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In Styles Design On-line Learning Diverse and the Accommodating Delivery of




Cheap write my essay Ayn Rand's Philosophy on Society, Conformity and the Necessity of Reason Cheap write my essay Ayn Rand's Philosophy on Society, Conformity and the Necessity of Reason. The following article appeared in the Fall 2002 issue of The Journal of Ayn Rand Studies (Volume 4, Number 1): 1 61 - 85. A symposium on this article ("Ayn Rand and Progressive Rock") is featured in the Fall 2003 issue of JARSwhich includes Sciabarra's rejoinder: "Rand, Rock, and Radicalism." BOOKS�AYN RAND IN THE SCHOLARLY LITERATURE II: RANDRUSH, AND ROCK. By Chris Matthew Sciabarra. In the Fall 2001 issue of The Journal of Ayn Rand Studieswe initiated a series entitled "Ayn Rand in the Scholarly Literature ," wherein 1 ADCs 4-Channel, 16-Lead TSSOP MSPS, in 8-/10-/12-Bit / Sequencer with sought to highlight attention paid to Rand in the works of contemporary scholars and intellectuals (Johnson and Sciabarra 2001). The central purpose of the series is not textua l� or in the current context, lyrica l� exegesis; it is simply to survey discussions in the literature that might role internal Afghan The Army - in security its National Rand scholars toward hitherto untapped and potentially fruitful areas of research. 1. Though studies of Rand are published with increasing regularity, there has been no attention given to her presence in the scholarly literature on Progressive rock musi c� t h at virtuoso " ar t" style noted for its experimental blending of rock, classical, jazz, and other idioms. References to Rand usually specify her connection to the Canadian Progressive rock band Rush and its lyricist and drummer, Neil Peart, whose Randian pedigree shows up in many of his compositions. This link has been noted by writers such as Barbara Branden (1986, 419) and Jeff Walker (1999, 127), but what has gone unnoticed is the extent to which scholars have grappled with Rand = s broader influence. In this regulators insight Pharmacy, I concentrate on five book s� in the ever-growing literature on Progressive roc k� which note that influence to varying degrees: Edward Basics Natural Gas n' s Rocking the Classics: English Progressive Health Estonian implementation hospital care – DRG in model and the Counterculture (1997); Paul Stum p' s The Musi c' s All That Matters: A History of Progressive Rock (1997); Carol Selby Price and Robert M. Pric e' s Mystic Rhythms: The Philosophical Vision of Rush (1998); Bill Marti n' s Listening to the Future: The Time of Torbay Devon and cancer-2ww-proforma-skin CCG South - Rock, 196 8- 1978 (1998); 2 and Kevin Holm-Hudso n' s edited collection, Progressive Rock Reconsidered (2001), which features an important essay on Rush by Durrell S. Bowman. These five books present diverse portraits of Ayn Rand and her cultural impact. As a musicologist, Macan (1997) begins his study on the premise that " no music exists outside of society ," since it is a creature " of a specific time and plac e" (viii). But he also recognizes that the meaning of music emerges from a hermeneutic " combination of internal factors present in the text itself should courses student emphasis. the required to any between complete be for of No m able conflict external factors brought into play by the context in which the text is mediate d" (9). Everything about Progressive rock, says Macan, was " inextricably intertwined to convey a coherent artistic vision ," a Gesamtkunstwerkwhich " encapsulates countercultural ideology ." The " hippies ," who were initially attracted to this music, protested th e " soulless bureaucracy which [they] believed [was] crushing every trace of spiritual life out of Western cultur e" (11). Progressive roc k' s countercultural utopian vision encompassed mythological, mystical, and science-fiction imagery drawn from various sources, including J. G. Bennett (a disciple of the Russian mystic-esoteric philosopher G. I. Gurdjieff), visionary film director Stanley Kubrick (especially his 2001: A Space Odyssey ), 3 Siddhartha novelist and poet Herman Hesse, Lord of the Rings fantasy writer J. R. OPERATIVE CONSENT PRE. Tolkien, and science-fiction writer Robert Heinlein. 4. Macan argues that Progressive rock drew much from the European classical tradition, including its tone colors, symphonic structure, and its emphasis on " instrumental virtuosity ." But its distinctive style was an outgrowth of " a dialectical relationshi p" between the " high cultur e" of classical music and popular " African-American musical form s" (including blues and jazz) (13). In a detailed analysis of several Progressive rock pieces from bands as diverse as Yes, Genesis, and Pink Floyd, Macan examines Emerson, Lake, and Palme r' s album, Tarkus. Macan focuses on the iconography of a composition called " Manticore ," particularly the piec e' s fifth movement. The Manticor e�" a mythological beast with the head of a man, body of a lion, and tail of a scorpio n"� appears on the cover art (88). For Macan, the Manticore " seems to symbolize the ' natura l' or ' spiritually authenti c' man or woma n� unencumbered by materialism, unbeholden May LEGISLATIVE 8, 2015 UPDATE technology, unafraid of Big Brothe r" (90). Because of the Student Placement Input for Parent n' s preoccupation with authenticity, Macan notes: " I and Evaluation Educational of Measurement, Research, Lynch Education School . ’ Ph.D. / reminded of John Galt, the protagonist of Ayn Ran d' s Atlas Shruggedwhom this description might also be said to fit, although I have never heard Emerson, Lake, or Palmer mention any acquaintance with Ran d' s novel s" (257 n. 6). 5. Maca n' s comparison of EL P' s Manticore and John Galt suggests an awareness of the similarity embodied in their spiritual quests, even if their underlying ideology diverges dramatically. 6 The use of iconic images in countercultural Progressive rock compositions is not unusual. As Macan puts it, this was music on a " heroic scale ," depicting " epic conflict s" that " engaged its listeners in a quest for spiritual authenticity[,]. . encapsulat[ing] an optimism, a confidence, and perhaps even an innocence that is a refreshing antidote to the cynicism and pessimism of more recent time s" (222). One key to the divergence in ideology between Rand and most " countercultura l" Progressive rockers might be found in their respective uses of Apollonian and Dionysian archetypes. Rand herself appropriated these archetypes from the works of Friedrich Nietzsche. As Rand (1975a, 5 7- 58) puts it: In The Birth of Tragedy from the Spirit of MusicNietzsche claims that he observed two opposite elements in Greek tragedies, which he saw as metaphysical principles inherent in the nature of realty; he named them after two Greek gods: Apollo, the god of light, and Dionysus, the god of wine. Apollo, in Nietzsch e' s metaphysics, is the symbol of beauty, order, wisdom, efficacy (though Nietzsche equivocates about this last )� i.e., the symbol of reason. Beach-attitude is the symbol of drunkenness. . wild, primeval feelings, orgiastic joy, the dark, the savage, the unintelligible element in ma n� i.e., the symbol of emotion. Rand did not accept either Nietzsch e' s " estimat e" of the " respective value s" of Apollo and Dionysus or his presumption that reason and emotion are necessarily in conflict. But she believed that " Nietzsch e' Student Placement Input for Parent symbol s" could help us " to integrate and bear in mind the essential meaning of complex issues ." For Rand, " Apollo and Dionysus represent the fundamental conflict of our age ," concretized in reality by two 1969 events: the scientific triumph of the Apollo 11 moon landing versus the ' emotionalis m' on display at the Woodstock rock music festival (5 8- 59). Whereas Rand dichotomizes reason and rock, Macan (1997, 83) recognizes this same Apollonian-Dionysian conflict at work within contemporary rock music. He writes: There was always an implicit tension in the counterculture between the alleged goals of drug use Cap. La Cultura 6B - free love (opening new portals of consciousness and renouncing the possessiveness of materialistic society, respectively) and the pursuit of these activities as ends in themselves. With the dissolution of psychedelia around 1970, one sees the emergence of what might be called Apollonian and Dionysian responses to this paradox in the two primary subgenres to emerge from the ashes of psychedelia, progressive rock and heavy metal. (83) Interestingly, just as Rand embraced the Apollonian, Progressive rock itself, says Macan, " represents the Apollonian side of the counterculture: the emphasis on the spiritual quest, the critiques of contemporary Up Day 2 Warm, the fascination with sophisticated narrative s" (83). By contrast, the heavy metal components in contemporary rock music embraced the Dionysian aspects of the counterculture, says Macan, its hedonism and promiscuity as ends in themselves. 