Rocked Out Essay, Research Paper

Outline

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Thesis: The life style of a professional instrumentalist is more hard than glamourous.

I. Introduction

II. The Hardships of being a professional dad instrumentalist.

A. The physical and mental asperities of being on circuit.

1. Brian Wilson of the Beach Boys was stressed to the soap.

2. When the GooGoo Dolls performed on circuit with Everclear, the sum of executing they did was farcical and really taxing.

a. One dark, John Reznick was forced to execute even though he had wholly lost his voice the dark before.

B. The troubles of covering with record companies.

1. It is difficult for groups to cover with the force per unit area of invariably holding to bring forth new and fresh stuff.

a. Van Halen had to travel through several lead vocalists chiefly because of the desires of the record company.

B. The Mamas and Papa? s were a group back in the late 70? s who were continually forced to compose new albums and finally it compromised the sound of the set.

2. The dangers of record trades.

a. The Goo Goo Doll? s about lost every cent they made as instrumentalists to their label Metal Blade Records.

C. The exposure to the dark side of the professional instrumentalists universe.

1. The slaying of Tupac Shakur? s was due to his exposure to marijuana.

2. Jimmi Hendrix? s had a clean beginning, but finally was killed in a drug overdose ; his exposure to drugs was due to the sum of them to be found in the music industry.

III. Decision

Rocked Out

Watching a stone set perform, hearing rumours about the laughably big wages some performing artists make and purchasing into all the propaganda associated with dad instrumentalists leads many to hanker for this same sort of celebrity and luck. However it is unknown to most that the life styles led by professional dad instrumentalists are deceivingly pleasant and canonized. Bing involved in such a calling comes with more than its ain portion of emphasiss and loads. Such loads include the physical and mental force per unit areas of being on circuit, the pathetic political relations involved in covering with the recording industry and the exposure to the dark and sometimes fatal universe of sex, drugs and intoxicant. As Johnny Reznick of the set The Goo Goo Dolls put it: ? Bing a professional rocker is a occupation merely like any other? ( Reznick Interview ) . While it surely can be honoring, the work of a dad star is ne’er easy and ever fraught with trouble and hazard.

Possibly one of the most strenuous facets of being a professional instrumentalist is the unwelcome luggage that comes with being on circuit. The web site for the BLS Career

Report Service ( a federally funded service that attempts to supply information on literally every known calling ) describes the boring facets of a stone instrumentalist? s calling as

such: ? All instrumentalists spend a batch clip practising, practising and executing. This requires a batch of travel. Musicians frequently perform at dark and on weekends. All this can be

palling? ( BLS Report ) . This is a straightforward statement that clearly says being a going instrumentalist can be palling. The lone job with this statement is that it fails to stipulate merely how palling a batch of travel can be. The emphasis and force per unit area caused by being on the route causes many instrumentalists to hold nervous dislocations and or turn to drug usage and substance maltreatment ( Friedlander 72 ) . Take the illustration of Brian Wilson, the manufacturer every bit good as instrumentalist for the Beach Boys. During the prime of the Beach Boys touring yearss Brian was forced to halt touring with the group due to several nervous dislocations caused through overwork ( Burt 16 ) . Later Brian described the daftness of this period of life as such: ? I was running about leaping on jets from one metropolis to another on one-night bases, every bit good as bring forthing, composing, set uping, singing, planning and instruction to the point where I had no peace of head. I had no clip to sit down and believe or even rest? ( Burt 16 ) . Another narrative of life on the route comes from Johnny Reznick. During the summer of 1998 The Goo Goo Dolls went on a national circuit with the sets Everclear and Fastball. In a personal interview Reznick discussed the trouble of this clip: ? We played an norm of five shows a hebdomad for approximately seven months. Our modus operandi for this period was literally eat, sleep play. ? Within about four months of this circuit public presentations had become such a load for [ us ] that they were no longer gratifying and contractual understanding to play was the lone thing that kept the group going. ? In his interview, Reznick told a narrative associating to the loads of being forced to execute: ? I remember one dark we played at a private nine and my voice was wholly gone, I could hardly talk because I had been singing six darks in a row. Robbie ( our bass participant ) had to make all of the vocals for that show and by the terminal of it he had lost his voice excessively. On top of it all, we were scheduled to play once more the following dark at another little gig, but we merely had to state our director? no-way adult male. ?

It would look that the majority of defeat involved with being a instrumentalist is curbed when the Tourss come to an terminal and the performing artists can eventually return to their places ; nevertheless the truth is that the problems of being on the route are t exchanged with the problems of covering with the recording studio. Groups like Van Halen underwent unbelievable battles under the force per unit areas to conti

nually release albums. This resulted in much tenseness between the set members, including the coming and traveling of several lead vocalists ( Friedlander 121 ) . Other groups suffered from the load of the recording studio as good. A group in the late 70? s called the Mamas and Papa? s are one such illustration of this. Their music was really popular when foremost released, as it sounded fresh and alone and while they were originative people they were no masterminds ; they couldn? Ts cope with the eternal demands on them to do record after record. Yet they were expected to make so every bit long as the public bought their albums. Finally, they got to sounding stale and repetitive ( Burt 37 ) .

