Shout out to Winspear for providing tickets for me to enjoy the event and for sponsoring Switching Styles’ very first ticket contest! An Enchanting Halloween at the Winspear: Music Meets Spooky Magic Walking into the Winspear’s Halloween event shattered any preconceived notions that live music might be dull. From the moment guests stepped into the venue, they were immersed in a world of eerie enchantment. Skulls and black lace draped the tables, while dim lighting cast mysterious shadows across the front lobby. The decor evoked an ambiance perfectly suited for Halloween—both sophisticated and spine-chilling. A Thrilling Pre-Party to Set the Stage Before the main event, the Winspear transformed into the ultimate Halloween pre-party. Guests were greeted by stilt walkers towering above them, their elaborate costumes blending whimsy with a dash of terror. The stilt walkers, courtesy of the National Stiltwalkers of Canada, didn’t just pose for a photo; they mingled among the crowd, guiding attendees toward the theatre doors when the film started. Their sheer height and uncanny grace brought an air of fantasy, making everyone feel like they had stepped into a Tim Burton-inspired dreamscape. The pre-party also featured an impressive lineup of entertainment, including a selfie wall for Instagram-worthy selfies and a set by the energetic DJ Kwake. Guests danced to pulsating beats, while enjoying curated cocktails by Strathcona Spirits and Rig Hand Distillery. The drinks not only added to the festivities but were served by costumed bartenders who truly embraced the spooky theme. Costumes, of course, played a central role. Staff members delighted attendees with their creative outfits. A towering “rare steak” checked tickets, while a clown straight out of a horror film served popcorn. Meanwhile, a playful witch-like Bo-Peep offered desserts, and a nurse mixed drinks that seemed like they could double as potions. Guests also embraced the Halloween spirit. Their costumes ranged from classic vampires to quirky interpretations, such as Ned Flanders from The Simpsons. The mingling of professional staff and attendees in costume made the pre-party feel like an immersive, interactive experience. Bianca Million Ushers in the Main Event While the pre-party was an undeniable hit, it merely set the stage for the night’s true highlight. As the clock struck 8 p.m., CTV’s Bianca Million, dazzling as “Hostess Barbie,” took to the stage to kick off the main event. Her introduction was theatrical. Fog rolled across the stage. Eerie red lighting illuminated the fog, bathing the room in a ghostly glow. Million’s dynamic presence energized the audience. Her playful nods to Halloween added excitement. This set the tone for what was to come. The Hands of Orlac is a black-and-white silent film from the 1920s. Dennis James describes this thriller film as a “deliciously twisted thriller that blends Grand Guignol ecstasies with the German Expressionism”. The film’s premise (for those who haven’t seen it) is a story about the aftermath of a tragic accident in which Paul Orlac, a pianist, lost his hands. They were quickly replaced with the recently executed murderer, vascular. The rest of the film is Orlac’s struggle with his demons and the demons of his new hands in a kind of Freudian discussion. Psychoanalysis and Freud’s research were popular topics of discussion when the film was produced. “Made in Vienna, the hotbed of psychoanalysis, this 1924 Austrian bubbles over with sexual innuendo and Freudian imagery,” describes Dennis James, “If you’re scared of Sigmund Freud, you’re going to be in a panic.” Sigmund Freud, an Austrian neurologist Dennis James, an organist and historical music preservationist, is a master of reviving bygone musical traditions. Partnering with Michael Tsalka, an award-winning pianist and early keyboard performer, the duo transforms silent film screenings into multisensory experiences. This partnership, which they call Duo Filmharmonia, represents a seamless blend of musicology, historical preservation, and cinematic artistry. Silent films, contrary to their name, were never truly silent. A hallmark of early cinema was the live musical accompaniment that enriched the storytelling and deepened emotional resonance. Duo Filmharmonia brought this tradition to life with stunning authenticity. Dennis James and Michael Tsalka featured in a recent performance that captivated audiences. Their dedication to preserving the integrity of silent-era filmmaking is not merely an artistic endeavour but a cultural mission. A Unique Blend of Tradition and Innovation Duo Filmharmonia’s approach is both reverent and innovative. While many silent film exhibitions today favour flashy, modern scores, James and Tsalka are committed to recreating the authentic soundtracks envisioned by the original filmmakers. Their loyalty to these historical details goes beyond nostalgia. It’s about offering audiences an experience that mirrors what viewers of the silent era would have felt. Dennis James explains, “Movies were never silent. Silent films were accompanied by music designed to emphasize the story and evoke emotion. Our mission is to revive these works of art authentically, transcending the transient trends of modern interpretations.” Their efforts have taken them across the globe, performing at prestigious venues such as the Mozarteum in Salzburg, Austria, and the Elbphilharmonie in Hamburg, Germany. Whether scoring Janice Meredith with colonial American music or Silent Hamlet with compositions by the sons of J.S. Bach, Duo Filmharmonia brings historical depth to their projects. This particular event marked the second performance of their specially crafted score for The Hands of Orlac, a classic silent horror film directed by Robert Wiene. The hauntingly beautiful score, developed just this summer, complemented the eerie narrative with uncanny precision. The musicians’ first run-through of this arrangement occurred only hours before their public performance, a testament to their incredible artistry and chemistry. Immersing Audiences in Authentic Silent Film What sets Duo Filmharmonia apart is its ability to immerse modern audiences in the aesthetic of the silent film era. This experience isn’t merely auditory—it’s deeply visceral. The resonant tones of the organ and the delicate interplay of the piano filled the concert hall, transforming the event into a dynamic interplay of sight, sound, and emotion. During high-tension scenes, the music would pause entirely, leaving the audience in profound silence. This deliberate quiet heightened suspense, allowing the viewers to feel the gravity of each moment and even hear their own heartbeats in anticipation. Such techniques underscored the film's emotional depth, amplifying its psychological impact. The organ, with its deep and resonant sound, proved a fitting partner to Wiene’s chilling visuals. In one of the film’s most striking parallels, Michael Tsalka felt a deep connection to Paul Orlac, the protagonist and a concert pianist. This bond lent a unique authenticity to his performance. Tsalka’s mastery of his craft echoed the character’s own journey, adding layers of realism and emotional weight to the experience. Bridging Past and Present Dennis James and Michael Tsalka’s work is more than a performance; it is a preservation of cultural history. They champion an art form that, while often considered outdated, remains enduringly relevant. Duo Filmharmonia carefully reconstructs period-appropriate scores. This ensures that these films can be appreciated in the same spirit as when they were first created. The evening’s performance was a testament to the duo’s passion and skill. They brought history to life, reminding audiences that the past can inform and inspire the present. In doing so, they not only honoured the legacy of silent films but also reinvigorated it, showing that these works are far from forgotten relics—they are timeless pieces of art. For those fortunate enough to witness this remarkable event, the music and visuals of The Hands of Orlac provided an unforgettable experience. It served as a bridge between eras. Duo Filmharmonia didn’t just accompany the film; they elevated it, creating a cinematic event that resonated on every level.