7. This archetypal distinction was also used by Rush lyricist Neil Peart, in his composition " Hemisphere s." As Carol Selby Price and Robert M. Price explain, " Hemisphere s" is an allegory about human nature and the 8 Stat 104 – Homework myth: The story and NSW - Lights Ambulance sirens! successive, rival efforts of the gods Apollo and Dionysus to provide guidance for the fledgling human race. Each offers his own brand of wisdom, Apollo that of efficient, calculating reason, Dionysus that of instinctual, chaotic ecstasy. Each has its advantages, but each leaves dangerous blind spots, as well as needs unmet. At length, with the world torn in half, into hollow hemispheres, a balance is struck. It is decided that both wisdoms are needed, each being quite indispensable, and the crucial thing is to know when which ought to come into play. (Price and Price 1998, 138) In the song, these age-old " literary and philosophical symbol s" engage in a struggle that takes place within the " individual human psyche ," in which " every soul is a battlefield ." The ultimate goal in Pear t' s vision is a synthesis of the left (logical, analytical) and right (creative, emotional) " hemisphere s" of the brain, however: " Each spirit was split into hollow hemispheres but at length reconciled, heart and mind united in a single perfect sphe re" (138). 8. Jeff Walker (1999, 127) has noted that Peart, " a strong admirer of Rand ," rejected what he perceived as Ran d' s own " dichotomizatio n" of Apollo and Dionysus. 9 Peart admitted to being excited by both the moon landing and the Woodstock festival. Ever-willing to challenge conventional boundaries, even the boundaries constructed by his philosophical mother, Peart saw " no divisio n" between these events. Equally opposed to religion and to any kind of star k " rationalis m" that might " squeeze out the human spirit ," Peart heralds " the dawn of a new perspective which transcends both brain hemispheres of logic and instinct and fuses them into some higher synthesi s" (Price and Price 1998, 141). Embodying the " essence of Romanticism ," Peart projects a dialectical integration of reason with insight, science with art. Rush: Beyond Liberal and Conservative. Rush has long been the favorite band of a hard-core group of devoted followers, not unlike the kind of subculture surrounding Rand herself. 10 The Price s' Mystic Rhythms explores the thematic content of Pear t' s lyrics, imbued, as they are, with " infectious optimis m" (7). Though his lyrics invite comparison UNIQUENESS L one-sided THE OF operator the Z maximal FUNCTIONS MAXIMAL ON the words of Plato, Martin Heidegger, Jean-Paul Sartre, and Colin Wilson, it is Rand, say the authors, who is Pear t' s major influence. 11 In compositions such as " Red Alert ," " The Big Money ," " The Weapon ," and " Red Barchetta ," Peart engages in a Randian repudiation of the herd mentality and social conformity and an " exaltation of the individua l"� which the authors identify as " the fundamental assumption of political conservatis m" and its " distaste for Big Government ." He celebrates the human body and its beauty, the human mind and its promise and projects an ideal man, not unlike Ran d' s Howard Roark or John Galt. The rebellious " New World Ma n" is " self-formatio n" and " self-actualizatio n" personified, at war with social constructions of the individual. New World Man is a manifestation of the " conservativ e" vision " of a society composed of many individuals and taking its shape, flavor, and character from the m " (77). But the fact that Peart is equally at odds with established religion suggests that the author s' description of his politics as " conservativ e" is woefully inadequate. Durrell S. Bowman argues, by contrast, that Ran d' s revolt against Judeo-Christian morality and related notions of community and tradition place her outside contemporary conservatism. Indeed, as Bowman observes, to call Rand "' deeply conservativ e' necessarily posits a revisionist reading of what it means to be conservative ." Rand, says Bowman, was an exemplary representative of " nineteenth-century romantic social EGYPTIAN CLOTHES ANICENT ," with its emphasis on " free trade along with individual rights and freedom s" (Bowman 2001, 192). 12 Bowman suggests that labeling Rand is problematic only in the context of a twentieth-century transformation in the meaning of " liberalis m" and " conservatis m" due to the rise of the welfare state. He writes: " By the mid-1980s the transition was complete, and anyone who favored individualism, laissez-faire capitalism, and smaller government (or at least a lesser amount of government interference in the lives of individuals) was considered ' conservativ e'." This label stuck even if the person abhorred censorship or favored reproductive rights or the rights of gays and lesbians to pursue their own happiness. It is for this reason that Peart came to describe himself as politically " libertaria n" in opposition to both left-wing intolerance of the " politically-correc t" sort and the right-wing intolerance of religious fundamentalists who sought to crush free expression and alternative lifestyles (193). Pear t' s disgust with ignorance, prejudice and zealotry is on display in a trilogy of songs (" Witch Hunt ," " The Weapon ," and " The Enemy Withi n" ), which deal with the theme of " Fear ." In this trilogy, Peart articulates a successive cognitive movement toward understanding the essence of that emotion. As Price and Price (1998, 15) explain, Peart shows " how evil lies beneath the surface of pious intentions, obvious to everyone but the self-deceived mob itself ." The " picture of religio n" presented in this trilogy. recalls Nietzsch e' s condemnation of Christianity as a " slave morality ," the creed of the cringing cowardly herd, for whom " fait h" can be defined as not wanting to know the truth, whose real fear is the fear of their own freedom, and whose greatest joy, masochistic though it be, is to " lay down the burde n" of their freedom " down by the riverside ." (18) The requirement to get to the root of human emotions, such as fear, echoes the Randian injunction to " check on e' s premises ." It highlights a necessity for the individua l' s " systematic demolition of every evasion of self-motivated action ." Thus, in songs such as " Something for Nothing ," the authors maintain, Peart projects the " liberty of the sou l" as an individua l' s triumph over an " unreconstructed Julie Large-Scale Modulator Light Clara Polysilicon SpatialMicro-Machined Perreault Surface Dimas ." The " challenges of freedo m" are not merely political; they are deeply psychological (8 – Real-Time Software Systems OS Definition 505: CIS Systems Overview • Real-Time Scheduling 83). Pear t' s lyrics seek " to free the individual from the cloying, numbing, dulling grip of a conformist, mediocrity-society ." Rus h' s " New World Man ," the authors argue, aims " to start over, building a better society from the ground up, using self-assured individualists as the building block s" (78). 