While being pressured to record is run outing and hard for sets to cover with, the greatest battle many groups brush are apparently crooked record trades. One of the best illustrations I found of a bogus record trade involves The Goo Goo Dolls and the first record company they signed a contract with: Metallic element Blade Records. As the eloquent

Johnny Reznick told me, ? Record companies, entering contracts and record trades are Satan! ? This statement is justified by all the maltreatment that The Goo Goo Dolls were put through by Metal Blade ( a division of Time Warner ) . The company literally took advantage of the immature three by offering them a contract that seemed sound but was really improbably equivocal so as to direct the majority of the sets net incomes to the label. After several Tourss, three albums and really small net income the Goo Goo Dolls hired a attorney to analyze their contract and see what could be done about bring forthing more gross. Close examination of their contract revealed that Metal Blade Records was taking in 94 % of the Goo Goo Doll? s net income ( Reznick Interview ) . This was an indignation to the set and resulted in terrible animus between the group and their label. The set of class wanted nil more to make with Metal Blade but they were under contract to bring forth three more records before they could go forth. This resulted in a het case and finally the set was able to enter with a different division of Time Warner. Unfortunately the group is still in debt to Metal Blade and parts of their net incomes are still forfeited to the corporation.

While touring and entering are nerve-racking and sometimes apparently impossible for sets to cover with there is an even greater hazards faced by professional instrumentalists: exposure to the dark side of the music industry or? sex, drugs and intoxicant? ( Howard 237 ) . Due to the force per unit areas of the life style every bit good as the handiness, many instrumentalists turn to and go addicted to substance. The LivingLight News website negotiations about the rough exposure to drugs and liquor that many immature dad stars undergo and how it leads to dependence and frequently decease. Tragic examples of this are Tupac Shakur and Jimmi Hendrix

Tupac was a immature rapper who found himself in about nightlong success. He partied so much and was so open to marijuana that he became a hardcore trader and in the terminal he was viciously murdered over drug issues ( Alexander 169 ) . There is besides the ill-famed instance of Jimmi Hendrix, possibly one of the most gifted guitar players of all clip who met his terminal at a tragic immature age due to drug overdose. As Jimmi? s male parent put it, ? The universe of stone and axial rotation introduced my boy to the fast-paced and unsafe universe of drugs and intoxicant. The lunacy that exists in this kingdom was the accelerator that started my boies downward coiling and finally brought him to his decease? ( Hendrix 76 ) .

It is unfortunate that the life of professional dad instrumentalists is such a rough 1. When the life style is looked at on a surface degree, it can look really glamourous and beguiling and while there surely is a electrifying side to the profession it decidedly comes with a monetary value. Tours and record trades can rapidly travel from being gratifying to improbably taxing state of affairss to hold to cover with and the hazards of drug and intoxicant maltreatment are invariably skulking in the shadows. The life of a professional instrumentalist so has its brighter minutes ; it can sometimes turn out to be an highly rewarding enterprise. Ascending to the ranks of those sets that become adored by the 1000000s is normally the greatest accomplishment of 1s life. It is unfortunate for those that do try the ascent to the coveted? exceed? that inclines are frequently much more slippy than they appear.

75e

Black lovage, Frank and Cuda, Heidi Siegmund. Got? Your Back. New York: St. Martin? s

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BLS Career Information. Rock Star. 1 Jan 2000. 3 Nov 2000.

( hypertext transfer protocol: //stats.bls.gov/k12/text/mus_001.html ) .

Burt, Rob and North, Patsy. West Coast Story. New Jersey: Chartwell Books, 1977.

Friedlander, Paul. Rock and Roll: A Social History. Boulder: Westview Press, 1996.

Hendrix, James, A. My Son Jimmi. Seattle: Aljas Enterprises 1999.

Howard, Jay, R and Streck, John, M. Apostles of Rock. Lexington: The University Press

Kentucky, 1999.

? LivingLight News. ? From Rock? n Roll to the Rock of Christ. 3 August, 2000. 3 Nov,

2000. ( hypertext transfer protocol: //www.livinglightnews.org/vrock.shtml )

Reznick, John. Personal Interview. 4 Nov. 2000.

Rockin? with the worst of the. 3 August, 2000. 3 Nov, 2000.

( hypertext transfer protocol: //www.livinglightnews.org/worstrock.shtml )

Valle, Jocelyn. The Eraserheads are Better Musicians and Persons.11 July, 1999. 3 Nov,

2000. ( hypertext transfer protocol: //www.inquirer.net/saturday/may2001wkl/spc_3.html )

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