Are you sure you’re ready for this? Are you ready for truly hardcore music? We don’t think you are, but you'd better get ready. Notedead is one of the most hardcore bands in the province, and they’re not stopping anytime soon. The band formed in 2020 and has been rocking the world since. They’ve been releasing music since their debut in 2021 with the release of their Best Wishes EP. Then the single “Labyrinth” was released a year later. Max Preuss (drums) and Trymer Martin (guitars/vocals) combine to form the band, Notedead. It all started where all great bands start, with a passion for music. Despite the hardships, the band found their start during the global COVID-19 pandemic in 2020. The COVID pandemic was a tough time for Canadian musicians. Venues were closed. Live performances were limited. Finances for everyone were rough. Everything was rough. That didn’t stop them. For Notedead, this was a new beginning. Trymer started writing instrumental tracks solo during the quarantine. Channelling the pressure, uncertainty, and anxiety into the melodies, he created three of Notedead’s first songs. But something was missing, and that something was Max. As a drummer, Max had felt the impact of the pandemic firsthand. Trymer reached out, and Max took to his role like a fish to water. They both quickly realized that their writing was an amazing match. That’s the exact moment that Notedead was created. You may think you know the post-hardcore genre, but not like this. Max is a drummer for Notedead, Withered Days, and Sol Runner. His skill, combined with Trymer’s artistry, makes unique music. This band brings something fresh to the post-hardcore genre. The band is inspired by classic rock and metal legends; Iron Maiden, Black Sabbath, Foreigner, and ZZ Top. That’s not all. Notedead’s influences also include contemporary bands such as Counterparts, Napoleon, and Dance Gavin Dance. Notedead is breathing a new kind of life into the genre with its music. “A dynamic, immersive, and progressive assimilation of heavy influences. Rangy guitars work that balances urgent and melodic astutely, and a pummeling vocal delivery intertwines deftly with the instrumental unit.” Raves Katie from Carry The 4 PR. This post-hardcore Canadian band is bringing out all the stops in their music. Notedead is bringing forth impressive drums, emotive lyrics, and an emotional connection to each one of its listeners. All their music has such a profound level of depth to it. Each note, each strum, and each word has a meaning and a purpose. The purpose is to connect with the listener within that moment. Their most recent release is an album called “Separate Paths.” This album of 11 hardcore songs has been available as of September 9, 2022. Not even one of the album’s songs is flat when it comes to emotions. The songs all tell a story of humanity and share a part of the human condition. Pain, anger, joy, rage, and misery, it’s all there in their music. Notedead is aiming to be one of the greats, right here in Edmonton, Alberta. The goal was never to impress people. It never has been. It’s been about the music. The real goal is to write great music that speaks to the human heart. Find their music online on Apple Music, Spotify, YouTube, and Bandcamp. Check them out and let us know what you think!! This content was sponsored by Notedead. Thank you for supporting local music blogs like Switching Styles!!

Thanks for tuning in to Switching Styles today!! Let’s dive deeper into Notedead’s Music. Edmonton is a source for fantastic local metal bands, from Wthcnvctn, Misplaced Intentions, and so many more. There’s a lengthy list of amazing music from the capital of Alberta. Notedead is one more amazing band adding to Edmonton’s music scene. Notedead is aiming to be one of the greats coming from right here in Edmonton, Alberta. Max Preuss (drums) and Trymer Martin (guitars/vocals) combine to form the band, Notedead to connect with people through music. The goal was never to impress people and never had been. It’s always about the music. Find their music online on Apple Music, Spotify, YouTube, and Bandcamp. Notedead’s Music Playlist! Notedead is aiming to be one of the greats coming from right here in Edmonton, Alberta. The goal was never to impress people. It never has been. It’s been about the music. The real goal is to write great music that speaks to the human heart. Find their music online on Apple Music, Spotify, YouTube, and Bandcamp. This post-hardcore Canadian band is bringing out all the stops in their music. All their music has such a profound level of depth to it. Each note, each strum, each word has a meaning and a purpose. That purpose is to connect with the listener within that moment. We’ve also compiled some of our favourite songs below for your listening pleasure. Withered Days/Captivate (Live in Studio) What I Want (Official Music Video) Regrets (Official Lyric Video) What are your thoughts on their music? Let us know in the comments below!!