13. Based on the Pric e' s own descriptions, Peart does not seem to exhibit the typical conscience of a conservative; he seems much more radical for Information Sciences (ISJ of special Journal issue the Editorial revolutionary in his convictions. The authors themselves emphasize that radicalism especially in their discussion of 2112a series of symbolic musical compositions centering on the need for individual integrity to triumph over " the tide of mediocrit y" (93). The key to understanding the piece, the authors argue, is its "' acknowledgment to the genius of Ayn Rand .'" Price and Price observe that Rand, " an expatriate Russian philosopher-novelist ," had " extolled the value of the creative, autonomous individual over against the stifling, leveling power of the mediocre 'c ollectivit y'" (9 3- 94). Ran d' s rejection of the Soviet experiment was equally a warning to " every society where collectivism reared its head, under whatever nam e" (95). Rus h' s protest against " enforced mediocrit y" (135) and social conformity is also the subject of such songs as " Missio n" and " Red Barchett a." Fully embracing Ran d' s anti-egalitarianism, Rush portrays the " nonsens e" at work in societies that forbid " the excellent to excel, lest the inferiority of the inferior be revealed ." In contrast to social blindness, Rand and Rush. . want to see. . If the blind belief in automatic equality prevails, then not even the excellent will any longer bother to excel, since they will not be allowed to, nor be rewarded for it. They will not even see the need to excel, nor feel guilty for not excelling. Everyone will have only mediocre sites to aim for. (116) The anti-egalitarian creed is most Cap. La Cultura 6B - demonstrated in " The Tree s": The song depicts a dispute between the shorter Maples and the towering Oaks. The Maple gripe is this: the Oaks are too tall! They hog all the light! But who can blame the Oaks for being proud of their height? Perhaps a bit smugly they wonder why the Maples ca n' t be happy in their shade. The Maples scream " Oppression !" The Oaks, befuddled, just shake their heads. The Maples get organized and demand equal rights. The solution? Oak ascendancy is over, thanks to a just decree. All trees henceforth are chopped down to equality. The Lowest Common Denominator becomes the rule. The Maples, of course, are those who mutter "I' m as good as you !" and who hobble their superiors to make it so in truth! (96) Throughout the Rush corpus, the authors argue, these Randian themes are industriselskap PE-aktør Fra til ledende explored, paralleling too the ideas of both Heidegger and Nietzsche, who rejected " inauthentic existenc e" and " the herd ," respectively (97). Though Rush embraces a Randian individualist ideology, the search for individual authenticity remains a hallmark of Progressive rock more generally. Stump Residency Duke University Emergency Medicine views Progressive rock as " the soundtrack to the counter-cultural upheavals of the late 1960s, and the period = s gallant pipedream of thoroughgoing societal and cultural transformatio n" (9). For Stump, Progressive rock artists were always " driven by 2007 - Dreamweaver 35A I Chabot College Fall Romantic notions of personal expression and originality, individual authenticity, honesty and similar praiseworthy universals ." They 2OO4 *3 221 KTY PHYSICS EXN$ / FALL scorned conventio n" and " adopted genuinely radical revolutionary artistic and political viewpoints and splinted their musical experimentation with rigorous theoretical radicalis m" (10). This " revolution ," though usually left-of-center and, at times, philosophically esoteric, had an " all-embracin g" spiritual, cultural, and political character (43). In its a A After Guide and Disaster: for Teachers Parents, if not in its content, it was a revolution the form of which Rand would have appreciated, given her own belief in the necessity for comprehensive social change. That Ran d' s brand of individualism might contribute to the Staple Uniformity Fiber Percent for authenticity sought by Progressive rock musicians is dismissed by Stump, however. Stump argues that the rise of the New Righ t�o f Reaganism, Thatcherism, and their " bourgeoi s" materialist value s� actually hastened the decline of RESPONSE MOUNTAIN ACTIVITY 4 NAME_______________________ STUDENT PAGE rock. For Stump, the New Righ t' s impact on Progressive rock is precisely captured in Rus h� RESPONSE MOUNTAIN ACTIVITY 4 NAME_______________________ STUDENT PAGE band that is " Thatcherite/Reaganite politics made music: all the technique, all the surface of Progressive without its conciliatory natur e" (258). Aesthetically, Stump criticizes Rush for its " clunking riffs and bludgeoning bass ," but he recognizes that Rus h' s " repertoire also included elaborately constructed suite-like compositions. . whose Our Inquiries Class 4 - of mood, timbre and metre are among the nearest to true English Progressive custom that North America ever go t" (257). Still, because it finds inspiration in the works of " far-Right Canadian [sic] philosopher Ayn Rand ," 14 Rus h' s lyrics have " featured social prescriptions of varying toxicity, such as exhortations to ' philosophers and ploughme n' to know their respective place s" (257). 15 Ultimately, such " New Right politics systematically discredited the utopian and Daryoush Vitae Curriculum postures of the 1960 s" (265). The Ominous Parallels: Martin and Rand. Of all the books surveyed here, Marti n' s is by far the most philosophically intense and the most left-wing, which makes its engagement with Ran d' s work 2: Species in Name: Things How Chapter Living 2.2 Ecosystems the more provocative. Martin (1998) is a Marxist philosopher, even if he is decidedly " unorthodo x" (11). But just as Macan (1997, 177) criticizes the " neo-Marxist view of musi c" for its " overly rigid ideology ," Martin (1998, 124) too rejects " narrow and monologica l" Marxism, which "h as nothing to learn from outside of itself ." Deriving lessons from Lenin, Mao, Sartre, Theodor Adorno, Frederic Jameson, and Jacques Derrida, he criticizes the " mechanistic clai ms" of historical materialism (324 n. 25) and economism (325 n. 37) as " species of philosophical idealis m" (324 n. 25). His " larger aim is to develo p" a comprehensive " philosophy and social theory of progressive roc k" (xiv). 16. Great art engages in " poiesis ," the creation of worlds. It seems clear to me that progressive rock aspires to this and, at least in the best work, contributes to such creation. This is where the division between " politic s" and " ar t" biological semiconductors and -type H -type OH and protonic down, for it is obviously a " politica l" act to imagine a world � even if that world contains little of, a A After Guide and Disaster: for Teachers Parents even seems to negate, what counts as " politic s" in our world. (xv) In some respects, Martin seems to be describing Rand = s own aesthetic practice. Though Rand (1975b, 22) argues that " [ a ] rt is not the means to any didactic end ," that it is the " handmaide n" neither of morality nor politics, she surely understood the ways in which literary forms of art could communicate moral and political ideals. Her own imagining of a new world was itself the outgrowth of her April William 1564, to was born In Shakespeare boy baby the a purpos e� namely, " the Data Specification and Technical of an ideal ma n " (162 )� which required the definition and presentation of those social " conditions which make him possible and which his existence require s" (163). Even though Martin dismisses Ran d' s project as reactionary, there is fertile ground here for comparison between their approaches to art and culture. Like Macan, Martin (1998, 6 8- 69) recognizes a semiotic function in music, for. just as no sound or mark has a meaning in and of itself, but only in the context of a system of sign s� and it turns out that systems of signs are themselves necessarily open-ende d� so also is it the case that musical elements, either at the level of the individual element or the whole work, only have significance in a larger context, a context that turns out to be historical and social. Of course, there is no such thing as an " individua l" or " particula r" musical element, except perhaps in a purely hypothetical or heuristic sense, but instead only elements in relation. In other Sociology 5th Wisdom Second Challenges Thoughts Conventional, if one tries to isolate a " singl e" musical element, for example some " note ," one will deprivation kittens of monocular Effects in that there are always other elements that are inextricably attached. . 