grabbed given they can hardly be connected to love. Bono and U2 avows that just the passion for can help in rattling the Iron cage. In the popular lyrical song, Blue-sky-bullet, the songster is correlated to the Israels holy bible fantasy.

In fact, the unfolding in first book of the bible emphasizes that Israel clashed with the Almightys correspondent in the darkness (Lealand, 1994). Acting as Jacob, the Irish Rock Band U2 under the guidance of Bono emblematically tussled with the U.S. and the Almighty.

Actually, Bono has a clear understanding of the Americans and the Almighty and claims that both ought to be conquered. According to Bono and the U2, the United State of America acts as the prospective envoy for the Almighty kindness, or Deitys loveliness that should be emulated in the Americas capacity to waive debts.

Resembling the Almightys representative in the holy bible, the Western nations possess the supremacy to surname, classify general countries, and bestow commands. Therefore, via DATA, the Irish Rock Band U2 and Bono have frequently been recognizing such commands held by the U.S., and they call upon America to offer support for the people of God.

As a matter of fact, Bono and U2 demands for grace having been jerked by the Americans during the day (Lofton, 2006). Using the Almighty as the reference point, Bono and U2 has been requesting for the new fangled pledge of equality at the financial possibilities frame.

Conquering religious conviction

While the Irish Rock Band U2 toured Vertigo, the songster, Bono, wore a diadem during most stage performances. The headband had numerous symbols portraying the pictures of Christianity, Judaism, and Islam. Some of the symbols included the Cross-, the Davids Star, and a Crescent written within the Coexist phrase.

Also dubbed as the Rock Messiah Bandana, Bono diadem was sometimes reserved for special occasions. For instance, Bono wore the headband all through the Else, or Peace and Love concerts while reserved it for some melodies such as could there be the primary communion moment?

A song sung for Miss Sarajevo, and do we spare instances to go to the synagogue? or do people have occasions spared to visit the exquisiteness emperor facing God, Mecca? In concluding, Bono and U2 ask whether there special moments meant for the shared principles and fighting for rights of fellow citizens (Lealand, 1994).

When performing the Blue-Sky Bullet, Bono slipped the so called the messiah crown to cover his eyeballs and consequently knelt downward while putting his arms on the skull. Most people referred the activities as all of us belong to father Abrahams descendants.

However, after the sermon, Bono and U2 band explained the diadem importance to the fanatics by naming every sign whilst delivering in rhythm. The symbols denoted Muhammad, Jew, and Jesus all of whom are children of God and Abrahams sons (Lofton, 2006).

With the occurrence of the September 11 2001 terrorists attack of the world trade center, Bono blamed the incidence as a spiritual transcendence. During the Vertigo tour, U2 band under Bono control delivered various religious messages but in all cases, the messages seemed packaged, reproduced and proffered in a restructured approach.

Whilst delivering the messages, the U2 band could alter the lyrical contents yet maintaining the methods utilized. Under chock-full sports ground that stymied the faint illumination, the songster utilized torches to burnish the arena. Furthermore, Bono tore the messiah crown and invited the elected officials who attended the show but remained sited in the luxurious boxes (Trachtenberg, 2008).

While entertaining the guests and fans, the Irish Rock U2 members and Bono ran about the heart fashioned podium. Despite emerging, as the modus operandi of the lyrical concerts, the techniques applied by Bono and the U2 band resembled the contemporary revitalization methods initiated and idealized by the American evangelists of the 19^th century.

The Second Great Awakening between the fiscal 1780s and 1830s is denoted by the Finney revivals as claimed by Mathews. The creation of a mutual world experience by establishing several analogous local institutions enables the revivals to geologically consolidate discrete groups of persons into a national body. The utmost achievement of the awakening was the American democratization of Christianity.

Through church according to Hatch Nathan, revival brought to individuals self-determination, independence, and democratic standards. Accompanied with gospel music, the flames of religious ecstasy were fanned into popular culture by the ministers during that time (Lofton, 2006). As a result, Nathan correlated the opinionated efforts of the songster to the Western nations revivalist spiritual vocation

Bonos application has comparable net special effects to those of American revivalist as it echoes their revival drudgery. In fact, the principles of Second Great Awakening that was distributed gets support from Bonos talking engagements, preaching concerts, and working with DATA.

Besides, Bonos rhetorical tropes, antics in concert, conversation policies, and distribution methods are comparable to other later evangelists (Lealand, 1994). For instance while in United Kingdom Bono said, Provide youre already converted, you dont need me preaching at you.

Though I must say I take pleasure in it addressing the conference of Labour Party. The songster possesses his own techniques of conversion just like other philosophers including Finney. Bonos conversion strategies would leave a fresh revival with a scorching and gentle love for enemies, relations, and friends souls.

Political conversion enabled Bono to convert Helms Jesse who was for a lengthy period served with a staunch conservatism as a Senator in North Carolina. In reality, after personally meeting Bono and moving to tear in the U2 concert, Helm turned into a resilient fighter against African AIDS (Lofton, 2006).

Finney tempted alteration and atonement to the listeners planning to make them surrender their lives to the Deity. Comparable to Finney, Bono established a parallel kind of dispensationalist zeal in working for the radical apprehension of biblical Jubilee.

The religious signs and messages conveyed by Bono in mystical concerts are similar to those of revivalist such as Moody Dwight approaches. In their revivals, Dwight Moody and others included gospel singing. Otherwise, in the course of his nomadic tours, Dwight was often escorted by Sankey Ira who was a song frontrunner. In fact, these nomadic tours initially covered Great Britain and thereafter all over US.

Sankey worked on Moody and Sankey Hymn book that was his own songbook in this trip. This was the best ever published worshipping script according to the journalist of New York Times who was present at the concert in the fiscal 1875 (Lofton, 2006).

Actually an individual can sing the verses in this song just after a single audible range. It is possible as its lyrics are affirmative in character, filled with gospel, simple, and the melodies express the purpose they are lined up for.

Even though a number of U2 songs are simple and straight forward, not all of them are entirely positive. Indeed, certain volumes recorded by Harlem gospel choir that is, I Still Havent Found What Im Looking For or the Pride a version bestowed to King Martin Luther Junior as an anthem were like gospel.

During the performance alongside Bono, the whole spectators could as well sing and only a few individuals could dispute this. The songster materializes to be dirt free claiming that U2 pop group lyrics vocalizes deity besides claiming that honor and adoration songs are secondary but undeviating progenies of inspired religious account (Finney, 2003).

On the contrary, the songster accentuates whilst dialoguing the biblical conception premise as a godly of expected manifestation asserting that U2 pop group lyrics have their unambiguous affirmations about deity. Normally, various shows portrayed the songster like a roll and rock star in one given that Bono recurrently offered binary guiding tasks involving evangelists as well as religious melody favorite.

The sustained efforts to overcome religion mark the utmost remarkable similarities amid American revivalists and Bono. Otherwise, Bono operated on rhetorical and musical ways and means. In the fiscal 2006 mealtime plea, the songster uttered the bands commotion that faith is repetitively obstructing Almighty.

Learnt examples from developing in the hands of Catholic females along with Protestant dads in Ireland proffer the songsters analysis on Bono struggle with religious conviction. U2 pop groups Irish frameworks advanced its stance in regard to structured creed at particular theaters.

Nonetheless, U2 pop group begged off to be part of the Irish scuffle amid Catholic devotees and churches full of Protestants. Thus, Bonos evangelical mood relates to his strength of character of working separate form religious organizations (Lealand, 1994).

U2 pop group was fundamentally drawn in dynamically in the Almightys evangelical huddles bar for Clayton. This involvement was so committal that it emerged to be a bands issue. At a particular moment, an argument of whether to take on Christian pursuit more explicitly or to remain in rock n roll ascended between Edge, Junior, Mullen Larry, and Bono.

Obviously they chose to continue in the rock n roll. In fact, such resolutions hardly ended the patent evangelical craze. Within the Messiah roll and rock lyrics, U2 pop group asserts that creed have repetitively thrilled some pious stars.

Moreover, what additionally makes the songster analogous to the western sacred revivalists is the prominence on private affinity to the heavenly figures and this makes the leader the correct pious model for sanctity (Finney, 2003). U2 pop group proffered an oration on personage devotion significance over directorial reparation identical to the revivalists.

