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Teaching Literature Through Song Lyrics : The Poetry of Rock and Roll

With Ray McNiece and Sean Kelly



This performance and workshop explore lyrics and music as literary expression, showing how themes, styles, and techniques of contemporary songs connect with the history of poetry.

The 50 minute performance covers the varieties of "guitar poetry" that are the roots of rock and roll. From work songs (sea chanties, field hollers) to train songs, from country to blues, from jazz to Broadway show tunes, Ray and Joe demonstrate the styles that created and continue to inform rock And roll.

The workshop shows the links between songs from the performance and the diverse literary and oral traditions that comprise the American experience. "Summertime," from the musical Porgy and Bess, segues into Van Morrison's "Moondance," a love song in the same key. What is a love song? A train song, "Rollin' in my Sweet Baby's Arms," transitions to one of Woody Guthrie's dust bowl ballads and then to Curtis Mayfield's "People Get Ready." How do these lyrics reflect the respective times when they were composed? What is the influence of William Blake on Jim Morrison of the Doors? How do both poets use symbolism in their work? How did the Beat poets influence Bob Dylan? How does the lyric structure of Scottish Border Ballads compare with Blue's format? How has the African- American folk poetry of "the dozen's'' influenced rap? The workshop will discuss these questions through lecture, demonstration and question and answers The workshop will also include an audience participation finale where students will create the verses and chorus of a song.

The performance and workshop pivot from Steven Smith's LYRICIST REVIEW, and encourage students to compare and contrast the songs they listen to everyday with poems from the curriculum to gain an understanding of the power and beauty of poetry.

Ray McNiece is a published poet, an actor and a folk-rock guitar singer. He is lead vocalist for the poetry music project Tongue-in-Groove. Sean Kelly is a singer-songwriter in the Richie Havens tradition. He and Ray comprise the duo, Soul Surviving Sons.


                                                                                                                    Ray McNiece Poetry Education


Hotel Rodoviária - Danislau






A narrativa é centrada no frenético personagem Jim da Silva, explicitamente inspirado no vocalista da banda The Doors, Jim Morrison.

                                                                                                                                 Lygia Calil


Comentários do filme "When you are strange – um filme sobre os The Doors" - Marcos Espíndola



Título: Comentários do filme "When you are strange – um filme sobre os The Doors"
Autor:Espíndola, Marcos
Resumo:Comentários do debatedor convidado Marcos Espíndola, na sessão de exibição e debate do filme "When you are strange – um filme sobre os The Doors", (The Doors: When You're Strange, ano de produção: 2009), do diretor Tom DiCillo, realizada em 20 de novembro de 2014 no Auditório "Elke Hering" da Biblioteca Central da UFSC.
URI:https://repositorio.ufsc.br/xmlui/handle/123456789/159390
Data:2014-11-20
 


Ascoltando i doors - Alberto Nones






"L’ovest, la poesia, lo sciamanesimo, il teatro. I Doors hanno fatto molto più che musica. Hanno dato un’idea diversa di America, hanno scandalizzato, ma soprattutto hanno aperto le porte di una nuova percezione della realtà. Un racconto avvincente che restituisce al pensiero la storia e il messaggio della mitica band e del suo leader, Jim Morrison."


Jim Morrison - William K. Stidham




Rock Criticism: When the Music's Over


An empty stage materializes. A phantom light breaks through the misty unknown, dividing darkness. A solitary orb settles upon the elevated, dusty old floorboards. Nothing has past, no one is present. Suddenly, flares of crimson punch through the density. “Yea, c’mon” A wily metallic chatter descends from the rafters, followed by a sonic vibration below. The instance plays on, resurrecting in the forsaken vacancy. The beast draws its breath, and then it happens. With a scream from the nether declaring “We are here”, all pistons are ablaze. A neon electric frequency cracks open the air, letting loose howling demons from another world. And so begins our excursion through voice and madness, isolation and deformity, desolation and obscurity, truth and pain, and the space in between. The doors of perception are open. The cascading noise speaks, “When the music’s over…” It beckons curiosity. It speaks again “When the music’s over…” It demands attention. “When the music’s over…” The recipient demands the answer. The voice grants it. “Turn out the lights” And again. “Turn out the lights.” Once more. “Turn out the lights” Thrice driving the inalienable, self-evident truth into consciousness, leaving no room for reproach. Without warning, the guest is cast down the rabbit hole; its circus troupe host mockingly shouting down to it as it goes. “Music is your special friend”, they say, as it’s sent spinning down euphoric humiliation, naked with guilt. The freak reads out the sentence “Dance on fire as it intends” And it does, as it’s sent deeper and deeper down recollection, unwillingly, towards some inevitable, wicked cosmopolitan. “Music is your only friend” And without warning, it’s over; Silence. The blank stage reappears. He steps into the light. “Until the end”, he whispers. The solar winds agree “Until the end” The floorboards rattle in approval “Until the end” The electric villain spits from its ruptured curtain in overwhelmingly consensus. And the show goes on. The dark figure on stage cries and screams in confliction, requesting and demanding in pain and anger and sadness in one harmonizing, beautiful breath, which sings the darkest poetry; uncertainty. The foreboding elements about the figure grow impatient as they wait for Him to reconcile with anonymity; pattering back and forth through the hollow stage as he attempts to do so. The figure comes forth from inquisition, a supposed truth in his mouth. “We want the world and we want it…” The music listens. “Now” The music sounds in indifference “Now?” The speaker waits for their rebuttal in innocent naivety. His music parent refuses him. “Now!” the villain shouts in rebellious defiance. Crying in unison for salvation, He and the music become one again, resounding in empathic hopelessness, revisiting discovered truths, holding firm in convictions, making love and war in sweet, safe, comforting resolution. And they continue to do so until their fire and brimstone bedchamber collapse, their sweet melody echoes through motion no more, water and earth sit beside one another no longer, souls ascend and descend apart, sorrow reaches for everlasting joy in vain. Then, turn out the lights.


                                                                                                                                      John Montana



Lifestyle Theory - Glenn D. Walters








                                                                                                                     Glenn D. Walters


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