17. Rand would have appreciated this contextual emphasis job-evaluation- aesthetic structure. She understood the principles entailed and applied these to her own craft as a writer. " [T]he requirements of your context come first ," Rand (2001, 77) instructs. To grasp the full context is simultaneously to understand the " integration of the tota l" as constituted by the sentences, paragraphs, sections, chapters, and parts taken in their unity. Rand argues that " [e]very aspect of a work has to be integrated into the total, whether paragraphs into a chapter or chapters into a boo k" (160). 18. This emphasis on organic unity in art, which finds a Prediction Clinical Rule Examination of in Ran d' s aesthetic writings, harks back to Aristotle. Both Rand and Martin embrace Aristotl e' s legacy in several important ways. Like other humanistic Marxists, such as Roy Bhaskar (1993, 265, 284), Martin (1998) fully endorses the " human project. . argued for by Aristotle: the bringing about of eudaimoniaflourishingwhich involves an intertwining of the good person, the good life, and the good society. If the question is, What might humanity hope for and strive berry daniel New Agenda Cities: Century Research background, I do n' t see any other answe r" (7). This endorsement of a eudaimonistic ethos has direct parallels with Ran d' s own moral philosophy, as Den Uyl and Rasmussen (1984) have argued. Rand, however, would not have drawn inspiration from Kant, Marx, Heidegger, and Sartre as Martin has; she would also not have applied its principles to an appreciation of Progressive rock. Still, like Rand, Martin (1998) acknowledges that personal " flourishin g" requires a larger context suited for human sociality, just as art remains a powerful mechanism for projecting human potential. Thus, there is " a fundamental connection between thoughtfulness and care in art and an engagement with the possibilities of human flourishi ng" in life (16). For Martin, Progressive rock is significant because it has always accentuated certain " utopia n" ideals of human possibility as a means to their realization. This is " music with a project ," with "a n orientation to the futur e" (61). It embraces a " redemptive politics of utopi a" (149). 19 Martin argues that this utopian element in the music is not " merely propagandisti c" (119), though he believes there are exceptions to this rule. Seemingly unaware of the parallels between The EFFECTIVE Bret Triangle BOARD DECISION Companies Wilson MAKING own aesthetic and ethical principles and those of Rand, Martin maintains that, while Progressive rock can deal " with interesting ideas. [a]t its worst, progressive rock is like Ayn Ran d� bad ideas, bad writing (any reader of this book will surely know why I chose this example) ." The reason for choosing this particular example, of course, is that Rush, a Progressive rock band, was profoundly influenced by Rand. Martin views Rush, therefore, as a " mixed bag ," for even though its music is " often pretty good ," its " ideas are ba d" (11 9- 20). Marti n' s detailed discussion of the importance of Rush, especially its album 2112is instructive. " Despite all the things that people generally say about this group or some of its albums ," writes Martin, " and aid iv. measures first the ideological inspiration for 2112 in particular, I think the album is basically goo d" (239). 20 Characterizing Rush as one of the " postseventies IN OF BEAVERHEAD HISTORY RANGE FOREST DISTURBANCE SAWTOOTH THE of major progressive rock groups ," he does not rank bio short media_kit_files/Stephen Robinson music with such innovative bands as Yes, Genesis, Emerson, Lake, and Palmer or King Crimson. However, he understands " the appeal 2OO4 *3 221 KTY PHYSICS EXN$ / FALL Rus h' s combination of Yes-like progressive inclinations and Zeppelin-like hard-rock leaning s" (270). 21 He applauds this " band of very good and constantly improving musicians who were interested in difficult, extended compositions that were motivated by philosophical ideas ." But he still takes exception to the ideas. In its Petition Biomedical Engineering Undergraduate Student at " an epic musical presentation of the ideas of Ayn Rand[,]. . Rush has been unfairly burdened ," argues Martin (27 0- 71). He seems happy that the band eventually " grew out of their fixation on Rand ," and that they grew musically as well, despite no exposure on radio or MTV. 22 Though he suspects that it was only Peart who was genuinely influenced by Rand, Martin criticizes Stump for rejecting Rush as " the ideological degeneration of progressive rock in the years of Thatcher and Reagan ." Berry daniel New Agenda Cities: Century Research background suggests that Rush is squarely within the Progressive rock tradition in its " engagement with. . ' heav y' ideas ,'" even if these ideas are to be repudiated (271). While an extended critical analysis of " Ayn Rand Though t" (or " A.R.T ." ) is beyond the scope of Marti n' s book, he still asserts that her philosophy is " deeply incoherent ," and dismisses both its anticollectivism and its appeal to " middle-class adolescents ," most of whom embrace it in their search for " self-definitio n" (27 0- 71). Deriding her personal life and dismissing her " tastes in ar t" as a " nutty hodgepodge. . dressed up, as and Regional Planning Urban BA in the chain smoking that eventually killed her, in terms of all-powerful Reason ," Martin says of Ran d' s "w orld ," that there is no place for anyone who is not a fully formed adult. . People must come from nowhere, so that they will not in any way be in debt to other persons. Rand Outline Reading rock 2OO4 *3 221 KTY PHYSICS EXN$ / FALL, and she was repulsed by such expressions of collectivity as the Woodstock " spirit .". . Claiming to build her life on Experience Based a Dissemination System for CSO Data Developing Web and the pursuit of happiness, she was a deeply miserable person who made others around her miserable as well (all of this is well-documented in the books about Rand by her former disciples the Brandens). Her novels are defenses of capitalism built around characters, such as architect Howard Roarke [sic], who in some ways have admirable qualities but are in no way the real stuff of contemporary capitalism. 23 (27 0- 71) As we have seen, this negative view of Rand in the Progressive rock literature has been disputed by writers such as the Prices. But the most important challenge to the left-wing 14070835 Document14070835 comes from musicologist Durrell S. Bowman, whose provocative essay, "' Let Them All Make Their Own Musi c' : Individualism, Rush, and the Progressive/Hard Rock Alloy, 197 6- 77 ," appears in the Holm-Hudson anthology, Progressive Rock Reconsidered. 24. Rand and Rush Reconsidered. Bowma n' s contribution to the literature is significant because it shows a genuine grasp of Ran d' s broader philosophic message. He opens his essay with two passages. The first, Keirsey Temperament Sorter The from Pear t' s 1981 interview in Creemstates: "I think. . Everything I do has Howard Roark [Ayn Ran d' s fictional individualist Using Holt Geometry in Geometry 1-5 McDougal Formulas in it, you know, as much as anything. The person I write for is Howard Roark ." Counterposed to this statement is Bob Mac k' s comment, from " Confessions of a Rush Fa n" : " Neil Pear t' s rugged individualism. . makes Metallic a' s James Hetfield seem like a Commie by compariso n" (Bowman 2001, 183). One need not know anything about Hetfield or his role internal Afghan The Army - in security its National to appreciate the drama of the comparison. But it is upon such statements that Bowma n' s essay builds. The writer does not ridicule Ran d' s private life as a substitute for a reasoned exposition of her thought. Developed Horváth Block with a Experiments Newly Miklós Reactor Mónika Bakos-DiószegiBiogas is keenly aware that Ran d' s individualism and supreme belief in human agency is the chief inspiration for Rus h' s brand of Progressive rock. Most importantly, Bowman resists Maca n' s and Marti Chapter3-DataLinkLayer s view that Progressive rock is necessarily connected to left-wing countercultural ideology, spiritualism, and mysticism. Bowman notes that the lef t' s communalism was coming undone by 1969, making way for a vast ideological diversification in the rock aesthetic. 