Rock music has a unique way of evolving through covers. When artists reinterpret classic or contemporary rock songs, they often bring fresh energy, new styles, and unexpected twists that can surprise even the most devoted fans. Rock Cover Songs From Our Playlist To Yours Cover songs enable musicians to honour their inspirations while highlighting their unique talent. For listeners, covers offer diversity and an opportunity to experience favourite tracks from a fresh perspective. "Don't Fear The Reaper" by Jonathan Young and Violet Orlandi (original by Blue Öyster Cult) "Ring of Fire" by Social Distortion (original by Johnny Cash) "Dream On" by Rain Paris (original by Aerosmith) "Dream On" by Blacktop Mojo (original by Aerosmith) "Zombie" by Breed 77 (original by The Cranberries) "Yellow Submarine" by Santana (original by The Beatles) "The Man Who Sold the World" by Nirvana (original by David Bowie) "You Don't Get Me High Anymore" by Charlatan (original by Phantogram) "BYE BYE BYE" by No Resolve (original by The NSYNC) "Say My Name" by Glass Animals (original by Destiny's Child) "Pink Pony Club" by Jonathan Young (original by Chapell Roan) "We Don't Talk About Bruno" by Matt Copley (original from Disney's Encanto) "Cupid" by Dirty Rivals ( original by FIFTY FIFTY) "Under Pressure" by My Chemical Romance and The Used (original by Queen) "Wonderwall" by Violet Orlandi (original by Oasis) Thoughts on these Rock Covers?? Adding these Rock Cover Songs to your playlist will give you a rich mix of styles and interpretations. Whether you prefer raw acoustic versions, heavy rock renditions, or soulful transformations, this list has something to offer. Happy Listening!!

Happy Birthday, Weird Al Yankovich! October 23rd, 1959, the parody legend was born. 61 years ago, Weird Al was born. Since then, he’s survived 61 rotations around the sun in this weird, wild world of ours. Give a round of applause for him and to his 61 more years of parody music mastery. But this is also a chance to give a round of applause for those special people in your life who have also survived another trip around the sun. Here’s a collection of “Happy Birthday” Parodies. Make sure to bookmark this article for the next sweet 16 on your calendar. Photo by Dan Prado on Happy Birthday Parody Songs Of course, we’re going to be starting with Weird Al’s very own “Happy Birthday!” parody. It’s damn pessimistic about the world’s future, but I guess that’s the common theme of these parodies. Here are a bunch of happy birthday parody songs to celebrate along with Weird Al. Make sure to send your favourite one to your favourite birthday party. If there’s a child in your life who is obsessed with The Minions, then this is the birthday song for you. It’s high energy, brightly coloured, and keeps on dancing just like the minions. Bring on the pessimism about not only getting older but also the song ‘Happy Birthday’ in general. The arrogant worms have brought a rather dark and frankly angry version of this celebration song. And here’s one for the moms reading: a version just for you by Chelsea McMillen. Do remember that you’re special to every one of your kids! For the kids reading, tell your parents you love ’em. Oh, and you should follow Switching Styles for more beautifully fun articles. Not all of them are as silly as this one, mind you. Happy Birthday, Weird Al Yankovich!

The Electric Bass for beginners: Where it Fits, Proper Technique, and First Lessons is guest written by Adan Meza. Guest writing is a powerful way to bring fresh perspectives and diverse voices to a music blog, enriching its content and fostering a sense of community. By inviting different writers to contribute, blogs can tap into a wide range of expertise, experiences, and tastes, offering readers new insights into both popular and niche genres. Guest posts also allow for a dynamic exchange of ideas, where fans, musicians, and critics alike can engage with each other in meaningful conversations. This not only keeps the content exciting and relevant, but it also helps to build connections within the music industry, creating opportunities for collaboration and discovery. Introduction to The Electric Bass Hi there, my name is Adan and welcome to a beginner’s lesson to playing the bass. If you need a refresher on how notes work or on how to properly hold a bass, then please scroll down to resources and read Ariane Cap’s “How Notes Work” and the “How to Hold a Bass Guitar” article. Once you do that, you will be ready for this lesson! This lesson will cover what the role of the bass is in a band, playing notes on a Bass, and a few exercises for you to try out. With that out of the way, let’s get started! The Role of the Bass in the Band Think about the instruments you expect to see in a standard rock band. You will have drums, a bass, a lead and/or rhythm guitar, and a vocalist. The electric bass is part of the rhythm section of the band and usually works with the drums to create a steady beat for all other instruments to play on top. You as a bassist help keep the band in time (like a metronome) and fill in gaps to make the band have more body or oomph. A great example is the opening to Michael Jackson’s “Billie Jean” which has drums, a bass, and a shaker. Could you imagine this song if the bass was just missing? A lot of the groove that makes you want to dance would just disappear. As I heard a friend of mine say, “people don’t really appreciate the presence of the bass until it’s gone.” So always remember you matter and that you are crucial to the band getting a great sound. How to Play Notes on a Bass Now with your dominant hand on the bass pickup (as shown below) you are ready to play some notes. A standard bass player will use their thumb, index, and middle finger (or T-i-m) to play the strings on a bass. Retrieved from Learntoplaymusic.com Your thumb usually mutes strings you are not currently playing or rests on the pickup as seen above. The index and middle finger do most of the playing through alternate picking (example in resources) where you alternate between your index and middle finger when you play notes. If you play any