U2 pop group equally disapprove quite the reverse of the ecclesiastics that gawk through the orbits in the Protestants approaches. The libretto offered by Sunday Billy, conviction in Almighty rescues beings, not devotion in worship places echoed the mistrust of U2 on structured creed.

For all intents and purposes Jesus I the only way according to Billy. In contrary, it is the responsibility of everybody to seek individual faith for the soul and that Jesus is his way according to Bono. U2 band asserts that the position for deliverance is dutiful personage and hardly the cathedral institutes hence designing the soteriological remedies to emerge material.

Through the office charisma but not the specific person, Eucharist is made sacred as actual manifestation (Trachtenberg, 2008). For this reason, through the apostolic series ministers possess power due to their rapport with the ecclesiastical. This makes Bono to go for an individual select over the obligation of the organization by objecting the authority of church pastors.

U2 pop group skillfully prepared a say Approved, we might crack bucks and lilac proviso churches exist for us in the bands Achtung child lyrics in the acrobatic folder. Nonetheless, the appraisals of Finney that beings are gratis decent instruments are hearkened via U2 pop groups rhythmical doggedness on special fortitude, personage autonomy, or the incomparability of character authorization.

Comparable to Jones Sam, Bonos attitude as regards the Eucharist unusually look similar (Lofton, 2006). Jones supposedly inquired things that ought to be carried out to receive salvation in the resurgence oration. Jones could inform people to obtain the reparation of the Almightys evening meal.

Sam moreover answered that, this is one of the sacraments of the ecclesiastical of God. Jones moreover assumed that he spotted the manner in which individuals could expire and be mislaid, keep consuming the divine spiritual union, and groups that could repeatedly consume sacraments.

Based on Jones claims, priestly atonement can hardly reject a character from being mislaid in the vulnerability of anguish inferno but moderate devotion in the charm of Almighty could shield superstars. U2 pop group might hardly distribute the analysis of Jones that freedom is simply emancipation from aberrant battles yet not lyrics.

Nonetheless, U2 pop group tries to allocate such judgment on the rebuff of reparation recovery in evangelism. The messages of Bono give an impression of secularized soteriology due to rejection of sacramental salvation and his emphasis on the moral freedom of individuals (Finney, 2003).

Definitely, Bono has given a sermon on the message of personal salvation devoid of the intercession from house of worship just like Sam and Finney the American revivalists did. Bono has as well by means of employing the revival techniques to mete out this message of salvation.

Internationalization and developing nations

The Irish Rock Band U2 and Bono consistently requested for the well-being Africa and other poor nations. For instance, Bono in the Blue-Sky Bullet lyrics touched on the dark America sides although not every homily lingered on such points. However, other songs sung by this band praise America for being positive and responsible.

For instance, Bono uncovered various wrongdoings although the U2 band rapidly recovered the evildoers with Gods grace. In the Irish Rock Band U2 album named Everything that can hardly be left behind, Bono was somehow very frank and positive.

Lyrics specifically the fine-looking moments, refinement and serenity on globe were drawn on by U2 pop group and Bono to reveal the leeway and soul compromises. Whereas Bono used the peace on earth lyrics often as his utopian plea and prayer, the songsters moral mantra was the grace song.

Conclusion

The Irish Rock band U2 is amongst the major critiques of modern religion. The salvation messages asserted by Bono are some of the tactics used by the U2 band to make most leaders not just to pursue their dreams, but to ensure that such leaders take part in helping the poor nations who are their neighbors. Bono justifies the need to help neighbors by quoting some phrases from the biblical teachings.

Bono and U2 band linked personal deliverance soteriology lyrics to the opinionated direction on what poor nations ought to undertake to be salvated. Bono and U2 band claim that social agents may not receive deliverance or salvation devoid a rational global reflection offered by the prevailing humanity.

Moreover, the U2 pop group uses Maxs imageries on restructured conceptions or the intact humanity theodicy to enlighten the liberators folklore. In conclusion, the U 2 pop group asserts what Max alleges that various theodicy miseries initiates from the relief anticipation.

References

Finney, C. (2003). A revival is not a miracle: In a documentary history of religion in America to 1877. Grand Rapids, Michigan: Eerdmans Publishing Co.

Lealand, G. (1994). American popular culture and emerging nationalism in New Zealand. National Forum: The Phi Kappa Phi Journal, 74(4), 34-7.

Lofton, K. (2006). Practicing Oprah or the prescriptive compulsion of a spiritual capitalism. The Journal of Popular Culture, 39(4), 599622.

Lofton, K. (2006). The preacher paradigm: Promotional biographies and the modern-made evangelist. Religion and American Culture, 16 (1), 95-123.

Trachtenberg, M. (2008). Bono: Rock star activist. Berkeley Heights, New Jersey: Enslow Publishers, Inc.

Grunge rock is a pop culture phenomenon, an alternative rock style that combines the best of hardcore punk and heavy metal. It is characterized by loud, hoarse vocals, with personal anguish, sometimes there is slight aggression and mild propaganda of suicidal tendencies. Thanks to its eccentricity, rudeness, the richness of the melody, and gloominess of the lyrics, this kind of music quickly gained popularity and millions of fans. The purpose of this paper is to discuss the history of grunge rock as a musical style, as well as its relating to the issues of race, class, gender, and sexuality.

Description and History of Grunge Rock

Grunge rock music appeared in the 80s years of the twelfth century in Seattle. It was a synthesis of several genres, and it stood out among others in sound, presentation, and sense. The term grunge originally described murky guitar bands such as Nirvana and Pearl Jam, as well as music, existed between periods of heavy metal-hard rock and postpunk alternative rock (Henderson 7). A grunge feature was the sound of a dirty guitar, a heavy drum, and apathetic or fearful lyrics. Members of grunge groups were known for their independent disposition, rejection of theatrical productions, and success in the mainstream; they often appeared on stage in everyday worn clothes. Grunge was characterized by a guitar sound with an abundance of distortion, the dynamics of music with alternating loud and quiet, gloomy lyrics on the topic of alienation, loneliness, apathy, and freedom. During the performances, the artists achieved a characteristic dirty sound by using strong guitar distortion, fuzz, and feedback. The music had a fast and slow tempo, vocal delivery, and complex instrumentation.

The first grunge bands distinguished by their democratic and artless aesthetics were Green River, Mudhoney, Melvins, Nirvana, Pearl Jam, Soundgarden, and others. They originated in the United States and soon became famous far beyond the borders of their country. Such styles as punk rock, heavy metal, and indie rock-influenced the formation of grunge. Grunge bands borrowed features from different genres, for example, Nirvana was very attracted by punk, Pearl Jam was influenced by classic rock, and Soundgarden, Alice in Chains, and TAD had an ominous, metallic sound (Stafford). Musicians used electric guitars, guitar solos, bass guitars, drums, and other instruments. The subject of the grunge lyrics was filled with sadness and longing; most of the topics concerned social exclusion, suicidal disposition, and the desire for freedom. The songs were full of feelings of fear, anger, depression, disappointment, and a sense of addiction. It is because representatives of grunge rock showed general dissatisfaction with the state of society, irritation with social prejudices.

Concerts of grunge musicians usually consisted of simple, but extremely energetic performances. With the dissemination of media information about grunge, this musical style became an international passion and trend in fashion. However, in the late 1990s, the popularity of grunge bands began to decline, due to several reasons. One of them was that many bands were opposed to mainstream fame and long-term support from major record companies. Another reason was the emergence of post-grunge, in which there was no dirty sound, which most fans were used to and liked. The heroin addiction among grunge musicians was also a severe problem for the continuation of some grunge bands (Stafford). Derived from the grunge style, the directions of post-grunge and grunge-core quite successfully continue to appear on the modern stage (for example, the post-grunge band Seether). Despite this fact, the songs of grunge bands still influence young people and are in demand all over the world.

Relating Grunge Rock to Definers of Identity

The gloomy and depressing grunge rock lyrics contained explicit sociopolitical messages and asked questions about possible social changes and problems affecting young people. Issues of tolerance, support for women, addiction, cruelty, and mistrust of power determined the themes of grunge songs. Grunge love songs, as a rule, were dedicated to unsuccessful, painful, and doomed to breaking up relationships. The vast majority of rock performers were men, while women rockers were literally few. They were subjected to gender-biased attitudes, stereotypical thinking, and accusations of violation of gender roles (Schaap and Berkers 101). However, there were quite a few women in the grunge, which made this musical style an exception to the rule.