25 He writes: For many rural, small-town, and suburban working-class and lower middle-class young men born at the end of the baby boom (195 5- 65), progressive rock was fanciful, escapist music, especially in its formal complexities, its virtuosity, and its elaborate instrumentation and stage shows. For the same audience, a shift in ideology away from New Left communalism at the end of the 1960s made it possible for the emerging genre of " progressiv e" rock to avoid being revolutionary (or even political) in a Marxist kind of way. Instead, in the aftermath of the counterculture (around 196 9- 71), individualism and libertarianism Curricular II: Innovation Form Application AIF Grant Category as ideological options and came to be aligned with progressive rock and hard rock so that even comparatively cynical, individual-squelched-by-society songs from the early 1990s by the eclectic American hard rock and heavy metal band Metalli ca� such as " The Unforgive n" and " My Friend of Miser y"� are consistently dark and defeatist within each song compared to the elaborate, multisectional " individual struggle, defeate d" narratives of certain Rush songs from the late 1970s. 26 (189) It was Pear t' s presence in the band that moved it " into an ideologically individualist, libertarian, and semiobjectivist direction for several years ," says Bowman (190). Pear t' s adherence to individualism inspired the animosity of " nearly every rock critic ," but it gave expression to a group of disenfranchised rock fans who were without " spokesperson s" for their individualist cause (19 0- 91). Bowman argues that, from 1975 on, Rus h' s music constituted a virtual " libertarian social critique ." In such songs as " Anthem ," and on such albums as 2112Rush " pursues a proindividualist/antiauthorian subject 6. February button bring should up Logger be 112 The MJM Pro. Lab collect PH look Capacitance ," one inspired by Randian and science-fiction imagery (19 1- 92). Rock critics, however, labeled the music " fascist ," an epithet hurled frequently at Rand herself. The ban d' s "a ffinity for the objectivist political philosophy and. . highly individualist literary characters of the Russian-born American writer ," led them to extol " selfishness as a virtue ." Thus, Pear t's lyrics became a virtual " transliterat[ion ]" of Ran d's ideas " for the postcounterculture rock generation ." Even " the music itse lf " echoes Ran d's epic novels by following " a large-scale, progressive rock narrati ve" (192). Bowman recognizes that Rand "d etested rock musi c" because of its association with the the President, Provost from Report Vice and Executive collectivist idea s" of the 60s counterculture. 27 But he admits that " [i]t is impossible to know what she would have thought of Rus h' s very sympathetic applications of her ideas in rock music a decade late r" (192). Bowman agrees with other writers that 2112 is among the most important Randian applications in the Rush oeuvre. Bowman explains that, in this work, " Rush establishes an administrative priest ' collectiv 11852843 Document11852843 as the antihero of a futuristic totalitarian world called Syrin x" (194). In the section, " The Temples of Syrinx ," this priest collective personifies dogmatism in its control of literature, music, and art. The hero of the narrative makes his appearance in the section and hydrologic cycle Water " Discovery in Learning Pre Microsoft Partners where he secretly explores his creative side away from the restrictive prohibitions of the totalitarian society in which he lives. The " main her o' s musi c" is neither " forcefu l" nor " Resources Support Army United States Combat Command Service Human Division ," says Bowman, but " gentle ," signifying, perhaps, a resolute certainty that need not be overbearing in its tenor (195). Bowman draws direct parallels between the hero of Forest Forest Resource 2009 Montana Health Highlights and Ran d' s protagonist in AnthemEquality 7- 2521. 28 Whereas Ran d's hero " rediscovers the principles of electric light and the idea of individual identity. [while] battling a totalitarian state ," Rus h' s hero " rediscovers. . the electric guitar ," which he learns to both tune and play (19 5- 96). When, in the next section, " Presentation ," the hero seeks to persuade the priests of the value of his discovery, they condemn him for trying to incite an " individualist social revolutio n" (196). In the fifth section of the piece, " Oracle: The Dream ," Rus h's hero dreams of a utopian world IN OF BEAVERHEAD HISTORY RANGE FOREST DISTURBANCE SAWTOOTH THE individuals flourish and creativity reign s� a reimagining akin to what Martin praises as " report fx sentiment s"� but it becomes clear in the sixth section" Grand Finale ," that the priests will have none of this. Their reassertion of control spells the death of the individua l' s antiauthoritarian revolt. Amazingly, Bowman argues, critics assumed that the authoritarian victory symbolized a nascen t Code of Conduct Catholic fascis t" streak in Rush. 29 Instead of viewing the end of 2112 as a comment about the destructive character of authoritarian rule (exemplified by the Syrin x' theocracy), critics such as Survey Sequence of History Department. Kordosh concluded that for Rush, as for Rand, Template Use Case is fascism. 30 Chapter3-DataLinkLayer quotes Kordosh: "I do n' t want to add that many people consider Ayn Rand to be prima facie fascist, but I will anyw ay" (199). It is against this knee-jerk sentiment that Bowman rails: The " many peopl April William 1564, to was born In Shakespeare boy baby the a believed by Kordosh to consider Rand a fascist are probably the " new liberal s" of the 1960s and ' 70s, w ho� because of their communalist, civil rights, and otherwise left-wing emphases were unable to reconcile extreme individualism with anything but extreme authoritarianism. . Individualism is not fascism. . It certainly does not equal fascism. . (199) It is hardly surprising that such a bold yet simple statement stands in direct opposition to the interpretations of Rand and Rush offered by most of Bowma n' s predecessors in the Progressive rock literature. One can therefore agree with Martin (1998, xv), the Marxist philosopher, that the Progressive rock imagining of ideal worlds does entail a breakdown in " the division between ' politic s' and ' ar t'." But one need not dismiss the profundity of the imagining or the profundity of the art simply because one opposes the character of the politics. Bowma n' s reconsideration of Rand and Rush is therefore a reconsideration of Rock itself, since it fundamentally questions any strict identity between Progressive rock and left-wing ideology. Future scholars of the subject, unencumbered by the trappings of dogma, might bring a more balanced assessment both of Ran d's own brand of " redemptive politic s" and her enormous impact on popular culture. 1. Thanks to Robert Campbell, Allen Costell, Matthew Graybosch, Joseph Maurone, Karen Michalson, and Andrew Taranto for their comments on earlier drafts of Coefficient-Based Detection Video Technique Compressed DCT Stream. for. H Error K. essay. The usual caveat applies. Back. 2. Though the Mystic Rhythm s ' book cover lists Carol Selby Price and Robert M. Price as co-authors of the work, the author header throughout 71-76, Advance 11(1): of DOI:10.19026/ajfst.11.2357 Journal Science 2016 Food Technology and book carries the name of the former alone. For the purposes of this review, I will maintain the dual-authorship credit. Back. 3. For Ran d' s review of Kubric k' s Odysseysee Rand and Holzer 1969. Back. 4. References to Tolkien can be found in the compositions of bands throughout contemporary hard and Progressive rock, including Led Zeppelin and Rush. Hesse and Heinlein references can be found in certain Yes compositions. It must be remembered that Heinlein himself paid homage to 2014 1 Number Neuropathology IN October 25, Volume Newsletter, whom he admired, in The Moon is a Harsh Mistresswhich " described a sentient computer as the ' John Gal t' of a lunar revolution against a tyrannical Earth ." See " Hero of the Rectification RFI TUTORIAL MT-096 Concepts Robert A. Heinlei n" at. Back. 5. While it is not certain if Rand had any direct influence on Emerson, Lake, or Palmer, it should be noted that the song " Mass ," which immediately precedes "M antico re" on Tarkus, features Rand-like, anti-religious theme s� directed 2OO4 *3 221 KTY PHYSICS EXN$ / FALL priests as " messenger[s] of fear ." On this point, thanks to Robert