notes without holding down the strings on the neck you will play open notes on the string. When properly tuned, the strings will play an E, A, D, then a G as you go from the heaviest string to the lightest string. To get more variety, we need to place our fingers on a fret as shown below to change the open string note to a closed note. Each fret is a half-step so the notes ascend in as you go from the left end of the neck to the other. The tabs you will see later here will number the frets from left to right, so a “3” on the E string means holding down the third fret on the E-string. This would make a G note since three half-steps means E à F à F# à G. A fret should be held down close to the fret marker but without touching it. Make sure to rest your thumb on your fretting hand behind the neck. This will improve your fretting technique and give you more leverage when you hold down strings. Here are some examples below. Images retrieved from Learntoplaymusic.com Images retrieved from Learntoplaymusic.com Reading Bass Tabs and Playing Songs Now for the fun part of the lesson: playing a song. There are many YouTube videos and tabs out there that will help you learn songs. Example Tab From “Seven-Nation Army” Here is a tab from “Seven-Nation Army” by the White Stripes at 122 BPM. Image retrieved from Talkingbass.com Even if you don’t know how to read music, tabs make it easy to pick up songs. All you need for now is the bottom half of this tab. Tabs are written down with the G string on the top line, D on the second, A on the third, and the E string on the bottom. You can use Youtube to hear a song and memorize how long a note needs to be held. This tab has two bars which is separated by the thin bar line between the 5 and the 3. The spacing between the numbers gives you a hint for how long to hold a note before you play the next one. To find out what fingers you need to use for each fret, place your index finger on the lowest number fret in the current bar you’re playing. For the first bar in the picture above, that means you put your index on the 5th fret of the A string. There is a one-finger per fret rule that people tend to follow. So for this bar that means your index plays all notes on 5th frets, your middle does all notes on the 6th fret, and so on. If you follow my logic, the first note you play in the tab (the 7th on the D string) should be played with your ring finger. Most first-time players tend to use their index for fretting all notes but do your best to stick to the one finger per fret rule. Play at a slow pace and make sure you alternate between your index and middle fingers between notes. Once you feel you are good to go, try the second riff of the song below. Example Tab From “Seven-Nation Army” Image retrieved from debajoelectrico.com This part is easier and has a consistent note length. Given our one finger per fret rule, you should guess that your index finger frets the first eight notes of the tab and your ring finger frets the other half. Try your best to avoid the temptation of using only your index. Your other fingers need the practice! For your plucking hand, make sure you alternate hitting the strings with your index and middle finger. Practices to Improve your Tempo and Finger Strength The best thing you can do to get better is practice with a metronome. All songs have a tempo that can be expressed in beats per minute (BPM). The metronome gives you a tick-tock sound at the BPM you want so it’s a good idea to practice with it as you learn new songs and practice scales. There are many free metronome apps online and just googling metronome will give you a browser-based one. For your reference, “Seven-Nation Army” has a BPM of 122. A common scale to practice for beginners is the major scale as shown below. Here is a D major scale that starts on a D note on the A string. Your index should hover over the 4th frets, your middle over the fifth, your ring over the sixth, and the pinky over the 7th. As you play up the major scale (we say up since the notes get higher as you play them) keep to this one finger per fret rule. You won’t have to shift your hand to hit the higher-pitched strings so keep your wrist steady and let the fingers move for you. Image retrieved from Guitarcommand.com Set your metronome to 60 BPM and play a note as you hear the tick. You should play the entire tab in rhythm with the 60-BPM tempo. Once you mastered it, go up 5 to 10 BPM and see if you can still effectively play the tab. You can practice with so many different scales so look online for other ones. Scales follow a pattern so if someone gives you the first note and the name of the scale, you can easily know all the notes in that scale. That’s all for today! I hope you enjoyed this brief lesson into the amazing world of electric bass. Check out the resources below for more instructional and entertaining bass content. Resources “How Notes Work” by Ariane Cap. From Music Theory for the Bass Player. Please consider buying the full book on https://arianecap.com/ “How to Hold a Bass Guitar” by Learn to Play Music: https://www.learntoplaymusic.com/blog/how-to-hold-a-bass-guitar/ Alternate Picking Video Guide: https://www.youtube.com/watch?v=eNAYIfITgpw Scott’s Bass Lessons YT Channel (Instructional): https://www.youtube.com/channel/UCWTj3vCqkQIsrTGSm4kM34g The Talking Bass YT Channel (Instructional): https://www.youtube.com/user/TalkingBassVideo Davie504 YT Channel (Bass Memes): https://www.youtube.com/user/Davie504 Ultimate Guitar Tabs (Tab website for songs): https://www.ultimate-guitar.com/ References Fig 1.1-1.2: https://www.learntoplaymusic.com/blog/how-to-hold-a-bass-guitar/ Fig 1.3: https://www.talkingbass.net/how-to-play-seven-nation-army-on-bass/seven-nation-army-tab/# Fig 1.3: https://www.debajoelectrico.com/en/tabs/seven-nation-army-tab-bass/ Fig 1.5: https://www.guitarcommand.com/d-major-scale-guitar/ About the Author Adan Meza is a musician and history teacher located in Chicago, Illinois. He has been playing Bass since 2018 and has collaborated with different bands and projects in the city. Please contact him at mza.adan@gmail.com with any questions.

