A Critical Analysis Of Some Of AC/DC’s Most Culturally Significant Literary Works
Thunderstruck
A remarkable example of the use of in medias res, this piece delivers us immediately into the action (“I was caught / in the middle of a railroad track / I looked around / and I knew there was no turning back”) as the protagonist, with his supporting cast of dynamic minor characters, navigates a rapidly escalating primary conflict (“we met some girls / some dancers who gave a good time / broke all the rules / played all the fools”). The climax, while undeniably powerful at its zenith (“thunderstruck / thunderstruck / you’ve been / thunderstruck”) ends rather abruptly, creating a jarring and disappointing conclusion that, because of its general lack of confidence and unresolved ambiguity, also seems to hint at the possibility of a potential sequel (“I was shaking at the knees / could I come again please?”).
Girls Got Rhythm
Eschewing the standard forms of meter more commonly found in the literary canon, as well as AC/DC’s very own body of work, this piece instead treats us to a particularly challenging and rare form of meter: that of the “backseat rhythm” variety. Less concerned with plot and character development than with the sounds and images evoked by the pattern of stressed syllables and nuanced wordplay (“wearing…