Generally, grunge texts had a reflective basis and were aimed at allowing a listener to penetrate hidden personal problems and reflect on them. Almost twenty-five years after the spread of grunge rock around the world, the tendency to correlate rock and masculinity remains. According to most people, femininity and sexuality are qualities that do not apply to this type of music (Rouse 73). Nevertheless, there were many talented girls in the grunge rock industry, for example, the groups Lunachicks, Dickless, 7 Year Bitch, The Gits, Hole, and others. They made a significant contribution to the development of grunge as a variety of rock and enriched this extraordinary music.

Rock grunge had fairly specific class attributes and initially did not have wide publicity. The press and television did not notice that quite a broad audience gathered around musical groups in this direction. The problem was that they were not taken seriously and were considered a big basement party, in other words  the fun of useless teenagers. The musical mood of the genre changed very often  an energetic and positive punk could easily give way to a depressing psychedelic. And again it gave way to a cheerful and groovy pace with a couple of sonorous chords of an electric guitar, as if symbolizing a victory over gloom. The main idea was expressed in the following: fatigue and unsuccessful struggle with the moral principles of a callous and indifferent society, which left the young generation along with survival in the modern world.

Conclusion

The grunge rock musical movement appeared in the United States at the end of the twentieth century and quickly spread throughout the globe. It made a revolution in the music world and violated all then-existing rules. Combining in their music unique guitar melodies, magnificent voices of vocalists, touching themes, and lyrics, grunge representatives became known far beyond Seattle, they were discussed in all media, and their work is popular even now. Nowadays, Nirvana is considered the ancestor of the genre, since it was this creative team that popularized this musical style. Nirvana band managed to achieve the first commercial success in this field. Grunge has become not only a musical style with multi-million fans and successful albums, but also a widespread subculture, a trend in the fashion industry, and world outlook.

Works Cited

Henderson, Justin. Grunge: Seattle. Roaring Forties Press, 2016.

Rouse, Jennah. Punks are Not Girls: Exploring Discrimination and Empowerment Through the Experiences of Punk and Alt-rock Musicians in Leeds. Punk & Post Punk, vol. 8, no.1, 2019, pp. 73-88.

Schaap, Julian, and Pauwke Berkers. Grunting Alone? Online Gender Inequality in Extreme Metal Music. IASPM@ Journal, vol. 4, no.1, 2013, pp. 101-116.

Stafford, Paul Edgerton. The Grunge Effect: Music, Fashion, and the Media During the Rise of Grunge Culture in the Early 1990s. M/C Journal, vol. 21, no. 5, 2018, Web.

The Concert by Kansas

Recently, on the evening of Friday, February 19, I attended a rock concert by Kansas. Kansas is an American rock band that gained its popularity as early as in the 1970s, and is still active today, albeit it had a short break in 1984-1985. The band is very famous; it gathers large audiences during its concerts.

The band mostly played some of its latest music; however, this included modifications of their classical pieces, such as the adaptation of Carry On Wayward Son for the Theres Know Place Like Home album of 2009.

The instruments employed in the concert included the guitar and percussion instruments, as well as keyboards, which are traditional for rock music. I also liked the bands new member, David Manion, who plays keyboards and participates in vocals.

The concert was given in Trump Taj Mahal  The Arena, which is located in Atlantic City, New Jersey. The setting of the concert was a large hall with a stage in front of it. During the performance, the lights were turned out, apart from some lights above the stage and the colored searchlights that danced around, creating the proper mood in the viewers.

I enjoyed the concert very much, especially the remixes of the bands classical pieces which I have heard plenty of times before. It is my opinion that the performance was great; apparently, most other viewers shared my opinion, for the audience often displayed their emotions and offered much applause to the musicians.

To sum up, the concert by Kansas took place in a large concert hall in Trump Taj Mahal; the musicians performed some of their latest pieces, as well as remixes of classical songs. The public was very satisfied with the performance, and I also enjoyed the concert much.

The Concert by Ty Segall & The Muggers

On Friday, February 26, I visited a concert by Ty Segall, a young American singer, songwriter, and musician who is famous for his solo performances. Ty Segall performed together with his companions, The Muggers, a band that was formed in 2016, when the album Emotional Mugger was released.

The music played by Ty Segall and his companions is usually described as garage rock. This performance included pieces from his new album, Emotional Mugger, one that received a great share of popularity since its recent release.

The instruments employed by the musicians during the concert included a saxophone, drums, keyboard instruments, and, most importantly, guitars. It is arguable that the electronic guitars were the most audible instrument during the bands performance; their active use added the most drive to the music.

The concert took place in Trocadero Theatre, a historic building that is situated in the city of Philadelphia, Pennsylvania. Despite the name and original purpose, the place is now used as a venue for live music concerts, mainly punk and rock concerts. As a theatre, though, it retained balconies, a peculiar feature which is not often seen in music concerts halls.

It is surprising that the use of guitar, a very common instrument in the genre of rock music, can awaken so much energy in the listeners. I especially enjoyed the Candy Sam composition, and it was apparent that it brought as much fun in the audience.

On the whole, it should be stressed that the garage-rock concert by Ty Segall and The Muggers was rather successful. It obtained the full attendance, and the whole hall in Trocadero Theatre was full of people who were obviously enjoying the music.

The Concert by Wolfmother

On Friday, March 4, I attended a concert given by a famous rock band called Wolfmother. It is interesting to note that the group originates from Sydney, Australia, and, having been formed in 2000, has more than 15 years of history. The performance they gave in Philadelphia was satisfying and energizing.

The band specializes in rock music, in particular, in heavy metal, hard rock, and stoner rock. The music that was played during the performance included the compositions from the album New Crown, which was released in 2014. Some pieces, such as Tall Ships, received especially much attention from the public.

The instruments employed during the concert, as it is characteristic of the genre of music, included drums and guitars. Andrew Stockdale, as it is usual for him, used the guitar while also singing.

The concert was given in Trocadero Theatre, a historic place in Pennsylvania that is currently used mainly for live music concerts. I watched everything from the balcony, which, I believe, provided me with a better opportunity to see and hear the musicians and the performance than I would have had if I had had a seat near the stage.

On the whole, I very much enjoyed the performance, The concert was rather energizing, though there were a number of calmer compositions that caused some vivid memories to race in my mind. It is also interesting to point out that Stockdales Australian accent added some additional peculiarity to the music.

To sum up, it should be stressed that the concert given by Wolfmother in Philadelphia was a worthwhile event that gathered a large audience and provided a great amount of joy for the listeners. It was apparent that the musicians also gained much pleasure from giving the concert.

Pink Floyd is an English Rock Band that was formed in 1965 with its active years being 1965 to 1983 and 1987 to 1999 and several one -off reunions between the years 2003 and 2007. The band originated from Cambridge and London England (Keno).

Pink Floyd first started as a band known as Sigma 6 then changed to The T-set then The Meggadeaths, The Architectural Abdas, The screaming Abdas and later The Abdas. At this point the members were Roger Waters, Cline Metcalf, Richard Wright, Nick Mason, Juliet Gale and Keith Noble. Later Juliet, Noble and Metcalf left the band and were replaced with Bob Close later left after a while. The groups main members are Syd Barret, David Gilmour, Rick Wright, Roger Waters and Nick Mason (Utopia Knoware). Barrett later renamed the band Pink Floyd honoring the musicians Pink Anderson and Floyd Council and became its songwriter, lead guitar player and lead singer.

Being a favorite underground movement band it played at UFO club, Roundhouse and Marques club having attracted attention of many in mid 1966. The bands musical style was identified as art rock or progressive rock. This was influenced by British Psychedelic rock, which attempts to replicate the mind altering experiences of hallucinogenic drugs (MacDonald).

Pink Floyd recorded its first two songs in 1966. One was Lucy Leave a combination of R & B and pop music rhythms which helped get the band some attention. The year that followed-1967, saw the band sign with EMI Records and subsequently released its first single Arnold Layne. The song was a hit and reached UKs top 20 though it didnt sound like the live shows. A second single See Emily Play reached number 6 in 1967 therefore proving to be a greater hit song. In the same year the band released its first Album titled The Pipe at the Gates of Dawn, and it became a top 10 hit with many claiming it to be British greatest psychedelic album other than the Beatles Sgt Peppes (Keno). The album was mostly written by Barret and had lengthy riff  laden instrumental passages.