“Music E-Waste” Guest Written by Barbara Joens, Climate Reality Leader and Unity College Student. Modern technology has made listening to music easier than ever before. In 1982, the first CD player was released, followed by the first version of the iPod in 2001. In recent times, it has become a common practice to use smartphones to listen to the radio or a music service, something that 87% of 18 to 29-year-olds in the United States were reported as having done in 2016 (Anderson, 2016). Technology continues to advance, which benefits music lovers by providing them with more convenient ways to enjoy their favourite artists and songs. However, it is evident that as technology advances, old technology frequently gets left behind. Many music listeners are drawn to new technology for a number of reasons. New devices come with convenient features that old devices do not have, which makes them more attractive to purchase. Continuing to move on to the latest music-playing devices means producing more electronic waste. Electronic waste, or “e-waste,” is becoming an increasingly serious problem. E-waste is all electronic devices and accessories that are unwanted, outdated, or no longer usable. As people move on to the latest music players, an excessive amount of e-waste is produced. Unfortunately, only 10% of e-waste gets recycled throughout the globe (Recycle Coach, 2019). While many people think that only large devices pose a problem, the accessories you use to listen to music may be contributing to e-waste as well. People throw out small accessories, such as headphones that no longer work properly. Headphones are easily replaceable, so people often do not think twice about throwing out an old pair that no longer work. Large devices, such as music players and smartphones, have increasingly shorter lifespans. If electronics were made to last longer and be more durable, there would be less e-waste. In addition, aggressive advertising is able to persuade people to want the latest and coolest things. This is particularly true for ads targeting young people. So, why is it a big deal if you improperly dispose of your outdated music players or broken headphones? The 90% of e-waste that does not get recycled ends up posing various risks to the environment and human health. Old electronics contain chemicals that can be harmful to humans, such as mercury, lead, and cadmium (Recycle Coach, 2019). These chemicals end up polluting the environment. The illegal exportation of e-waste to foreign countries is also a common practice. People try to recover valuable materials from the e-waste, which exposes them to chemicals and can cause negative health effects from the exposure. What can we do to prevent our music purchases from becoming e-waste? Invest in good music products.Be sure to do research in advance so that your next purchase of an item will have the features that you want. This will help avoid being tempted to buy a new product and add your old products to e-waste. Treat your music accessories with care.Wireless ear buds are easy to lose. If they become lost in a public area, the finder will most likely discard them instead of taking the extra steps to recycle them. In order to prevent this from happening, make sure to keep your wireless earbuds and other small accessories in an appropriate case. This can also prevent your accessories from getting damaged. With headphones that have a cord, wrap the cord in a way similar to how it arrived in the original packaging, and secure it with an elastic band. This will prevent damage to the headphones that results from tangling and pulling. Properly recycle any unwanted music devices.Recycling your old CD players and iPods is much more sustainable than allowing them to end up as e-waste. Check out recycling facilities in your area and see if they accept unwanted music devices. If not, instead of just throwing them in the garbage and having them end up damaging the environment, consider the possibility of giving them to friends or family members. There are also some manufacturers that have trade-in policies. Call the store that sold you the device and ask if this is an option. Together, we can continue to enjoy music in a sustainable manner. References Anderson, M. (2016, January 29). More Americans are using smartphones for getting directions and streaming TV. Pew Research Center. http://pewrsr.ch/1nTvqZj Recycle Coach. (2019, October 4). An intro to E-waste: Why it’s a problem. https://www.recyclecoach.com/blog/an-introduction-to-e-waste

“The Stages of Corona Life with 9gag Parodies” Guest Written by Editha Ripoyla Featured photograph taken by Simon Smiler What’s a quick way to understand the Stages of Our New Corona Life? Answer: Memes. Well, Memes and Parodies. Coronavirus Disease 2019… or COVID-19 for short. It’s affected us all worldwide in so many different areas of our lives. Just to name a few… The Financial Impacts, the Mental Health Declines, Outrage, Riots, Protests, and so much more. COVID-19 has drastically contributed to a lot of the unrest and mental stress globally, directly and indirectly. While there are many people that like to focus on the negative side, gluing their eyes to the death tolls, or decide that the lock down or face masks are nothing but an outrageous form of slavery (google at your own risk)… We’re not one of them! We appreciate the dark humor, the funny, the lisa simpson memes…? (source: Okay that might just be my personal preference…(you’ll understand the secret to the image in a bit, hold tight for the ride!) But most of all, here on Switching Styles we like… … Music Parodies! It’s a fun way to spend your time indoors! And it even helps to uplifts the negative fog bogging you down, either from the people around you or your environment… Spend it with Laughter… And terribly timed singing trying to follow the Sing-A-Long Lyrics. Well, It’s kind of been a while since COVID-19 first shut the world down so you may not remember… So, to refresh your memory… let’s start Stage 1: Here, Chris Mann shares with us a hilarious, but vocally on point parody of Adele’s Song “Hello”. Since then he’s gone viral and officiated his Instagram Account to @officialchrismann, feel free to check him out! He soulfully describes the woes of the people as COVID-19 first begins the Shelter At Home, or “Stay Home” Order. We began with panic, anxiety, and sadness over loss of a freedom we once had… But what came after that? Stage 2: Acceptance. We were trying to understand our situation… wrapping our heads around what our new lifestyle must be like to stay safe. And for that, I’ve chosen this fun “Under the Sea” Parody called “In Quarantine” by Mark O’dea. We’ve struggled in this stage for the longest, since it’s timeline consists of nearly the entire duration of the lock down. It’s the acceptance of our new situation… Then the sadness of a future still far in the horizon, as we continue reacting to the dates for reopening being pushed back another two weeks… again. Okay, there’s kind of two parts with this stage… The first part, sung by Mark O’dea aka Sebastian,talks abouthow isolation can still be fun. Keeping us healthy, not needing to wear clothes or put on makeup, and bingewatching Netflix all day. All parts of our own inner dialogue as we try to accept our current state of affairs. The second part of the acceptance stage, is… Well… reverting to melancholy. This part of acceptance is conveyed by the Little Mermaid Parody from the song “Part