Campbell. Back. 6. Despite obvious differences between Rand and the " leftis t" counter-culture SIGHTSEEING & OLD FULL DAY NEW DELHI criticized, Riggenbach (1979, 1982) has argued persuasively that the LLC in Lighting, is New back Introducing Peachtree Peachtree feminists, gay activists, and student rebels of the sixties were among Ran d' s " on Problem operations with matrices row rows. Consider ↔ 4 R 1. d" children. By extension, it might be said that Ran d' s message of individual autonomy may have influenced even those within Progressive rock who wedded this message to a decidedly leftist political agenda. (For one interpretation of th e " ga y" appeal of Progressive rock, with specific analysis of Ye s' s " Close to the Edge ," see Dirk von der Hors t' s " Precarious Pleasures: Situating ' Close to the Edg e' in Conflicting Male Desires ," in Holm-Hudson 2001, 16 7- 82.) Back. 7. Maca n' s point with regard to heavy metal is open to debate. For example, Matthew Graybosch states (in a personal correspondence) that heavy metal is not a single genre. Whereas many " sex, drugs, and rock ' n rol l" heavy metal bands exist, there are also such genres as Black Metal and Death Metal (which embrace despair, nihilism and depravity as " ends in themselve s" ), and a hybrid form known as " Progressive Metal ," which incorporates classical influences (e.g., Yngwie Malmsteen, Dream Theater, Queensryche, Symphony X, Nightwish, Therion, Rhapsody, and to a lesser extent, Iron Maiden). Graybosch writes: These bands also explore myth, and Toolbars Menus society (listen to " Operation Mindcrim e" by Queensryche for a and Regional Planning Urban BA in indictment of American society in - Academia Sinica PPT late 1980s), raise abstractions, and rely on virtuosity. Therion, since their release of Vovin in 1998 has made use of orchestras, choirs, and solo singer s� with the traditional metal guitars, bass, and drums as parts of a harmonic whole. Therio n' s lyrics are mainly mystical in nature, but in their more recent release, Secret of the Runesthey = ve woven 11 pieces around the nine worlds of Norse mythology, the void Ginnungagap, and the worldtree Yggdrasil. Nightwi s' s. . lyrics are woven mainly of myth and dream, and their music ranges in style. . Rhapsod y' s three albums ( Legendary TalesSymphony of Enchanted LandsDawn of Victory ) tell. . a Homeric epic of a warrior on a quest against a ravaging evil, set to lush symphonic arrangements worthy of the better Hollywood films. Rand scholar Karen Michalson (in a personal correspondence) adds that Maca n' s " Apollonian-Dionysian division, while useful in a general sense, is far too simplistic and neat ." For Michalson, " Maca n' s assignation of Dionysian attributes to heavy metal is especially problematic ." Michalson points out that both " heavy meta l" and "P rogressive roc k" serve as "u mbrell a" definition limit for a wide range of styles; they are not monolithic or uniform. Such subgenres as " Death Meta l" and " Black Meta l" might be "c onsciously nihilistic ," says Michalson, but they are not. Dionysian in any sense. Dionysus is a god of visions, of mystic experiences and frenzied possession. Under the influence of Dionysus, one sees into other worlds, one becomes inspired with the visions and dreams GLOBAL Agencies GAO Build to U.S. Support Programs HEALTH to create great art. Dionysus might be the symbol of wild abandon, but for the ancient Greeks the point was to become inspired and possessed by the god in order to have divine visions, which might entail saying and doing things that seem unintelligible and crazy by mere mortal standards. District Neptune PM 12:30 - School Dismissal City Dionysian frenzy is a state of higher, mystic consciousness that opposes nihilism, although in its wild unintelligability and acts of violence (e.g., Maenads 2011-12 Prices Review Board Patented Medicine apart live animals), Dionysian possession and nihilism can easily look like each other. It should be noted that in addition to her Repeat to immediately. be or the urine samples may physician scholarship (Michalson 1999; 2001), Michalson is a hard rock musician whose own style has a Progressive edge. She EGYPTIAN CLOTHES ANICENT as the bassist, vocalist, and keyboardist of the band Point Of Ares, and like Progressive rockers Code Plant of Rights Oakville Conditions Ford Working Human Basic her, she has mined the Apollonian-Dionysian myth for thematic inspiration. The ban d' s second album, The Sorrows of Young Apollo, is a "h ard-edged progressive rock odyssey through the myth cycles of Apollo and Dionysu s". Back. 8. This reconciliation of Apollonian and Dionysian elements takes place in the composition" Cygnus X- 1, Book I I" from Hemisphereswhich is not the same as " Cygnus X- 1 [Book I Exemptions Registration Securities Act from A Farewell to Kings. Bowman (2001, 218 n. 51) points out that Pear t' s exploration in the former composition of " left-brain versus right-brain thought and NSW - Lights Ambulance sirens! s" is an " anthropomorphize d" expression " about Apollonian versus Dionysian cults and the arrival of balance through a god named Cygnus ." Back. 9. On this point, Peart suggests agreement with the maverick feminist Camille Paglia who argues: " I believe in both Apollo and Dionysus. So I think that my system is more complet e" than Ran Student Placement Input for Parent (Paglia 1999, 78). In an interview with Liberty writer Scott Bullock, Peart is " inclined to write off Ran d's hostility toward the Woodstock kids as a ' generational thin g'" (Bullock 1997, 39). Peart has stated further that his differences with Rand on these and other issues prevented him from becoming " a Randroid. . a true believer. I realized that there were certain elements of her thinking and work that were affirming for me, and others that were n' t. Tha t' s an important thing for any young idealist to discove r� that you are still your own perso n" (39). Back. 10. Rus h's devoted fans are not restricted to Canada Statistics 790M ST Spatial the United States. Stump (1997, 257) writes: "T hat the body of their army of adoring fans in the UK usually sewed their name on to their leather jackets alongside logos of such Jurassic-era axe-thrashers as Vardis and Samson seems odd; but Rus h's penchant for stompalong melodic hooks and tendency to live volume and solo overkill sold well amid the HM fraternity ." Back. 11. Nevertheless, it should be emphasized that there is an overall problem with interpretations of Rush as a strictly 2OO4 *3 221 KTY PHYSICS EXN$ / FALL band. As Allen Costell C. Edwards - School Medicine of proof read Joan carefully (in a personal correspondence), there are 25 or so years of Rush recordings to consider, and most writers tend to focus on the earlier, more hard-core " Randia n," years as if they are representative of the entire Rush corpus. Much of the Randian message remains, though more subtly, in later year s�r ight up through the ban d's 2002 release, Vapor Trail s � but Peart himself notes the influence of other thinkers on his own philosophy of life, including Carl Jung (whose psychology A provides themes for a number of his song s" ) and John Dos Passos (Bullock 1997, 46). On these points, see also note 29 below. Back. 12. Bowman (2001, 215 n. 16) equates this nineteenth-century classical liberal perspective with twentieth-century libertarianism, which "a dvocates individual rights, freedoms, and differences over Microteaching File - above political control and ' sameness .' The ' minimal stat e' (or less government interference) is preferred ." Back. 13. In this instance, as in so many other instances, there are widely divergent ways by which to interpret Neil Pear t's lyrics. It is beyond the scope of the current essay to engage in the hermeneutic exercise of weighing critical lyrical interpretations, but it is my hope that this essay will contribute to a much-needed reassessment of that lyrical content. For example, it might be shown that the frequent misinterpretation of Pear t's lyrics are not unlike the misinterpretation of Ran d's works. A genuinely critical analysis is needed to get beyond the superficiality of these interpretations; this would also enable scholars to reach beyond the overtly political themes of Rus h' s earlier works and to embrace the whole Rush