Pink Floyd began to tour with the Albums great success. Problems with Syd Barret the lead singer writer and lead guitar player started to show up during the US tour when he started to play music that was not part of their set and would at times stand on stage and not play at all and appeared as incoherent in some of the interviews. Syd by now was a heavy drug user and though a gifted genius, he was a step from insanity. In 1967, Floyd released its third single Apples and Oranges with two recordings being considered unsuitable for release because of Syd Barret wasted condition that meant he could not properly finish them. Barret left the band a few months later due to his mental instability. His part was taken over by his old high school friend Gilmour in February 1968 as the lead guitar (Sunday Times Online).

After departure of Syd Barret, Gilmour became the lead guitar and Water took the lead singer and writer positions. The next few albums were different in style with Meddle of 1971 gathering the best review. In 1973 they released a master piece that became one of best selling albums which stayed on the Billboard chats for over a decade and sold over 25million copies. The album was titled  Dark Side of the Moon. It was Waters brilliant writing that made this album such a success. In 1975, an album Wish You Were Here was dedicated to Syd Barret. The song Shine on you crazy diamond in the album dedicated and all about Barret. During the recording Syd Barret paid the band a surprise visit at Abbey Road Studio, this being the first time the members had seen him since 1969 (Pink Floyd Online).

By 1977 members werent getting along and they had an album Animals  which wasnt a big hit. There was talk of a break -up of Pink Floyd. Despite this an album The wall was released in 1979 which became their second biggest selling album. With relations getting worst, Waters insisted on Wright being fired by the band and this finally happened in 1980. Both Gilmore and Mason took a side in the dispute and there seemed that there would be no more Pink Floyd albums. An album The Final Cut which was more of a solo project for Waters was released in 1983. The band finally split up and all members did their solo albums (Mason, 302). In 1986 Mason and Gilmore reformed the band with Waters claiming that without him there was no Pink Floyd. Wales went to court to stop them but lost in 1987. Gilmore Mason & Wright joined up and released the album A Momentary Lapse of Reason. The album was good but not as the past Floyd albums. They went for a worldwide tour and had a live album, Delicate Sound of Thunder that became big hit. In 1994 they released a new album The Division Bell and in 1995, there was another double live album Pulse that was well received by fans (Fitch 126). Waters remained bitter towards his former band mates.

In 1995 the band was awarded a Grammy Award for Best Rock Instrument Performance for Marooned. In the same year they released a live album entitled P*U*L*S*E which was hit number one in the US. At a live 8 concert on 2^nd July 2005, the band reunited with Waters joining them and shared a group hug at the end of the performance. Pink Floyd were later recognized by being inducted into the UK music hall of fame (16^th November 2005). A record breaking US$ 250 million deal reunion tour was offered but the band made it clear that they had no such intentions (Prog Archives).

With its success, Pink Floyd earned acknowledgment in psychedelic rock and later in progressive rock music as time went by. The band is now popularly known for its philosophical lyrics driven by sonic experimentation resulting in elaborative live shows and innovative album covers. It has influenced a number of artists that include Genesis of the 1970s and have sold over 210 million albums worldwide (Prog Archives).

Work Cited

Fitch, Vernon. The Pink Floyd Encyclopedia. Burlington: Collectors Guide Publishing, 1998

Keno. Pink Floyd Biography. Kenos Classic Rock N Roll Website. (1999). Web.

MacDonald, Bruno. Pink Floyd: Through The Eyes Of The Band, Its Fans, Friends, And Foes. Cambridge: Da Capo Press, 1997

Mason, Nick and Philip Dodd. Inside Out: A Personal History Of Pink Floyd. San Francisco: Chronicle Books, 2005

Pink Floyd Awarded Polar Music Prize. progarchives.com. 2009. Web.

Pink Floyd History. pinkfloydonline.com. 2009. Web.

Rock N Roll Biography. Pink Floyd. utopia.knoware,nl. 2009. Web.

The dark side of Pink Floyd. Sunday Times Online. 2009. Web.

Introduction

U2, the Irish Rock Band, has been under the guidance of the songster called Bono since 1980s. During most nationalized prayers particularly the February 2006 Washington, DC state mealtime payers, Bono offered a crucial speech concerning religious issues.

The affair was planned by the evangelical Christian charity and was attended by various world leaders, congress members, George Bush, and over three thousand people across the world. Before this crowd, Bono admitted that there could be something inappropriate or something deviant a propos the rock stars going to the podiums and starting to preach at the world leaders.

According to Bono sermon virtues, instead of preaching to the presidents, the rock stars should give aid to the poor Africans and the sick. With reference to the universal higher bylaws, Bono on behalf of U2 implored global elected officials to go past religion since it usually obstructs God’s ways. In fact, politicians are requested by Bono to hold the grace period that instigated with the Jubilee year, which is the new millennium.

The speeches offered by Bono during most mealtime prayers have made fanatics as well as the popular press associates to label Bono as the Messiah of Roll and Rock. Whereas since 1980s this songster has been infusing opinionated and theological teachings in the U2 lyrics, Bono transformed songs discourses into persistent political actions (Lofton, 2006).

In fact, Bono united with Pope Paul John 2 together with others in the waive debt drive. The songster invoked the Jubilee period as noted in the customs of Leviticus when most arrears were waived devoid of penalties. Songster, as a manager of DATA, spiritual and U2 pop group organizer has habitually been rising to the arena to sermonize to elected official and states heads.

The procedures and promotion schemes used by the songster are akin to those utilized by the present-day American renaissance evangelists that scholars idealized. Similar to Billy and Moody, who are the United States of America evangelical complements, the songster travelled the universe to urge the developed nations to waive the arrears poor nations owe them.

Bono via advocating for the Africans debt waiving fuses the revival strands and the American roll and rock in the politics of religion. The backing of the inclusive politics by the songster serves as an image of what various sociological practitioners dubbed the internationalization of dogmas.

However, to take part in the modern world politics, Casanova claims that social artists should accept the modernity commands that accrue from the desire. This is particularly factual for the religious conviction according to Casanova.

In fact, Bono asserts that, just the religions that have included as their personal enlightenment religion critique, the central aspects affecting poor nations stand a chance of playing the optimistic responsibilities in advancing the realistic rationalization progression (Lealand, 1994).

Bono and the U2 Irish Band act as religious brokers and the negation techniques used to advocate for the African debt waiving materialize to be religious. The data foundation, which is a poor state construction venture initiated by the songster in support of U2 pop group is both a wholeheartedly spiritual observer as well as an indisputably material undertaking.

Advocating for poor nations basically demonstrates what Asad Talal tentatively argued concerning the secular conception claiming that the practice can hardly happen devoid of the religious notion (Lofton, 2006). Through advocating for the poor African nations, the U2 Irish band songster preaches the secularized soteriology.

This emerges to be the communal fiscal and spiritual prescription for deliverance unrestrained by the religious organizations. Whilst committed to the saintly behaviors as mature and material activism which incorporates the undertakings of creed, the U2 pop group has upheld the West overall diplomatic status with eschatological prospects and gospel sparkles.

This paper illustrates the Irish Rock band U2 as a critique of modern religion. The salvation messages asserted by Bono as Max Weber indebted are incorporated in the paper.

For instance, by linking the personal deliverance soteriology lyrics to the opinionated direction on what poor nations ought to undertake to be salvated, the analysis of Bono and U2 band works in this paper symbolizes the three features of Max Weber soteriology hypothetical accounts. The first section claims that social agents may not receive deliverance or salvation devoid a rational global reflection offered by the prevailing humanity.

Part two utilizes Marxist designs on simplified conceptions or the humankind theodicy to elucidate the Almighty’s folklore. The last section asserts what Max Weber claimed that some theodicy sufferings instigate from the deliverance hope.

The Irish Rock Band U2 and global politicians

The songster and U2 pop group move athwart capital avenues to pastoral mountains, athwart ecological milieus, chronological architects, gaps, and era, to the Western nations from Ireland. Bono in this lyrical image depicts the true American image that is tangled up. In fact, U2 and Bono snatched a limelight intended to shine the blue-sky bullet that darkened the stage.

Throughout the lyrics, Bono and U2 band lament about the capitalism evils, but through highlighting and advocating against the capitalists ideas, Bono shades light across the board. Bono blames Americans for ignoring the African AIDS disaster through hoarding wealth (Finney, 2003).

The U2 band praised the Beastie Boys, the UN representatives, and Bill Clinton for the humanitarian responsibilities assumed, though Bono requested them to give out additional aid to the developing nations and fund research studies conducted on AIDS.

