Using “Girl In the War” as a Teaching Tool

11 Sep

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If you have read this blog somewhat consistently over the last few years, you may know these two facts: 1.) I am a High School English teacher and 2.) I greatly appreciate all things Josh Ritter. Thus, it is always a pleasure to combine these two elements into a lesson plan, and next week I will utilize Ritter’s “Girl in the War” in a lesson reviewing figurative language. Students will not only identify the plethora of writing devices Ritter uses in his 2006 anti-war classic, but also they will assess how Ritter’s use of these devices ultimately made his song more effective. Through it all, I’ll make sure to have “Girl in the War” blast over the sound system in my room – perhaps a few times.

I’ve used Josh Ritter before in my classroom. Last year, students explored “Annabel Lee” by Edgar Allan Poe and “Another New World” by Josh Ritter. It was rewarding to see students unravel the similarities between Ritter’s tribute to Poe’s classic about a “love that was more than love.”Since Ritter’s lyrics are so cogent, intellectual, and literary, the transition from iTunes playlist to classroom is quite simple.

I’m eager to hear the 16-year-old’s take on “Girl in the War” next week. The song contains several allusions, including the biblically-inspired conversation between apostles Peter and Paul. It also utilizes such clever metaphors as “talkin’ to God is Laurel beggin’ Hardy for a gun,” which I anticipate going over the heads of my students; a little clarification will certainly need to be in order. Ritter’s plea, eloquently sang through the lens of Peter and Paul, should be evident for students, as the “girl in the war” is repeated throughout and Ritter uses words like “yell” and “hell” – a sagacious rhyme in an otherwise “holy” song – when Peter begs to the angels that are “locked inside the kingdom.”

I hope students catch that Peter has the “girl in the war.” Peter is also the individual in charge of the pearly gates, with say of who gets to enter heaven. However, Peter has no say about his “girl in the war,” whose collective fate is out of his holy hands and is left, ultimately, to tears falling on Earth as the song ends.

Black Sabbath Blazes Jones Beach – 8/17/16

25 Aug
of Black Sabbath perform onstage at Nikon at Jones Beach Theater on August 18, 2016 in Wantagh, New York.

Black Sabbath perform onstage at Nikon at Jones Beach Theater on August 18, 2016 in Wantagh, New York. Credit Getty Images

On the concert poster that supports Black Sabbath’s “The End” farewell 80-date tour an inferno encompasses the Northern Hemisphere of Earth. That includes the south shore of Long Island that at times this summer has felt a bit like the portrayed firestorm. On August 17, Black Sabbath started the second leg of the North America swing of its farewell tour at Jones Beach Theater and with the help of 15,000 raucous fans set the beach ablaze (figuratively, of course) with a vehement and booming show.

Before I get to breaking down Sabbath, let’s start with the turn out. I’ve been to plenty of concerts at Jones Beach, and I’ve never seen it as crowded as it was that night. The turn out was a fascinating mix of black-clad Sabbath fans. The mark of a great band is its ability to attract a range of fans, and Sabbath has developed that loyal following over the 45+ years of existence. The opening act was a band I had the opportunity to profile back in February. You can check that out by following that link. The band was an excellent choice as an opening act. Rival Sons plays a style of Southern Rock injected with heavy metal vocals and instrumentals. Back in February I wrote that the band features “old-style rock n’ roll music with a keen blues sound, driving percussion, and raspy vocals,” but after seeing them live I’d like to emend those descriptions, and add that the band can also crush a lick and headbang with the metal bunch. Rival Sons is an original sound, and you should check them out. Plus, the keys/synth player has an Amish-style beard that is all kinds of awesome.