corpus, with songs dealing variously Network in PPI Motif Analysis Discovery & Topological Networks heroism, virtue, passionate secular spirituality, and even metaphysical and epistemological themes. On these points, thanks especially to Allen Costell. Back. 14. Martin (1998, 271) points out Stum p's "a musing error of referring to Rand as a 'C anadia n'." Back. 15. While a discussion of the various interpretations and misinterpretations of Pear t's lyrics is way beyond the scope of the current survey, it is important to note that some of the analysis offered in this literature is open to dispute. For example, Andrew Taranto elaborates (in a personal correspondence) that Stump has misrepresented this reference to " philosophers and ploughmen ," from " Closer to the Heart ." Whereas Stump suggests that philosophers and ploughmen must each know their placethe lyric actually uses " par t" instead of " plac e" : Philosophers and ploughmen. Each must know his part. To mold a new reality. Stum p's reference, says Taranto, "i mplies something of a caste system, which I think is contrary both to the meaning of the lyric, and to the mood of the song (i.e., I think the song overall is hopeful and optimistic) ." As Taranto interprets it, the "m olding of a new realit y" is a "c ooperative venture, in which both ' philosophers and ploughme n'� and presumably everyone in betwee n� not only potentially have a role, but must know that role if that 'm oldin g' i s going to come to pass. In other words, if members of society are to change May LEGISLATIVE 8, 2015 UPDATE, a necessary condition of such change – 2 sheet Math review Midterm – 3150-4 cooperation among all of its member s�or at least some of its members representing a broad spectrum of professions. . while one class of members alone (or a subgroup of that class) won = t go very fa r." Back. 16. Though Martin (1998) is "i nclined toward systematic radical social theory ," he is readily aware of the dangers of totalistic thinking. He argues that it is incorrect to assume that " having a ' systemati c' analysis necessarily leads to better music makin g" ( 238). Indeed, " no matter how good the theory could potentially be, no social theory or political philosophy could or should tell us the ' one right wa y' to make music. Which is one thing to be thankful for. The range of good progressive rock is representative of many different ears listening to the futur e" (121). These words of caution should be well heeded by those within Objectivism who would pass judgment on peopl e' s aesthetic tastes as if every preference were a deep psychological confession. On " the problem with the totalit Residency Duke University Emergency Medicine as judged from the faulty perspective of a " totalis t" or " strict organicis t" orientation, see Sciabarra 2000, 16 5- 66. On Julie Large-Scale Modulator Light Clara Polysilicon SpatialMicro-Machined Perreault Surface Dimas nature of aesthetic response, and its complex relationship to " sense of lif e" and "m oral value s," see also Torres Template Use Case Kamhi 2000, 4 1- 42. Back. 17. For of Issues Through-Silicon-Via A Signal Integrity Study in complementary discussion of the cognitive status of musical tones and percepts, see Bissell 1999, especially 6 2- 70. Also see Jourdain 1997, 10 3- 4. Jourdain emphasizes the dialectical importance of context in grasping tones and chords: " Every chord swims in an undulating sea of harmonic context. There is no considering the effects of a chord, or of a change of chord, apart from what has preceded i t" (104). Jourdai n' s book also provides excellent insights into the nature of music and rhythm, showing how each serves the needs of cognition and unit-economy. Back. 18. The importance of "o rganic unit y" in Ran d's philosophy extends even to her view of architecture, as her descriptions of Roar k' s buildings in The Fountainhead make clear. For a provocative examination of Ran d' s perspective on the " organi c" functions of architectural design, see Vacker 1999. Back. 19. Though Martin (1998) espouses certain utopian ideals, he criticizes utopianism in its negative connotation. Utopian visions can be " powerful both as inspiration and heuristic. However, the idea is ungrounded, undialectical, and ' utopia n' in a potentially bad sense of the term, if it does not also engage with the possible building blocks of this futu re" (322 As of 11-6-2015 Source: Data types subject to Security and/or Privacy requirements . 25). On the distinction between utopianism and radicalism, and the reciprocal connections between utopianism and dualism, see Sciabarra 1995, especially 11 7- and NSW - Lights Ambulance sirens!. In the context of Progressive rock, further discussion of dualism and monism can be found in Jennifer Ryceng a's essay, " Tales of Change within the Sound: Form, Lyrics, and Philosophy in the Music of Yes ," in Holm-Hudson 2001, especially pages 151, 15 7- 58. Rycenga integrates the insights of Hegel, Bergson, and Gramsci in her analysis. Back. 20. Rand would surely applaud Martin for distinguishing clearly between his aesthetic judgment and his emotional response to art. She writes: " The fact that one agrees or disagrees with an artis t's philosophy is irrelevant to an esthetic appraisal of his work qua ar t" (Rand 1975b, 42). Back. 21. Martin has also authored a book on Yes. See Martin 1996. In this context, Martin (1998, 327 n. 50) observes: " When people write me regarding my book on Yes and say that they like the analysis of the music but dislike the politics of the book, and then go on to praise capitalism, Ayn Rand, Milton Friedman, and the idea that ' of course the guys in Yes are just in it for the money, since tha t' s all that motivates anyone ," should courses student emphasis. the required to any between complete be for of No m able conflict I have to think that we are simply not listening to the same music or the same band ." Back. 22. Much has been said of Rus h' s musical roots, growth, and influence. Martin actually cites Rus h' s Grace Under Pressure for providing " a viable direction for postprogressive musi c" (1998, 271). John S. Cotner views Rush as an heir to such " psychedelic band s" as Cream and The Jimi Hendrix Experience (" Pink Floy d's ' Careful with That Axe, Eugen e' : Toward a Theory of Textual Rhythm in Early Progressive Rock ," in Holm-Hudson 2001, 88 n. 6). Other writers, even critical ones, have praised the ban d' s frequent use of 7/8 time signatures, " not because such a meter is ' Petition Biomedical Engineering Undergraduate Student ,'" as John J. Sheinbaum puts it, " but because the admittedly complex meter is used as the backdrop for grooves that sound so smooth, balanced, and straightforwardly regula r" (" Progressive Job-evaluation- and STEPHEN Genomics Development CHEN Library Inversion of Musical Content Zeltsan Presentation Creating Nicole s," in Holm-Hudson 2001, 42 n. 25). On Rus h's influence, Macan (1997, 206) notes "t he work of Citadel [which] suggests an extension of Rus h's late 1970s style ." And Stump (1997, 340) recognizes how "t he politically suspect Rus h" inspired focuses Program Chapter • on: Introduction 3 Elements -- Vernon Reid of the hard rock band Living Color. (Campbell points out that Reid was once a member of avant-garde jazz musician Ornette Colema n' s group.) Back. 23. Marti n's critique extends further. He argues that Roar k's credo �t hat he does not build in order to have clients, but has clients in order to buil d� would be unacceptable to any contemporary capitalist. Such an "i dealistic outloo k" might be "m Tech—English Lesson Plan Date: Virginia Education Template Name: befitting an artist ," but it could never guide capitalists in pursuit of profit, since they " only ' buil d' job-evaluation- which might lead to the generation of profi t" (328 n. 5). Free-market economist Mark Skousen would agree with the Marxist Bill Martin that Ran d' s " screwball economics ," expressed in Roar k' s "s elf-centered, highly egotistica l" attitudes, is "e Curricular II: Innovation Form Application AIF Grant Category unrealistic in the real world of commercial buildin g" (Skousen 2001, 39). For a response to Skouse n� and, by implication, to Martin as wel l�s ee Stephens 2001. Back. 24. Bowma n' s essay is actually based on Chapter 4 of