Bono manages to blend the political convictions with religious renderings by calling on the Americans religious commitment. The devout backwoods for the songster could be developed nations and U2 pop group perceives America as a terrain of opinionated leeway and pious assurances. When compared to the bands political messages, the divine passion of Bono are somehow unstructured (Trachtenberg, 2008).

Throughout Bono’s speaking engagements, concert performances, and references lyrics, Bono portrays the bands religious thoughts. During public religious politics performances, the Irish Rock Band U2 undertakes the communal theologians’ responsibilities.

Despite his liking of America, Bono and U2 band claim that American has been consuming various poor nations. In fact, America is Bono and the U2 band pulpit, but the songster tells the graduating populace that in the Ten Commandments given to Moses by God, loving thy neighbors’ residing in the universal villages is convenient. Thus, Bono calls upon developed nations to waive the debts given to the third world nations.

The Irish Rock Band U2 in ‘pop’, the most non-judgmental album, claims that not everything can be reached, grubbed, nor forced, and they cannot be religiously grabbed given they can hardly be connected to love. Bono and U2 avows that just the passion for can help in rattling the Iron cage. In the popular lyrical song, ‘Blue-sky-bullet’, the songster is correlated to the Israel’s holy bible fantasy.

In fact, the unfolding in first book of the bible emphasizes that Israel clashed with the Almighty’s correspondent in the darkness (Lealand, 1994). Acting as Jacob, the Irish Rock Band U2 under the guidance of Bono emblematically tussled with the U.S. and the Almighty.

Actually, Bono has a clear understanding of the Americans and the Almighty and claims that both ought to be conquered. According to Bono and the U2, the United State of America acts as the prospective envoy for the Almighty kindness, or Deity’s loveliness that should be emulated in the America’s capacity to waive debts.

Resembling the Almighty’s representative in the holy bible, the Western nations possess the supremacy to surname, classify general countries, and bestow commands. Therefore, via DATA, the Irish Rock Band U2 and Bono have frequently been recognizing such commands held by the U.S., and they call upon America to offer support for the people of God.

As a matter of fact, Bono and U2 demands for grace having been jerked by the Americans during the day (Lofton, 2006). Using the Almighty as the reference point, Bono and U2 has been requesting for the new fangled pledge of equality at the financial possibilities frame.

Conquering religious conviction

While the Irish Rock Band U2 toured Vertigo, the songster, Bono, wore a diadem during most stage performances. The headband had numerous symbols portraying the pictures of Christianity, Judaism, and Islam. Some of the symbols included the Cross-, the David’s Star, and a Crescent written within the ‘Coexist’ phrase.

Also dubbed as the ‘Rock Messiah Bandana’, Bono diadem was sometimes reserved for special occasions. For instance, Bono wore the headband all through the ‘Else, or Peace and Love’ concerts while reserved it for some melodies such as ‘could there be the primary communion moment?

A song sung for Miss Sarajevo, and ‘do we spare instances to go to the synagogue?’ or ‘do people have occasions spared to visit the exquisiteness emperor facing God, Mecca? In concluding, Bono and U2 ask whether there special moments meant for the shared principles and fighting for rights of fellow citizens (Lealand, 1994).

When performing the ‘Blue-Sky Bullet’, Bono slipped the so called the messiah crown to cover his eyeballs and consequently knelt downward while putting his arms on the skull. Most people referred the activities as all of us belong to father Abraham’s descendants.

However, after the sermon, Bono and U2 band explained the diadem importance to the fanatics by naming every sign whilst delivering in rhythm. The symbols denoted Muhammad, Jew, and Jesus all of whom are children of God and Abraham’s sons (Lofton, 2006).

With the occurrence of the September 11 2001 terrorists’ attack of the world trade center, Bono blamed the incidence as a spiritual transcendence. During the Vertigo tour, U2 band under Bono control delivered various religious messages but in all cases, the messages seemed packaged, reproduced and proffered in a restructured approach.

Whilst delivering the messages, the U2 band could alter the lyrical contents yet maintaining the methods utilized. Under chock-full sports ground that stymied the faint illumination, the songster utilized torches to burnish the arena. Furthermore, Bono tore the messiah crown and invited the elected officials who attended the show but remained sited in the luxurious boxes (Trachtenberg, 2008).

While entertaining the guests and fans, the Irish Rock U2 members and Bono ran about the heart fashioned podium. Despite emerging, as the modus operandi of the lyrical concerts, the techniques applied by Bono and the U2 band resembled the contemporary revitalization methods initiated and idealized by the American evangelists of the 19^th century.

The Second Great Awakening between the fiscal 1780’s and 1830’s is denoted by the Finney revivals as claimed by Mathews. The creation of a mutual world experience by establishing several analogous local institutions enables the revivals to geologically consolidate discrete groups of persons into a national body. The utmost achievement of the awakening was the American democratization of Christianity.

Through church according to Hatch Nathan, revival brought to individuals self-determination, independence, and democratic standards. Accompanied with gospel music, the flames of religious ecstasy were fanned into popular culture by the ministers during that time (Lofton, 2006). As a result, Nathan correlated the opinionated efforts of the songster to the Western nations’ revivalist spiritual vocation

Bono’s application has comparable net special effects to those of American revivalist as it echoes their revival drudgery. In fact, the principles of Second Great Awakening that was distributed gets support from Bono’s talking engagements, preaching concerts, and working with DATA.

Besides, Bono’s rhetorical tropes, antics in concert, conversation policies, and distribution methods are comparable to other later evangelists (Lealand, 1994). For instance while in United Kingdom Bono said, ‘Provide you’re already converted, you don’t need me preaching at you.

Though I must say I take pleasure in it addressing the conference of Labour Party. The songster possesses his own techniques of conversion just like other philosophers including Finney. Bono’s conversion strategies would leave a fresh revival with a scorching and gentle love for enemies, relations, and friends souls.

Political conversion enabled Bono to convert Helms Jesse who was for a lengthy period served with a staunch conservatism as a Senator in North Carolina. In reality, after personally meeting Bono and moving to tear in the U2 concert, Helm turned into a resilient fighter against African AIDS (Lofton, 2006).

Finney tempted alteration and atonement to the listeners planning to make them surrender their lives to the Deity. Comparable to Finney, Bono established a parallel kind of dispensationalist zeal in working for the radical apprehension of biblical Jubilee.

The religious signs and messages conveyed by Bono in mystical concerts are similar to those of revivalist such as Moody Dwight approaches. In their revivals, Dwight Moody and others included gospel singing. Otherwise, in the course of his nomadic tours, Dwight was often escorted by Sankey Ira who was a song frontrunner. In fact, these nomadic tours initially covered Great Britain and thereafter all over US.

Sankey worked on ‘Moody and Sankey Hymn book’ that was his own songbook in this trip. This was the best ever published worshipping script according to the journalist of New York Times who was present at the concert in the fiscal 1875 (Lofton, 2006).

Actually an individual can sing the verses in this song just after a single audible range. It is possible as its lyrics are affirmative in character, filled with gospel, simple, and the melodies express the purpose they are lined up for.

Even though a number of U2 songs are simple and straight forward, not all of them are entirely positive. Indeed, certain volumes recorded by Harlem gospel choir that is, ‘I Still Haven’t Found What I’m Looking For’ or the ‘Pride’ a version bestowed to King Martin Luther Junior as an anthem were like gospel.

During the performance alongside Bono, the whole spectators could as well sing and only a few individuals could dispute this. The songster materializes to be dirt free claiming that U2 pop group lyrics vocalizes deity besides claiming that honor and adoration songs are secondary but undeviating progenies of inspired religious account (Finney, 2003).

On the contrary, the songster accentuates whilst dialoguing the biblical conception premise as a godly of expected manifestation asserting that U2 pop group lyrics have their unambiguous affirmations about deity. Normally, various shows portrayed the songster like a roll and rock star in one given that Bono recurrently offered binary guiding tasks involving evangelists as well as religious melody favorite.

The sustained efforts to overcome religion mark the utmost remarkable similarities amid American revivalists and Bono. Otherwise, Bono operated on rhetorical and musical ways and means. In the fiscal 2006 mealtime plea, the songster uttered the band’s commotion that faith is repetitively obstructing Almighty.

