Aidin vaziri 311 transistor3/23/2023 ![]() Rolling Stone criticized the album, saying it was "trying too hard to expand their sonic horizons", and commented how they seem to unwillingly change their musical style. Entertainment Weekly also panned the album, stating that it features "some of the weakest rhymes and derivative white-bread dub in recent memory" and concluded that the band did not know "the thin line between experimentation and self-indulgence". ![]() Club, who says "With 21 songs spread out over 68 minutes, the record has taken plenty of critical punishment for its excessive length alone," and calls it a "joyless, tedious exercise in white-boy reggae, white-boy rap, white-boy dub and white-boy rock," concluding that the band could suffer a " Spin Doctors-style career combustion" in the future. The album has received criticism from The A.V. They nominated the title track as the only Track Pick from the album. Transistor received a mixed review from Allmusic, who commented that "a project of this magnitude is almost doomed to fall on its face, and Transistor nearly does," and noted there were enough good songs for a 30 to 40 minute album, but had too much filler. Reception Professional ratings Review scores Transistor also contains elements of dub, space rock and stoner rock. Although, their rap rock style is still present in some songs, such as "Galaxy", "No Control", "Tune In", "Starshines", and "Borders". While still utilizing their alternative rock sound in many songs, Transistor saw 311 moving away from their hip hop-influenced sound of their previous albums for more of a reggae-influenced sound, as shown in songs such as "Prisoner", "Inner Light Spectrum", "Running", "Rub a Dub", and "Stealing Happy Hours". Nick Hexum admitted that doing too many songs in not enough time for Transistor was a mistake. Transistor was originally intended to be a double album, but all songs were instead placed onto one disc. He demonstrates that youth culture especially began to exhibit telltale motifs of teen, racial, sexual, gender, and generational revolt that would burst into political prominence during the ensuing decades, bequeathing to the progressive wing of contemporary American political culture a potent but ambiguous legacy of identity politics.Clocking in at 67:59 and with twenty-one tracks (or twenty-three, counting both hidden tracks), Transistor is 311's longest album and, until their 2017 album Mosaic, was their only album to contain more than sixteen tracks. It was in that decade that “identity” was first used to define collective selves in the politicized manner that is recognizable today: in terms such as “national identity” and “racial identity.” Medovoi traces the rapid absorption of identity themes across many facets of postwar American culture, including beat literature, the young adult novel, the Hollywood teen film, early rock ‘n’ roll, black drama, and “bad girl” narratives. Alongside the young rebel, the contemporary concept of identity emerged in the 1950s. Medovoi argues that the “bad boy” became a guarantor of the country’s anti-authoritarian, democratic self-image: a kindred spirit to the freedom-seeking nations of the rapidly decolonizing third world and a counterpoint to the repressive conformity attributed to both the Soviet Union abroad and America’s burgeoning suburbs at home. As Leerom Medovoi shows, they were often embraced and hotly debated at the dawn of the Cold War era because they stood for dissent and defiance at a time when the ideological production of the United States as leader of the “free world” required emancipatory figures who could represent America’s geopolitical claims. Holden Caulfield, the beat writers, Elvis Presley, Chuck Berry, and James Dean-these and other avatars of youthful rebellion were much more than entertainment. He concludes by discussing how and why popular music cultures have taken on many of the roles of traditional religions in contemporary society. Rupert Till explores the cults of heavy metal, pop stars, club culture and virtual popular music worlds, investigating the sex, drug, local and death cults of the sacred popular, and their relationships with traditional religions. It provides an introduction to the history of the interactions of vernacular music and religion, and the role of music in religious culture. "Pop Cults" investigates the ways in which popular music and its surrounding culture have become a primary site for the location of meaning, belief and identity. At a time when fundamentalism is on the rise, traditional religions are in decline and postmodernity has challenged any system that claims to be all-defining, young people have left their traditional places of worship and set up their own, in clubs, at festivals and within music culture. ![]() This book explores the development of a range of cults of popular music as a response to changes in attitudes to meaning, spirituality and religion in society. ![]()
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