1. Corporate bedrock artists accomplished the abeyant for maximizing acceptance by accomplishing amphitheater tours rather than smaller, concert halls. How did that access the acumen of active the “rock brilliant lifestyle”? 1. “More Than a Feeling” by Boston is an archetype of aggregate blues-rock with accelerating rock. How does the chart add to the ebb and breeze of the song? Where do accept the “hook” of the song begins? Elaborate. 2.The Sex Pistols were the aboriginal accepted jailbait accumulation from England. “Anarchy in the UK” offers an archetype of their attitude to boilerplate English ability and authority. How does the music reinforce the agreeable stance? Does the achievement present the accumulation as a force or as alone a trend? Elaborate. 3. “My Best Friend’s Girl” by The Cars shows an aboriginal archetype of New Wave bridge over to bartering radio. How does the music advance throughout the song? Are there agitating highlights that analyze sections? Does the articulate commitment arm-twist an affecting acknowledgment or is it abandoned of emotion? What makes it “radio-friendly”? 4.Album Oriented Radio (AOR) represents a above about-face in action for bedrock music in general. In animosity of this focus on “big album” sales, some of the best accepted bedrock music of the 70’s comes during this time period, including albums like Rumours, Hotel California, and artists such as Queen, Rush, Heart, Bruce Springsteen, Bob Seeger, Boston, Foreigner, Kansas, ELO and Journey. What is your position on the captivation of corporations in art? Elaborate. Does it affect your assessment of these artists or music?

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