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In chapter 14 Ratliff defines several definitions and provides numerous examples of the varying forms of closeness. One particular definition that is relevant to Adam & The Ants "Dog Eat Dog" , is the one that describes the "rhythmic pocket." It's an example of harmony that perfectly represents the swaggering aesthetic and boisterous energy that this New Wave band portrays. It was tailor-made for the MTV generation that craved pristine dance music. The less commercial form of closeness can be seen in Sleater-Kinney's "One More Hour." In this particular cut the band synchronised their dual guitar roles in order to show their fading connection through call-and-response vocals, harmonisation and complementary riffs. Lead singer Corin Tucker wrote this song as a farewell letter to her and Carrie Brownstein's (lead guitarist) romantic relationship. It lingers on one, final shared memory between them and is evident of their symbiotic peak as partners and musicians.

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"And certain pairings of singers are essentially two instruments pulling together to create one resonance. This can be where you join them as a listener." - (Ratliff, pg.163)

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"Sometimes the closeness of two musicians within a band is what makes the band capable of moving beyond normal limits. The connection between them becomes the power source, creating enough energy for the rest of the band to feed from or mirror." - (Ratliff, pg. 165)

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Seminal Post-Hardcore band Fugazi demonstrate various forms of closeness, such as contrast or symbiosis, in their 1999 film/album "Instrument."

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On Nov. 2016 at the Barbican Hall in London, Spiritualized performed their 1997 cut "Ladies & Gentlemen We Are Floating In Space." Which is a complex example of the potentially intricate symbiosis that can be crafted when a specific band dabbles in harmony or closeness.

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Dog Eat Dog - Remastered, a song by Adam & The Ants on Spotify

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One More Hour, a song by Sleater-Kinney on Spotify