Learnt examples from developing in the hands of Catholic females along with Protestant dads in Ireland proffer the songster’s analysis on Bono struggle with religious conviction. U2 pop group’s Irish frameworks advanced its stance in regard to structured creed at particular theaters.

Nonetheless, U2 pop group begged off to be part of the Irish scuffle amid Catholic devotees and churches full of Protestants. Thus, Bono’s evangelical mood relates to his strength of character of working separate form religious organizations (Lealand, 1994).

U2 pop group was fundamentally drawn in dynamically in the Almighty’s evangelical huddles bar for Clayton. This involvement was so committal that it emerged to be a band’s issue. At a particular moment, an argument of whether to take on Christian pursuit more explicitly or to remain in rock ‘n’ roll ascended between Edge, Junior, Mullen Larry, and Bono.

Obviously they chose to continue in the rock ‘n’ roll. In fact, such resolutions hardly ended the patent evangelical craze. Within the Messiah roll and rock lyrics, U2 pop group asserts that creed have repetitively thrilled some pious stars.

Moreover, what additionally makes the songster analogous to the western sacred revivalists is the prominence on private affinity to the heavenly figures and this makes the leader the correct pious model for sanctity (Finney, 2003). U2 pop group proffered an oration on personage devotion significance over directorial reparation identical to the revivalists.

U2 pop group equally disapprove quite the reverse of the ecclesiastics that gawk through the orbits in the Protestants’ approaches. The libretto offered by Sunday Billy, ‘conviction in Almighty rescues beings, not devotion in worship places’ echoed the mistrust of U2 on structured creed.

For all intents and purposes Jesus I the only way according to Billy. In contrary, it is the responsibility of everybody to seek individual faith for the soul and that Jesus is his way according to Bono. U2 band asserts that the position for deliverance is dutiful personage and hardly the cathedral institutes hence designing the soteriological remedies to emerge material.

Through the office charisma but not the specific person, Eucharist is made sacred as actual manifestation (Trachtenberg, 2008). For this reason, through the apostolic series ministers possess power due to their rapport with the ecclesiastical. This makes Bono to go for an individual select over the obligation of the organization by objecting the authority of church pastors.

U2 pop group skillfully prepared a say ‘Approved, we might crack bucks and lilac proviso churches exist for us’ in the band’s Achtung child lyrics in the acrobatic folder. Nonetheless, the appraisals of Finney that beings are gratis decent instruments are hearkened via U2 pop group’s rhythmical doggedness on special fortitude, personage autonomy, or the incomparability of character authorization.

Comparable to Jones Sam, Bono’s attitude as regards the Eucharist unusually look similar (Lofton, 2006). Jones supposedly inquired ‘things that ought to be carried out to receive salvation in the resurgence oration. Jones could inform people to obtain the reparation of the Almighty’s evening meal.

Sam moreover answered that, this is one of the sacraments of the ecclesiastical of God. Jones moreover assumed that he spotted the manner in which individuals could expire and be mislaid, keep consuming the divine spiritual union, and groups that could repeatedly consume sacraments.

Based on Jones claims, priestly atonement can hardly reject a character from being mislaid in the vulnerability of anguish inferno but moderate devotion in the charm of Almighty could shield superstars. U2 pop group might hardly distribute the analysis of Jones that freedom is simply emancipation from aberrant battles yet not lyrics.

Nonetheless, U2 pop group tries to allocate such judgment on the rebuff of reparation recovery in evangelism. The messages of Bono give an impression of secularized soteriology due to rejection of sacramental salvation and his emphasis on the moral freedom of individuals (Finney, 2003).

Definitely, Bono has given a sermon on the message of personal salvation devoid of the intercession from house of worship just like Sam and Finney the American revivalists did. Bono has as well by means of employing the revival techniques to mete out this message of salvation.

Internationalization and developing nations

The Irish Rock Band U2 and Bono consistently requested for the well-being Africa and other poor nations. For instance, Bono in the Blue-Sky Bullet lyrics touched on the dark America sides although not every homily lingered on such points. However, other songs sung by this band praise America for being positive and responsible.

For instance, Bono uncovered various wrongdoings although the U2 band rapidly recovered the evildoers with God’s grace. In the Irish Rock Band U2 album named ‘Everything that can hardly be left behind’, Bono was somehow very frank and positive.

Lyrics specifically the ‘fine-looking moments’, ‘refinement’ and ‘serenity on globe’ were drawn on by U2 pop group and Bono to reveal the leeway and soul compromises. Whereas Bono used the ‘peace on earth’ lyrics often as his utopian plea and prayer, the songster’s moral mantra was the ‘grace’ song.

Conclusion

The Irish Rock band U2 is amongst the major critiques of modern religion. The salvation messages asserted by Bono are some of the tactics used by the U2 band to make most leaders not just to pursue their dreams, but to ensure that such leaders take part in helping the poor nations who are their neighbors. Bono justifies the need to help neighbors by quoting some phrases from the biblical teachings.

Bono and U2 band linked personal deliverance soteriology lyrics to the opinionated direction on what poor nations ought to undertake to be salvated. Bono and U2 band claim that social agents may not receive deliverance or salvation devoid a rational global reflection offered by the prevailing humanity.

Moreover, the U2 pop group uses Max’s imageries on restructured conceptions or the intact humanity theodicy to enlighten the liberators’ folklore. In conclusion, the U 2 pop group asserts what Max alleges that various theodicy miseries initiates from the relief anticipation.

References

Finney, C. (2003). A revival is not a miracle: In a documentary history of religion in America to 1877. Grand Rapids, Michigan: Eerdmans Publishing Co.

Lealand, G. (1994). American popular culture and emerging nationalism in New Zealand. National Forum: The Phi Kappa Phi Journal, 74(4), 34-7.

Lofton, K. (2006). Practicing Oprah or the prescriptive compulsion of a spiritual capitalism. The Journal of Popular Culture, 39(4), 599–622.

Lofton, K. (2006). The preacher paradigm: Promotional biographies and the modern-made evangelist. Religion and American Culture, 16 (1), 95-123.

Trachtenberg, M. (2008). Bono: Rock star activist. Berkeley Heights, New Jersey: Enslow Publishers, Inc.

Introduction

Music has been developing alongside societal, political, and cultural changes. Looking at what style of music was particularly popular at a given point in history may reveal what society has been going through at that time. The 2000s was a decade of turmoil and political changes that drastically changes the societal and economic environment not only in the United States but also worldwide. As George W. Bush won the election and became a new leader, the economic expansion that preceded the election came to a significant halt, and the tragedy at the World Trade Center became a defining event in launching the struggle against terrorism.

The musical industry reflected these challenges. The alternative rock scene that emerged in the 1980’s and gained further popularity in the 1990’s provided the youth of the 2000’s with a soundtrack to the emotional struggles that they experienced in the environment of fear, changes, and severe pressure.

In this paper, the influence of the alternative rock scene on the shaping of the early 2000s will be explored to determine how music reflected the changes that society was experiencing. The contribution of Linkin Park as a key player in the alternative rock scene will be placed in the center of the research. The album Hybrid Theory will be analyzed in greater detail for pointing out themes that arose as a result of turmoil as well as discovering its emotional, musical, and stylistic backbone.

Review of Literature

The Social and Political Landscape of the 2000s

The 2000s have been defined by historians as “America’s lost decade” when the country lost its international superiority and “punted the mantle of global supremacy to China” (Burnett). Events that took place at the very beginning of the decade were the most influential due to their traumatic nature. In 2000, the United States experienced “the most unfair US election ever,” in which Al Gore won by majority although Bush won the electoral college (Kettle).

This is similar to the way the current President won the election. One year in Bush’s presidency, the United States was traumatized by the terrorist attack of September 11th, which subsequently led to the country going into war against terrorism, warranting the administration “near-dictatorial power” (Burnett). The efforts of the Republican-led government to convince Americans that the administration was competent to continue its rule resulted in Bush defeating Kerry in the next election despite the ongoing invasion and armed action in Iraq. Nevertheless, by 2005 the society started to wake up and recognize that the existing government deteriorated the country’s position. Thus, the social and political environment of the early 2000s was challenging for society, and the music scene of that period brilliantly reflected the struggle.

Alternative Rock Scene of the Early 2000s

Rebelling against the established rules and pointing out the flaws that existed in the society at that time were primary messages that alternative rock music of the 2000s tried to convey. According to Hunter’s definition for Britannica, alternative rock is a blend of conventional sounds of rock music with other styles of music ranging from folk to hip-hop. The massive popularity of the genre in the noughties can be explained by the fact that artists wanted to experiment with their music to find signature sounds that could attract the attention of a generation that sought an outlet for its anger and resentment the society.