of Your World“. This song called “Part of Outside” sung by Ariel aka @rapunzelrules on Instagram. She sings about a life without restrictions, a life without “Corona”. In this long stage we tend to switch back and forth between these two sides of the acceptance stage. Reacting to the news we see and hear. It’s a fun stage that has heavily contributed to our new bipolar tendencies. So, what comes after the long months of the Bipolar Stage? The Shelter in Place Order, or Stay Home Order, was lifted for a good chunk of the USA. Lots of industries and many businesses both big and small were required to study hygienic procedures and safety precautions in order to reopen. With that, many people were back to work in no time! For this stage I decided to indulge a little of my childhood favorite, the Backstreet Boys. This Backstreet Boys Parody, features a comical remix of the songs “I Want It That Way” and “Everybody (Backstreet’s Back)“. You might recognize the singers of this parody. (source: This funny 5 minute parody, Chris Mann (yes, from the first video) now walks us through the stages of relief with more states opening up their doors as we move from Stage 2 to Stage 3. Chris Mann lightly goes over some of the concerns on what this newfound freedom actually means. Can we leave our homes? In some states… Can we jog around the neighborhood? As long as you wear a mask! Are restaurants open? … Kind of. What do I mean by that? Well, most restaurants are switching to Outdoors Dining. Some have switched entirely to Take Out Only if they don’t have the space required to maintain safe distances while eating… (since you know… we can’t wear a mask and eat at the same time…) Yeah, that’s a little scary… But if you like scary, go ahead and click the source link above. Here in the United States, specifically California (where Chris, AJ and I are from), we were in Stage 2 of the Resilience Roadmap. This is what we call our “Stages of Re-Opening”. There are 4 levels of Reopening, with the fourth stage being the End Of Stay Home Order. So this video marks the move from Stage 2 to Stage 3… the last stage before true freedom. Stage 3 meant that all High-Risk Businesses had to be trained for proper hygienic control, or take infection prevention courses, as well as be properly equipped by infection prevention standards to resume work. As you can see from the video, everyone was excited! Everyone was happy to go back to work, and stop the suffocating accumulation of debt from unpaid bills crushing them from the comfort of their homes. And finally… Our Last Stage… Immediate shut down of high risk businesses, and a reversion back to the Stage 2 Stay Home Order… That’s right folks, moving to Stage 3 was a bad move. We were seeing a plateau of COVID-19 cases, instead of a spike of new cases, which is usually the sign that a disease is reaching its peak before it dies off. But with a plateau… and no real change, this meant there was more to come if we were to open up the country. But the people were angry and protesting; the words of the people and businesses could not be ignored for much longer. Seeing no changes in new cases, people were becoming outraged at the government believing the Virus to “Not Be That Bad.” Many Doctors and Researchers with the World Health Organization, argued with each other and the people constantly asking for their opinions on the matter. They revealed time and time again that we would only see a massive spike in deaths if we were to reopen hastily… Well… No one really watches the news anymore (and if they do its part of the conspiracy maaaan…), so their voices were nothing but mumbling under the screams of protests. So without further delay… For this reversion back to Stage 2, where we are currently at here in late July 2020… I chose this hilarious Outkast Parody of the song, “Hey Ya!” and if you haven’t see the original video, it makes it just a little more funny. Quick Warning: This is a little more on the Satire Side. And the secret is revealed! (source: Don’t forget to wear a mask everyone! And stay safe!

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Are John Cage’s Works Really Music? | Guest Written by Kirstin Duprey “I don’t listen to all that new crap, I only listen to REAL music.” How many times have you heard (or maybe used) that line? Growing up, I often heard the argument against modern art (including music) that it wasn’t “real art”. But what is “real art”? What is “real music”? That answer is going to be different depending on whom you ask. There is a long-held debate among people about the value of modern art and performances and whether or not they really are what they claim to be. Music is heavily susceptible to this debate due to music being such an integral part of society. The avant-garde movement after World War II was a breeding ground for controversial expression that continues today, and one of the most remembered figures from this time is John Cage, especially his controversial work 4’33. Still today many people question if what he did was really music. By looking at a few of his works, we can go down the ladder of “weirdness”, so to speak, and look at why they may or may not count as music. The first piece we’ll look at is Suite for Toy Piano, which was composed in 1948 for a dance suite that was choreographed by Merce Cunningham. It contains five movements, each being two minutes or less. Looking at the first movement of the piece, despite the usual inability to analyze Cage’s works, this movements allows for it to a degree. The piece consists of notes from a G Major five-finger-pattern exclusively and follows a standard time signature. The piece is meant to be played on a toy piano, but it can be played on a regular piano as well. It is very easy to identify the musical components in this piece. The presence of a diatonic key as well as a simple meter would make it difficult for a person to deny this piece being music. Williams Mix was composed in 1952 by splicing together tapes of six various types of sounds: city sounds, country sounds, electronic sounds, manually produced sounds, wind sounds, and “small” sounds which need to be amplified to be heard. It has a rhythmic structure of 5-6-16-3-11-5. About 600 different tapes are needed to make a version of this work. The musical aspects of this piece are notated in the score. The score denotes dynamic, pitch, and timbre at various times throughout the piece. The instructions of when to put certain types of sounds and what pitch they should be could easily be interpreted as tempo and notation. While some may find it a stretch, there are definitely many ways in which this piece still exemplifies the creation of music. Water Walk premiered on the game show I’ve Got a Secret in 1960. John Cage told the host that he had titled the piece this way because it involves things that use water and he walks around during it. To perform this, one would need to acquire a water pitcher, an iron pipe, a goose call, a bottle of wine, an electric mixer, a whistle, a watering can, ice cubes, 2 cymbals, a mechanical fish, a quail call, a rubber duck, a tape recorder, a vase of roses, a seltzer siphon, 5 radios, a bathtub and a grand piano. Each event is timed, and Cage carried around a stopwatch while performing to make sure he stayed on time. The score for this looks like a map, describing where/which item to use and when. The use of a stopwatch to keep time is reminiscent of tempo in a traditional piece. The use of different objects mimics the use of traditional percussion instruments. These characteristics of this work are similar to the characteristics of a multiple percussion solo, which makes it much easier to argue that, yes, this is music. 