Jimi Hendrix - Voodoo Child free essay sample

Explodingonto the music scene in 1967, Jimi Hendrixs talents were instantlyapparent. At age 24, he was producing some of the most ferocious andinnovative riffs of all time. Not only a great musician but an evenbetter showman, Jimi had all the tools to become the most dominantrock-and-roll musician of all time. Unfortunately, the life of the bestelectric guitarist to ever plug into an amp was cut short in 1970. The Voodoo Child collection is a masterfully puttogether shrine to Hendrix that allows generations to come together andshare his gifts. When I purchased the two-disc set, I alreadyowned Are You Experienced? and First Rays of the NewRising Sun. I wanted to find out more about the life andinfluences of Hendrix. This is possibly one of the best greatesthits collections of any rock performer. The set offers the best ofHendrix both in the studio and live. Disc one is Jimis greateststudio hits. Tracks include masterpieces like The Wind CriesMary and Hey Joe, plus all his other big hits. We will write a custom essay sample on Jimi Hendrix Voodoo Child or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Disc two completes the collection perfectly with an array ofJimis most famous live performances, such as the magic of TheStar Spangled Banner at Woodstock and his remake of JohnnyB. Goode. These two CDs are perfect for anyones music library,and are the best way to fully experience Hendrix. VoodooChild The Jimi Hendrix Collection has something for everyone.Whether the great riffs and musical attributes, or just the greatlanguage Hendrix used to write beautiful poems, Voodoo Childis a must-have for any music lover. You wont regret buying it.

Analytical Essay Kiss and Tell by John Sam Jones Essays

Analytical Essay Kiss and Tell by John Sam Jones Essays Analytical Essay Kiss and Tell by John Sam Jones Essay Analytical Essay Kiss and Tell by John Sam Jones Essay Essay Topic: Analytical â€Å"Kiss and tell† is a story written by author John Sam Jones. The story is set in Wales on a school. The story revolves around a boy and his thoughts about the opposite gender. The story is the omniscient type of narrator. This analysis focuses on characterization as well as on how to fit in. The main character in the story is Seimon. He is a fourteen-year-old boy from Wales. Throughout the whole story, the focus is on Seimon and his addiction to his teacher Mr. Roberts. As from the very beginning of the story, the narrator tells about the girls and boys in Seimon’s class. Some of the girls in Seimon’s class seemed much older – and a bit scary1. Somebody acted like they had already outgrown their peers – Jane Jones who had got breasts that where the Promised Land of boy’s dirty talk, almost always had love bites on her neck, and Shan Jenkins boasted about going to the nightclub Llandudno at the weekends with her boyfriend, who was a management trainee with one of the new, cheap German supermarkets.2 It seemed like all Seimon’s classmates had grown up both physically and mentally. Seimon felt that puberty had not reached him yet. Sometimes he imagined himself smaller-than-small so that the others would not notice him.3When the boy s he hung around with, seemed not to want to see him, he considered if he was insignificant. He hated that word because it made him think of being lonely and isolated. Siemon is a fragile person who is very easy to affect. Seimon felt like he did not fit in anywhere, so he started daydreaming about his teacher Mr. Roberts, his favourite teacher that he hoped would be reading to the class – one of the poems they were studying in a literature project, or perhaps he would be explaining something about the vagaries of Welsh grammar.4 Mr. Roberts was from Cardiff and got the job in Wales. He knew that he had got the job because of his strengths in German and French, but the problem was that he

The seductive play of power in Richard III Essay

The seductive play of power in Richard III - Essay Example The Middle Ages in England was characterized by power politics. Buckingham is as seduced by power as Richard is. In fact even before Richard explicitly reveals his intention of seizing the crown, Buckingham is seen hatching plots so cunningly, that Richard is delightfully tempted to say: "My other self, my counsel's consistory,/My oracle, my prophet! My dear cousin,/ I, like a child, will go by thy direction./ Towards Ludlow then, for we'll not stay behind." It is interesting to note that the women characters are not fleshed out in the play and are only allowed declamations. This is reasoned by Miner and Irene G. Dash who refers to the women in the play as "ciphers" or "nonpersons" because they are widows and their sole source of power and of social identity-their husbands-is gone. However, it is Richard's play. No other role matters much. He is a grand parodist - of himself, of stage conventions and of other characters. That is the secret of his outrageous charm. His great power over the audience and the other figures in his drama is a compound of terror and charm. Richard's zest, his antic glee in his own diabolism, is infectious. The sadomasochistic seduction of Lady Anne by Richard is by far the most fascinating episode in the play. She is seduced by the power of his rhetoric and his forceful emotional argument when he bares his chest and hands her his sword asking her to either kill him or take him up: "for I did kill King Henry-/But 'twas thy beauty that provoked me./ Nay, now dispatch; 'twas I that stabb'd young Edward-/But 'twas thy heavenly face that set me on." (Act I scene ii) Harold F. Brooks calls this Richard's "breathtaking impudence". Another instance where Richard seduces through the power of his language is in Act IV, scene iv. In order to consolidate his power, he falsely swears to Queen Elizabeth that he is in love with her daughter, and to gain credibility he wishes upon himself a curse that should take effect if his vow proves false: "God and fortune, bar me happy hours!/ Day, yield me not thy light, nor, night, thy rest!" His most triumphant parody occurs in Act III scene vii when he dupes the citizens of London into petitioning him to be their king. By imitating a holy man and appearing reluctant to accept the crown, Richard succeeds in getting the power he craves: "Would you enforce me to a world of care/ Well, call them again. I am not made of stone,/ But penetrable to your. kind entreats,/ Albeit against my conscience and my soul." Shakespeare's greatest originality in Richard III which redeems what some critics call an otherwise cumbersome and overwritten drama, is the hero-villain's startlingly intimate relationship with the audience. From the first line of the play, Richard woos the audience through the seductive power of his soliloquy: "Now is the winter of our discontent/ Made glorious summer by this sun of York;" Enthralled, the audience is on unnervingly confidential terms with him. They are unable to resist Richard's outrageous charm, making Machiavels out of them all. They are entertained by the suffering of others. Richard co-opts them as fellow-torturers, making them share guilty pleasures with the added frisson