The list of alternative singles that represented the genre at that time included such artists and bands as Red Hot Chili Peppers, Green Day, Papa Roach, Nickelback, System of a Down, Foo Fighters, the White Stripes, and many others. They were heavily influenced both by the aggressiveness of such bands like the Clash or the Sex Pistols while also taking some musical notes from the arty and melodic Patti Smith or Velvet Underground (Hunter). Pointing out clear influences that alternative rockers of the 2000s had is hard due to the complexity and multi-dimensionality of the music they produced.

Also, the knowledge of ’80s and 90’s hits also contributed to the popularity of some bands. While die-hard fans of glam rock and David Bowie, in particular, could see direct references in the music of such bands as Placebo to Ziggy Stardust, others paid closer attention to Foo Fighters because the band’s frontman was a drummer in Nirvana, the music of which defined a generation. While there are hundreds of bands that can be chosen for a detailed analysis, the music of Linkin Park will be discussed further.

Linkin Park: From Zero to Eternity

Despite the shocking and unfortunate death of Chester Bennington in 2017, Linkin Park remains the voice of a decade. Formed in 1996 by Mike Shinoda, Brad Delson, and Rob Bourdon under the initial name Xero, the band could not boast of significant success or progress. In 1999, however, Chester Bennington was recruited as a new vocalist for his unique and dynamic style of singing. The change in the lead singer prompted a change in the band’s name’ to Hybrid Theory, which did not last long. The unique sound that the band managed to achieve when Bennington ad Shinoda started working on new material for their album marked a revival that was solidified by another change in the name to Linkin Park.

The release of the now considered iconic album Hybrid Theory granted the band massive financial success due to the unique sound that was recognizable among other bands that still cherished their grunge heritage and could not experiment with new styles successfully. The “blending of Bennington’s piercingly pained vocals” with “Shinoda’s prodding rapping and the band’s irresistible pop hooks” bulldozered the band’s way to popularity (Le Miere).

Hits such as “Crawling,” “In the End,” and “One Step Closer” made the album a best seller in 2001, with more than ten million copies sold in the US only (Le Miere). Also, the album became the best-selling debut album of the century while making the band honored with a Grammy for best hard rock performance (Le Miere). Since Hybrid Theory was a massive success that opened many opportunities to the band, its significance to the shaping of the 2000’s social and musical landscape will be explored, with a focus placed on lyrics and musical choices.

Analysis: Hybrid Theory

In the true spirit of alternative rock music, Hybrid Theory was a successful attempt of the band to show that rock and rap genres can mix to create a unique combination that is unlike anything else. It was chosen to focus on this album in particular (as opposed to Meteora released in 2003) because it represents the essence of the decade’s beginning and is considered the best work that Linkin Park has ever released. This mix of formerly unmixable and even opposing styles embodies the conclusion of the promises of the Great Society, in which ethnicities, genders, races, classes, and cultures all blend into one unity. To some extent, the album pointed out the growing divide and confusion in the US between Republican and Democratic values.

While there are no direct allusions to the state of the society, the underlining idea behind some of the album’s songs was that confusion and fear prevailed, as seen in the following quotes from “Crawling”: “fear is how I fall, confusing what is real;” […] “the lack of self-control I fear is never-ending” (Hahn et al. “Crawling”). It is not surprising that these lyrics captured the attention of millions because the feeling of confusion could be applied not only to the state of political instability but also to the way most teens feel (Beaumont-Thomas). Thus, there is a universal message in “Crawling” that can be interpreted differently depending on the experiences of the song’s listeners.

In “In the End,” the authors point to the problem of the world expanding too fast, which meant that most people did not have a chance to take on new opportunities. The song represents a realization of the lie that when someone tries hard, opportunities will come. The lyrics “I tried so hard and got so far, but in the end, it doesn’t even matter” transfer the unquenchable anger that many young people may have toward the all-absorbing individualistic ideas promoted by the neo-liberalist Capitalist Democracy (Hahn et al. “In the End”).

“One Step Closer” bears a similar connotation to “In the End” as it speaks about being on edge and recognizing the pressure that is put on everyone in the society: “Everything you say to me takes me one step closer to the edge, and I’m about to break” (Hahn et al. “One Step Closer”). The choice of topics and how the band presented them to listeners is very telling to the way society felt at that time. There was a glaring emotion of doubt and discontent with the direction in which the society was heading that could be traced through a large portion of the Hybrid Theory.

Emotional turmoil and, to some extent contradicting behaviors are inherent to most young people, which means that they seek an outlet for their feelings. For the generation that was growing up in the early 2000s, Linkin Park and Hybrid Theory became such an outlet. The value of future albums that the band produced has been extensively debated because of the changes in sound, the temporary absence of one of the main contributors, Mike Shinoda, as well as the entire new attitude with which the band presented itself.

Hybrid Theory is a brilliant representation of how alternative rock shaped the future developments in music because it made a ‘hybrid’ from traditional rock sounds and rap, making the combination unforgettable. It became a signature sound of the band that made it recognizable and catchy; the style and unique sound of Linkin Park is impossible to confuse with any other band.

While it is hard to pinpoint specific artists that were heavily influenced by Linkin Park’s music, it is evident that the decade that followed the band’s popularity was characterized by more experimentation in alternative rock sounds. The feelings of confusion and resentment that prevailed in the majority of songs on the Hybrid Theory album brilliantly reflected the state of the American society of that time. For some, “In the End” may be associated with a story of an unfortunate breakup between teenagers, while for others, the meaning of the song is much deeper and is linked to the rising pace of society’s development, which eliminates many possibilities to be successful in life, especially for the youth.

Concluding Thoughts

As the beginning of the 2000s was characterized by turmoil in multiple spheres of society’s life, alternative rock music came to play a large role in mirroring negative feelings. A unique thing that Linkin Park managed to achieve through their music is connecting to their listeners without setting any boundaries or rules. The Hybrid Theory album represents the meshing of cultures, styles, and approaches to music that has never been as successful.

While there is strong underlining of despair and fear for the future when it comes to actual song lyrics, there is a sense of unity associated with the album in general because every person can relate to it to one degree or another. When one is listening to the hit songs that Linkin Park released in the early 2000s, there is no sense of differentiation by race, gender, or class – everyone is equal. Thus, the main influence of Linkin Park on the new alternative wave of music was the band’s ability to look beyond labels and experiment with things that seem unmixable.

Works Cited

Beaumont-Thomas, Ben. “Linkin Park Singer Chester Bennington Soothed the Angst of Millions.” The Guardian. 2017. Web.

Burnett, Bob. “2000-2009: America’s Lost Decade.” Huffington Post. 2010. Web.

Hahn, Joseph, et al. “Crawling.” Azlyrics, 2000. Web.

—“In the End.” Azlyrics, 2000. Web.

—“One Step Closer.” Azlyrics, 2000. Web.

Hunter, James. “Alternative Rock.” Britannica, 2018. Web.

Kettle, Martin. “The Most Unfair US Election Ever.” The Guardian. 2000. Web.

Le Miere, Jason. “How Chester Bennington and Linkin Park’s ‘Hybrid Theory’ Changed the Face of Rock Music.” News Week. 2017. Web.

Bjurström, Erling and Hylland, Ole M. (Eds.). (2018). Aesthetics and Politics: A Nordic Perspective on How Cultural Policy Negotiates the Agency of Music and Arts. Springer International Publishing.

This scientific work tries to find the primary sources of rock as a culture. The authors refer to the ancient Nordic society, analyzing their way of life, moods and character. Musical instruments and the role of music as a sphere of art in the life of the layman are considered separately. As a result, the researchers come to the conclusion that it is impossible to identify the only source of the genre, but it is worth considering the whole society as a whole. This, in turn, suggests that rock can be regarded as a worldwide condition, since different parts of the world in one way or another invented rock motifs and melodies. Thus, the writers emphasize that the genre should be considered as a separate stage in the evolution of art, and not only in the field of music.

Mazel, Aron, Charette, Carole and Nash, George. (Eds.). (2021). Indigenous Heritage and Rock Art. Worldwide Research in Memory of Daniel Arsenault. Archaeopress Publishing Limited.