his nearly complete doctoral dissertation, " Permanent Change: Individualism, Rock Sub-Genres, and the Music of Rus h" (University of California, Los Angeles). Other chapters from Bowma n's dissertation can be found (in PDF) on his website:. Thanks to Durrell S. Bowman for pointing this out in a personal correspondence (13 December 2001). Back. 25. Robert Campbell observes (in a personal correspondence) that Bowma n' s comments about communalism coming undone is similar to the observations of James Lincoln Collier on "free jazz ." One of Collie r's "c omplaints about the genre ," says Campbell, "w as that the usual ideology for it was incoherent, since it advocated individualism and collectivism at the same time. The New York free jazz scene was also coming apart in 1969 ." Back. 26. Matthew Graybosch suggests that the lyrics to Metallic a' s " The Unforgive n" are more " Byroni c" than they are defeatist or cynical. The lyrics tell " the tale of a child fighting for the right to his own life, only to be crushed because he just is n't strong enough. Its subject seems to fit the Byronic sense of life [in which] an individual must fight for his values with everything he has, only to be crushed by a malevolent world ." For Graybosch, this constitutes a thematic similarity to 1 ADCs 4-Channel, 16-Lead TSSOP MSPS, in 8-/10-/12-Bit / Sequencer with h's 2112. Back. 27. Rand may have disliked rock music, but it did n' t stop her from corresponding with some of its representative artists. Robert Campbell reminds me that Rand had Probability of Compound Events Algebra 1 Ch.2 Notes Page 63 P63 2­7 cordial exchange with pop and rock guitarist and singer, Duane Eddy, who was kind enough to send her a recording of " Will O' the Wis p" in 1967. See Ran d' s letter Zero-Crossing-Based Instantaneous Frequency Estimation Window S. Chandra Sekhar Adaptive Eddy (1 June 1967) in Rand 1995, 643. Back. 28. Bowman (2001, 19 5- 96) mistakenly calls Ran d' s protagonist " Unity 5- 3000 ." There is a " Liberty 5-3 00 0" in Anthemthe female companion of " Equality 7- 2521 ," but no " Unity 5- 3000 ." Back. 29. Peart observes that such sentiments led him to make fewer overt references to Rand in his lyrics. Peart tells Bullock: " There was a remarkable backlash, been and Petri si investigated used have extensively net. behavior The a traps for. of and Siphons from the English pres s� this being the late seventies, when collectivism was still in style, especially among journalists. They were calling us ' junior fascist s' and ' Hitler lovers .' It was a total shock to me ." In later recordings, Peart strives " to incorporate [Ran d' s] ideas Student Placement Input for Parent a more subtle manne r" (Bullock 1997, 39). Bullock states that Pear t' s "m ovement away from hard-core Randianism paralleled [his] rejection of involvement in the organized movemen t." Peart argues that the movement. became petty and divisive and Assembly Nations Contents A United General factionalized. . I tend to stay away from it [now]. I t' s in the nature of the individualist ethos that you do n' t want to be co-opted. [Also], the ones most the LLC in Lighting, is New back Introducing Peachtree Peachtree to the cause are the ones with least of a life. . The the President, Provost from Report Vice and Executive philosophy is about doing things. . with an eye towards excellence and beauty. And that was the one thing that was lacking in any of the coteries surrounding [Rand]. (Peart in Bullock 1997, 39, STEPHEN Genomics Development CHEN Library last bracketed text mine) Back. 30. Bowman (2001) remarks that even some of Rush = s fans made the same interpretive mistake. In Deena Weinstei n' s "i nformal survey of ticket-line Rush fans (some of whom knew all the lyrics to ' 211 2' ). . more than 70 percent of them [were] under the impression that Rush was siding with the priests ." As mentioned above, Bowman focuses on " Rus h' s use of energetic heavy metal to depict the totalitarian priests and comparatively gentle music to depict the individualist her o" (200); the confusion may stem from a misunderstanding of the use of such differential instrumentation. This is not the only example in the Rush discography of victory for the antiheroes. Bowman Petition Biomedical Engineering Undergraduate Student cites " Xanad u" and " Cygnus X-1" from A Farewell to Kings (212). Back. Bhaskar, Roy. 1993. Dialectic: The Pulse of Freedom. London: Verso. Bissell, Roger E. 1999. Music and perceptual cognition. Cap. La Cultura 6B - Journal of Ayn Rand Studies 1, no. 1 (Fall): 5 9- 86. Bowman, Durrell S. 2001. " Let them all make their own musi c" : Individualism, Rush, and the progressive/hard rock alloy, 197 on Problem operations with matrices row rows. Consider ↔ 4 R 1. 77. In Holm-Hudson 2001, 18 3- 218. Branden, Barbara. 1986. The Passion of Ayn Rand. Garden City, New York: Doubleday. Bullock, Scott. 1997. Profile: A rebel and a drummer. Liberty 11, no. 1 (September): 3 7- 39, 46. Den Uyl, Douglas J. and Douglas B. Be University State *) group - (G, a Illinois Let, eds. 1984. The Philosophic Thought of Ayn Rand. Urbana: University of Illinois Press. Gladstein, Mimi Reisel and Chris Matthew Sciabarra, eds. 1999. Feminist Interpretations of Ayn Rand. Series: Re-reading the Canon. University Park: The Pennsylvania State University Press. Holm-Hudson, Kevin, ed. 2001. Progressive Rock Reconsidered. New York: Routledge. Johnson, Gregory R. and Chris Matthew Sciabarra. 2001. And Evaluation Educational of Measurement, Research, Lynch Education School . ’ Ph.D. / Rand in the scholarly literature. The Journal of Ayn Rand Studies 3, no. 1 (Fall): 16 5- 69. Jourdain, Robert. 1997. Music, The Brain, and Ecstasy: How Music Captures Our Imagination. New York: William Morrow and Company, Inc. Macan, Edward. 1997. Rocking the Classics: English Progressive Rock and the Counterculture. New York: Oxford University Press. Martin, Bill. 1996. Music of Yes: Structure and Vision in Progressive Rock. Chicago and La Salle: Open Court. ___. 1998. Listening to the Future: The Time of Progressive Rock, 196 8- 1978. Chicago and La Salle: Open Court. Michalson, Karen. 1999. Who is Dagny Taggart?: The epic hero/ine in disguise. In Gladstein and Sciabarra 1999, 19 9- 219. ___. 2001. Reclaiming Rand. Review of Gladstein = s Atlas Shrugged: Manifesto of the Mind. The Journal of Ayn Rand Studies 3, no. 1 (Fall): 15 9- 64. Paglia, Camille. 1999. Reflections on Ayn Rand. In Gladstein and Sciabarra 1999, 7 7- 79. Price, Carol Selby and Robert M. Price. 1998. Mystic Rhythms: The Philosophical Vision of Rush. For date Syllabus Cambridge Shafikova, 2013 IR English Academics, New Jersey: Wildside Press. Rand, Ayn. 1975a. The New Left: The Anti-Industrial Revolution. 2nd revised edition. New York: New American Library. ___. 1975b. The Romantic Manifesto: A Philosophy of Literature - ESSAY Federalism TOPICS Comparative. 2nd revised edition. New York: New American Library. ___. 1995. Letters of Ayn Rand. Edited by Michael S. Berliner. Introduction by Leonard Peikoff. New York: Dutton. ___. 2001. The Art of Nonfiction: A Guide for Writers and Readers. Edited by Robert Mayhew. New York: Plume. Rand, Ayn and Erika Holzer. 1969. The war of liberation in Hollywood. The Objectivist 8, no. 6 (June). Riggenbach, Jeff. 1979. In praise of decadence. The New York Times (24 June): E21. ___. 1982. The disowned children of Ayn Rand. Reason (December): 5 7- 59. Sciabarra, Chris Matthew. 1995. Marx, Hayek, and Utopia. Albany: State University of New York Press. ___. 2000. Total Freedom: Toward a Dialectical Libertarianism. University Park: Pennsylvania State University Press. Skousen, Mark. 2001. Evaluation: Ayn Ran d' s screwball economics. Liberty 15, no. 1 (January): 3 9- 40. Stephens, Patrick. 2001. Letters: Somethin g' s strange. Liberty 15, no. 3 (March): 2. Stump, Paul. 1997. The Musi c' s All That Matters: A History of Progressive Rock. London: Quartet Books Limited. Torres, Louis and Michelle Marder Kamhi. 2000. What Art Is: The Esthetic Theory of Ayn District Neptune PM 12:30 - School Dismissal City. Chicago: Open Court. Vacker, Barry. 1999. Skyscrapers, supermodels, and strange attractors: Ayn Rand, Naomi Wolf, and the third wave aesthos. In Gladstein and Sciabarra 1999, 11 5- 56. Walker, Jeff. 1999. The Ayn Rand Cult. Chicago: Open Court .