45’ for a Speaker is part of a larger work, called Ten Thousand Things. A speaker is to read from a monologue that lasts for 45 minutes. There were multiple topics and paths that each stanza could take: speech or silence, duration, and new material or old material. If it was new material, there were 32 possible topics that could be chosen from. Each line is supposed to take two seconds to read, which Cage himself admits may be impossible, but that the reader should try anyways. In the monologue there are also instructions for the reader, such as blow nose, lean on elbow, whistle 3 times, and click. 45’ Minutes for a Speaker is meant to be laid over the other works in 10,000 Things, to create a unique effect. Again, the use of time restriction while performing mimics tempo. This is perhaps the most difficult piece to defend as music on its own, as it seems more like poetry than music. However, the overlay of the speech over the rest of the works in 10,000 Things makes this song seem like a very gentle form of rap. The presence of instructions for the speaker to do certain physical actions could be related to either body percussion or different forms of timbre. For these reasons, one could still defend this as music. The first question one should be asking when analyzing if a person’s creations are music is whether or not they meant that to be the point. John Cage certainly did believe what he was doing was music. As he said of Water Walk to the host when asked if he took his music seriously, “Perfectly seriously, I consider music the production of sound. And since in the piece which you will hear I produce sound, I would call it music”. Cage also said that everything people do is music. He had a very environmental take on music, that music could be found everywhere. He was very interested in creating music for society, but not for any sort of gain. He himself was somewhat of an anarchist and he wanted his music to open the eyes and ears of his listeners to the world around them. John Cage did, however, realize that his music was very unorthodox and hard to accept by some people. In an interview he said “If this word, music, is sacred and reserved for eighteenth- and nineteenth-century instruments, we can substitute a more meaningful term: organization of sound.” Despite the eccentric nature of his music, the public’s reception of John Cage’s works was not decidedly bad. Many critic reviews were positive. In a Chicago Daily News review, one critic described being present for a premiere. “A savage sort of rhythm poured off the stage that had the audience squirming in its seats… Finally the audience began to enjoy itself, applauding enthusiastically, to be rewarded with a pleased-as-pie grin from Mr. Cage.” Another review came from critic and peer Eric Salzman from Stereo Review magazine. He spoke highly of Cage and the philosophy behind the music. “Well, thought I, either Schumann has gotten stuck in the speakers or my mind has finally been blown. It was neither, of course, just part of Variations IV. It is such coincidences that make Cage’s nuttiest freakouts somehow relevant to a nutty world scrambled by a technology we hardly yet understand. Well, dig it, man, dig it!” Given that comments from everyday music listeners of the time are hard to come by, and that those who were not already planning to attend such concerts as these would probably not hear Cage’s music, it is difficult to gauge exactly how well-received his music is, especially considering that Cage himself ignored critics as much as possible and therefore did not write on the subject much. Looking from a technical standpoint, one could debate for a long time whether or not John Cage was a composer or an inventor, or perhaps a mix of both. Do his esoteric markings of how to make sounds truly count as timbre? Is writing how long a certain action takes actually count as tempo? Can any object be considered a percussion instrument? All of the questions have the potential to be answered yes. Considering that, Suite for Toy Piano, Williams Mix, Water Walk, and 45’ for a Speaker, could certainly fit the criteria for music. However, people could still debate the legitimacy of the works in the musical world. If music is simply the organization of sounds, then John Cage is correct in that everything is music. But does that really make him a composer, if everyone is always making music? Perhaps the making of music lies with intent. If a person intends something to be taken as art, it is. If a person intends to make music, then surely they too are making music, regardless of what other people think. References John Cage Defined in the 1950s, http://www.plosin.com/beatbegins/projects/dacey.html. John Cage Complete Works, johncage.org/pp/John-Cage-Work-Detail.cfm?work_ID=246. “John Cage ‘Water Walk.’” Performance by John Cage, Water Walk, I’ve Got a Secret, 2 Oct. 2014, http://www.youtube.com/watch?v=gXOIkT1-QWY. The Piano in My Life, rosewhitemusic.com/piano/writings/ten-thousand-things/. “‘45′ For A Speaker’ (1954).” A YEAR FROM MONDAY, http://www.ayearfrommonday.com/2012/01/45-for-speaker-1954.html. “Who Is John Cage? Everything You Need to Know.” John Cage Childhood, Life and Timeline, http://www.thefamouspeople.com/profiles/john-cage-336.php. Kostelanetz, Richard. Conversing with Cage. New York, NY: Routledge. 2004 (1987 orig.). Kostelanetz, Richard. John Cage. Edited by Paul Cummings, Praeger Publishers, 1970. Paolini, L. (2018). John Cage on “I’ve got a secret”. [online] Available at: http://www.johncage.org/blog/paolini-cage-eds-editlp.pdf [Accessed 1 May 2018]

Unpacking Emotions | Guest Written by Violeta Zamorano-Scott I love music. But there isn’t much out there for me. See, I’m asexual. So that eliminates most songs. I am fine listening to them, but they don’t really speak to me. Second, I’m really into mental health. That has not been explored in music that much beyond the classic angsty and vague songs. They also tend to talk about the problem, not the solution. At some point, I decided I wanted to change that. It all started when I began to watch the animated TV show Steven Universe. (Yes, I’m 16 and it’s a kid show, but I recommend it to any adult). This show completely changed my perspective. Not only was it LGBT friendly, but it openly talked about mental health, from things like consent, PTSD, self-esteem, death, depression, and toxic relationships in a digestible manner. Because it adds one thing-kindness. All of the characters have their flaws, but they are also incredibly kind and often open on the show about the problems they deal with. At the time, I was dealing with many life problems. It felt so strange to feel like there were people on screen like me, who weren’t celebrating their angstiness, but really dealing with the weight of their problems. But I digress. What I really loved about this show was the music. It was some of the first that I’d heard depicting healthy ways to deal with several mental health problems. “Here comes a thought”, a song sung by Estelle depicts ways to deal with turbulent emotions by accepting them. “True kinda love” also by Estelle talks about the importance of loving yourself. “Be wherever you are” talks about the importance of staying in