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                   He’s the one on the left but you can’t really see the mega beard

Black Sabbath played a 14-song set in around 2 hours. The set featured the classics, but the band dispersed the hits throughout the nights, which was kind of them: I hate when bands wait until the last three songs to play the top hits. After a dystopic video opening (the video was a cool supplement throughout the show except for when it stopped working for around 15 minutes, but what are you going to do), Black Sabbath came out to the apropos “Black Sabbath,” and Ozzy, the grand master of wicked ceremonies, greeted the crowd with an energy that can be best described as effervescence. Throughout the night, he bounced around the stage, throwing up his hands to rile up the crowd, and leading several call-and-response lyric and clap sessions. He even prostrated twice and professed his love for the fans. He was Ozzy at his finest, and he made it explicitly clear how much he enjoys to be on stage. The concert must have also been joyous for Tony Iommi, who was diagnosed with the early stages of lymphona in 2012 but announced only a few days prior to the concert that his cancer was in remission. Iommi is a wonderful guitarist, and he proved it with his usual stage adeptness and fretboard adroitness that he has had his entire career. Also, let’s give love to Geezer Butler whose bass is not made with any animal products; he is a strict vegan (which I find excellent as a vegetarian and husband to a vegan). Butler mans a potent bass guitar, and did so throughout the concert. The rest of Black Sabbath is keyboardist Adam Wakeman, who strangely played the role of man behind the curtain, as he was not actually visible on stage; Ozzy said it was because he was too ugly, but I think the massive amplifiers blocked him, and session drummer Tommy Clufetos, who played a sick drum solo during “Rat Salad” that gave the rest of the band a piss and water break, and entertained the crowd thoroughly.

All-in-all, what else can I say. Black Sabbath was tremendous. The crowd loved every second of the show. It was a riotous affair. Yes, Ozzy, we had fun. Excellent show. Get tickets to this one if you can.

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He Is Me Modernizes Industrial Rock With Debut Single Let It Drip

22 Aug

Debuting from the ambient/industrial duo arrives the post modern duo He Is Me. With their single called Let It Drip, listeners will view ambiance and industrial rock in a new light. The poignant lyrics that describe mind and thought patterns make listeners think of abstract concepts while listening. “Let the mind slip in a new state, let the walls break, let the fires rage” are just a few excerpts from the emotionally heavy track. With an ebb and flow pattern to the sound and acoustic flair to the track, Steve Moore and Casey Braunger’s musicianship clearly shows through their track. If you want to listen more to He Is Me, Moore and Braunger are currently working on an album in the works. With their refreshing approach to industrial rock, listeners will be thrilled there will be more to come in the future.

For more listening:

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Jane In Space Makes Audience Rethink About Industrial Rock In Track Feel It Alive

18 Aug

With the introduction of Feel It Alive, Jane in Space manages to show dark music in a modern, yet moody light. Contrast to your typical industrial rock, Jane in Space accompanies the dark sound with the perfectly balanced synths and exaggeration of the song title in various combinations throughout the track. Doing so, almost creates an otherworldliness among the audience that Jane in Space plays to. In addition to that, it almost induces a transcendental connection to Feel It Alive as well. Mastered by Tom Baker, who is credited with mastering songs of the sounds of Nine Inch Nails, Deftones, and Wolfmother to name a few, uses his mastering signature in Jane in Space’s intentional sound. All in all the tone of Feel It Alive may sound dark, but it brings those who listen to it alive and emotionally charged.

For more listening:

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Departure Delivers A Wave of Emotion Within Gateways

14 Aug

With emphasis on heavy synths and the electric guitar, the track titled Gateways from Salt-Lake City based group Departure’s newest EP called Gateways delivers angst and agony all wrapped within this heart felt song. Lyrics such as “shut the lights off”/” I’m exactly what you think I am”/, you never know how deep my sorrow goes/ all make the listener ride the wave of intense emotion within the tone of the song.  Additionally, the theme of personifying lyrics makes the listener connect even more; “agony has a new face, it looks just like me”. The vocal talents within Departure are strong, drawing similarities to Copeland and the early days of Coheed & Cambria. Setting an impressive mark in the music world so far with opening for Phantogram Neon Trees, Cold War Kids, and many more Gateway is here to stay with their lasting mark within their music.

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