The authors of this book conduct a worldwide and large-scale study of the role of rock motifs and certain musical instruments in the life of primitive societies. Further, the writers notice the cultural characteristics of the natives and Indians, as well as African tribes, emphasizing rock music as a tool for connecting with God. This allows us to conclude that the religious meaning in rock culture is present as one of the root causes of the formation of a whole movement. Finally, it is worth highlighting the ubiquity of the analyzed genre, which explains not only the popularity of rock, but also the whole lifestyle associated with it. An important addition is the selection by researchers of the most popular and first melodies by sounds and notes, and the identification of a close relationship with ancient cultures. The conclusion of the study is that rock has its own clear laws and rules for implementation, which originate more than 1000 years ago.

Moore, Allan and Carr, Paul. (Eds.). (2020). The Bloomsbury Handbook of Rock Music Research. Bloomsbury Academic.

This book is not a study of the genre itself, but a guide to the methodology of studying rock. The authors compare and contrast the instruments used to explore this area of ​​music. It is noted that this genre does not need to be analyzed as a separate sphere of art, but, on the contrary, it can look for conjugations and relationships. In addition, an important note of the authors is the integrity and unity of all art. This is expressed primarily in the fact that the mood broadcast by rock can be observed in other subsystems. This in turn means that only an objective, exploratory and multifaceted approach can bring the right results.

Smith, Heather N., Perrone, Alyssa, Wilson, Michael, Raghanti Mary Ann, Lovejoy, Owen C., Rosen, Merri J., Shanbhag, Sharad J., DeForrest, David S., Lyman, Lee R. and Eren, Metin I. (2021). Rock Music: An Auditory Assessment of Knapping. Web.

This article explores the phenomenon of the popularity of rock music among everything on earth. The authors are sure that the relationship of the genre with moods and people comes from the distant past of civilization. One of the researches included in the article was the analysis of wooden and later electric musical instruments. The authors came to the conclusion that the choice of both the material and the tonality of the sound of such instruments is not accidental, but is intended to communicate to God, nature and the public about the most disturbing problems. It is this approach that is taken as the basis of the study, in which rock music is considered as a separate language of self-expression and cultural context.

Šajnović, Melanija. (2021). Rebellious Sixties: Countercultural Values in Rock Music. Web.

This book explores the relationship between culture and rock as a genre of music. It is remarkable that the authors take the basic sounds of English culture as a basis for studying and consider their introduction into the genre. Thus, the authors come to the conclusion that rock is not so much a relatively modern trend in art and culture as a collective image of different eras. Finally, the book provides theory and analysis of the origins of rock music and its development. This allows to understand the causes and key aspects of the whole process, as well as to reveal the relationship of the analyzed genre with world culture.

The first wave of rock music met its demise due to the combination of two factors. First of all, at the end of the 1950s, rock and roll lost several important figures. In particular, Little Richard quit music and became a minister, Elvis Presley was drafted into the army, and Chuck Berry was convicted of a prison sentence (Covach and Flory 105). The fate was especially cruel to Buddy Holly, who was killed in a plane crash along with Ritchie Valence and the Big Bopper on February 3, 1959. The loss of so many popular artists significantly weakened the early rock and roll scene.

In addition, the growing popularity of rock and roll threatened the business interests of the major record companies and labels. At the beginning of the 50s, major labels recorded and released the most hit pop records (Covach and Flory 106). The early rock and roll stars reversed this trend by recording their songs on small independent labels and paying the DJs to play them on the radio. Payola, or practice of paying a DJ to play the records, was common in the music business. However, major labels and pop-song composers could not tolerate rock and roll, a genre disrespected by many in the music industry, encroaching on their market share and popularity. The following payola scandal resulted in the removal of rock and roll from radio station broadcasts. Alan Freed, a DJ who played a big role in the rise of rock and roll, lost his job for taking payola gifts.

As a result, rock music changed drastically by the beginning of the 1960s. Music business professionals who effectively ended the first wave of rock and roll saw the commercial potential of youth culture and rock. The industry sanitized the product by promoting clean-cut, nonthreatening, much less independent artists (Kot). Major labels focused on producing teen idols, and no big names emerged in the 60s rock until the Beatles and the British Invasion.

Works Cited

Covach, John, and Andrew Flory. What’s That Sound?: An Introduction to Rock and Its History. 5th ed. W.W. Norton & Company, 2018.

Kot, Greg. “Rock and Roll.” Encyclopedia Britannica, Web.

In the 1990s, rap was being divided into many subgenres, and musicians also started combining rap and rock styles of music. Some of the first bands to use rapped parts in their rock songs were Anthrax and Faith No More. One of the most recognized fusions of rock and heavy metal was produced by Rage Against the Machine (Covach and Flory 484). The band was influenced by Faith No More, as well as the style of Red Hot Chili Peppers, and it mixed the heavy metal sound with rapped vocals. It is notable that most lyrics of the band were political – rap lyrics likely allowed the performers to create a narrative in their songs. Rage Against the Machine continued to employ the fusion of styles in several albums, including Rage Against the Machine, Evil Empire, and The Battle of Los Angeles (Covach and Flory 484). The band became an example for other bands wanting to use the rap-rock combination.

Other bands also used a mix of rap and heavy metal but added a new sound to their style. For instance, Korn expanded the genre of rap-rock by using the seven-string guitar, usually used by jazz musicians (Covach and Flory 484). The band’s lyrics are also almost completely rapped; however, the band also added screaming into the mix, producing a darker, more aggressive type of heavy metal. Another prominent example of the rap-rock style is Limp Bizkit – the band’s style is similar to Korn in that the musicians utilize a fusion of rap and rock and use the seven-string guitar and screaming (Covach and Flory 484). As can be seen from the descriptions of these bands’ music, rap was used heavily in songs as most lyrics were usually rapped rather than sung. Therefore, rap-rock can be described as a blend of heavy metal instrumental sound and rapped vocals.

Work Cited

Covach, John, and Andrew Flory. What’s That Sound?: An Introduction to Rock and Its History. 5^th ed., W. W. Norton, 2018.

A gradual transition from major corporate labels resulted in the establishment of a new music genre known as indie rock. Moving away from independent record stores and toward digital consumption facilitated this emergence, ultimately enabling independent (indie) artists to flourish (Covach and Flory 564). The first known example of a chart topper was Wilco, an indie band that broke away from corporate contracts and responded to the pirated content online by streaming their “Yankee Hotel Foxtrot” album charge-free (Covach and Flory 564). This decision brought the band unprecedented fans’ love, perhaps partly due to the album being free and readily available. Moreover, fans’ loyalty could be explained by the consistent stylistic features of Wilco’s music, such as alternative country elements, the singer-songwriter production, and the unusual incorporation of ambient noises (Covach and Flory 564). Vampire Weekend and Connor Oberst were next: the former being dance-oriented and afro-pop-influenced creators and the latter being an indie-maker who worked with a range of labels (Covach and Flory 565). Thus, the journey of indie-rock expansion began, slowly gaining popularity through the 2000s. Several indie labels contributed to the genre’s success and promoted indie artists. The most notable ones were Merge Records and Rough Trade. Merge Records recorded bands such as Arcade Fire and Spoon (Covach and Flory 567). With Arcade Fire’s music sometimes described as “dance-oriented” and Spoon’s groovy style, both bands featured stark, touching, and honest texts, which invoked the public’s love (Covach and Flory 567). Listeners, composed chiefly of college-aged youth, appreciated the ingenuity and authenticity of production, drawn heavily to unusual combinations and obscure origins. This interest supported many local ‘garage’ bands that later skyrocketed. Two telling examples are The White Stripes and Sufjan Stevens (Covach and Flory 569). Sufjan Stevens, based initially in a dreamy college town, combined some of the iconic features of indie: singer-songwriter creation, conceptual and thematic albums, and surreal stage performance (Covach and Flory 570). These elements were met with enthusiasm and a growing following, and novel aspects continue to be incorporated today. Indie is no longer a synonym for exclusive or underground – examples of artists like Arctic Monkeys, who became one of the most popular bands in the world, are evidence of that (Covach and Flory 571). Thus, indie-rock revolutionized the industry by demonstrating that bands can retain their authenticity while successfully selling and, curiously, becoming mainstream.

Work Cited

Covach, John Rudolph, and Andrew Flory. What’s That Sound? An Introduction to Rock and Its History. 5th ed., W. W. Norton & Company, 2018.