the moment, and how magical it can be, especially with other people. The show does not hold back song genres either. They have styles anywhere from electro to your classic campfire ukulele music. If you want to listen to these songs, check them out on YouTube or Spotify. One of the show’s episodes even made me stand up to my abusive dad, leading to our separation and the space I needed to heal. Before the show, I didn’t know that life could be different, that I didn’t have to have an abusive dad, I didn’t have to suffer. I really didn’t know that there was a way out, or that this wasn’t normal. One of the things the main character says to an abusive mother figure that really hit me was “this isn’t normal”. My songwriting came about while I was going through therapy, in an attempt to fix the aftermath of a lot of traumatizing events. As you might guess, my mind was full of thoughts and feelings and music was how I let it out. Listening to Steven universe songs helped, but I realized I wanted to write something more personal about what i’d learned in therapy and through my experience. I wrote my songs as poems and later converted them by adding chords based on many of the show’s songs. I would keep writing a song about a certain topic that was bothering me until I had dumped all the thoughts I had about it, and therefore resolved it by letting it out into the world, unashamed of it. What better way to let out your feelings constructively than in a beautiful song that others can enjoy and learn from? My first one was about the weight of my past problems putting me down, but my desire to get out, and understanding that things were better now. Next, my second one was about the toughness of change in the sense of letting go of toxic people and experiences. My third one was me being open about my nostalgia and guilt for the good past I left behind, but my willingness to learn from it. And the fourth one, my favorite, talks about how important it is not to shame yourself for feelings, after all you can’t control them. I talk about the ridiculousness of people shaming people for their emotions. Why be sad that you’re sad? Sounds ridiculous right? What’s even worse than a negative emotion? Feeling invalidated and ashamed of what you’re feeling. It was very important for me to write this song, because it was my way to deal with my father’s abuse. He was a gas lighter. Those people make you feel like your feelings aren’t real, or don’t matter. Not the most supportive dad right? Whenever me and mom experienced any emotion, we were put down and shamed for it. And think about, you feel A LOT of the time. It’s a natural reaction to experience. I realized people do this in normal life too, and it leads to a lot of problems. Many people live with their own feelings wound up tight and take them to the grave. They end up lashing out in their lifetime and making themselves miserable by shaming themselves for feelings that aren’t their fault. I love my songs, but what I want more than anything is for more people to write these emotionally open songs. I had a lot of fun with it; it was a way to turn my pain into something beautiful. Also, I want more songs like this on commercial markets, and not just tucked away in shows, so I could know earlier that I deserve better, and that my feelings matter, and that there are others going through the same thing who can support me. Good luck to all of you out there. Thank you.

Violin in a New Light, Featuring Lindsey Stirling. Lindsey is successfully achieving her dream to become a household name in music. Introducing Lindsey Stirling “On stage, Stirling moves with the grace of a ballerina but works the crowd into a frenzy, “dropping the beat” like a rave fairy.” as the internet accurately describes. Starting to learn the violin at the young age of 6, Lindsey Stirling has always had a passion for music. Growing up in Gilbert, Arizona, Lindsey pursued the dream of becoming a household name in music. But she wanted to do it her way. One of her first steps into Stardom was on America’s Got Talent. That didn’t go well. Even still she showed her passion and that she was different from other musicians. That’s what got her so far in the competition and her talent.The judges thought she was talented and skilled, but they didn’t know she was good enough because of the choreography and the fact that she was a soloist. There had been many obstacles in Lindsey’s life: disappointment, rejection, health issues, and mental health issues. Throughout it all, she didn’t give up. “Every time she felt like quitting, she felt like God was saying, “Nope, nope, nope, you’re almost there. You have a mission. It’s going to be okay,” said Lindsey’s sister, Jennifer. Fast forward nearly a decade, and Lindsey did precisely what the judge had expected and became legendary as a musician and violinist. Her music career has flourished since her time at America’s Got Talent. She’s proven the judges wrong. She is taking the world by storm as a solo artist performing modern popular music with a traditionally orchestral instrument. She has created a sound all her own by merging the worlds of classical and contemporary music—an infectious sound. Her YouTube channel has over 10 million subscribers with over 2 billion views. That’s not all; Lindsey has won 2 Billboard Music awards, with Billboard chart-topping hits and sold-out tours worldwide. In 2012, her career took off as she released her debut album featuring one of her most popular hits, “Crystallize.” The song has over 225 million YouTube views, while the album reached #1 on Billboard’s Dance/Electronic Chart and Classical Album Chart. Two years later, she released her album, Shatter Me, which reached #2 on Billboard’s Top 200 album chart, selling over a quarter-million copies. The song shares the same name as the album, has over 78 million views on YouTube, and won the 2015 Billboard Music Award for “Top Dance/Electronic Album.” Her album 'Brave Enough' debuted at #5 on Billboard’s Top 200 Album Chart and scored the #1 spot on Billboard’s year-end Top Dance/Electronic Album list. This single album earned Stirling a 2017 Billboard Music Award for “Top Dance/Electronic Album.” On this album alone, the collaborations included Andrew McMahon and the Wilderness, Carah Faye, Christina Perri, Raja Kumari, and Rivers Cuomo, to name a few. She’s collaborated with numerous other musicians, such as Elle King, Peter Hollens, Switchfoot, John Legend, Kurt Hugo Schneider, Tyler Ward, ZZ Ward, and many more. Here are some highlights of her collaborations. Lindsey Stirling Playlists “Hold My Heart” by Lindsey Stirling and ZZ Ward “Radioactive” by Lindsey Stirling and Pentatonix “Voices” by Lindsey Stirling and Switchfoot She has a great mixture of original and cover songs. Her magnificent style doesn’t waver between the projects. Here are a few highlights of her songs. “Shatter Me” by Lindsey Stirling and Lzzy Hale “Moon Trance” by Lindsey Stirling “Otto Knows” by Lindsey Stirling, Dying for You, and Alex Aris Her next musical endeavour is a tour across South America. Previous tours have sold over 500,000 headline tickets worldwide at venues such as Red Rocks Amphitheatre in Denver, Chicago Theatre, New York’s Central Park Summerstage, and the Greek Theatre in Los Angeles. Her most recent tour focuses on her new Album, Artemis. Locations include Brazil, Chile, Peru, and Uruguay. Do you have a favourite Lindsey Stirling song? Let us know on X @StyleSwitching!