"Where Education and War Coexist” is a print advertisement found within Rolling Stone magazine. It depicts a black man with his back on the camera, wearing a ragged white bandana and t-shirt. He is holding a rifle behind his head and above his shoulders while also wearing a backpack bearing the clearly legible words, “Stay in school.” The background is out of focus and indistinguishable, although it vaguely resembles a ramshackle building, similar to the ones found in Africa. The man has noticeably defined muscles, but at the same time he appears young, maybe in his early twenties. In the bottom right-hand corner of the ad is the location of the title, positioned at a diagonal slant.
In this visceral advertisement, certain fallacies in reasoning are used to persuade the audience to stay in school. A harrowing and effective bifurcation is presented to the reader when one reads the statement “stay in school” on the black man’s bag. It asserts that a dangerous and unpredictable future awaits anyone who drops out of school, as if as soon as they leave the haven of education they are swept up by the claws of violent self-destructive behavior. The advertisement seems to imply that if one does decide to remain in school, then he or she has a much better chance of leading a successful life. This heavy-handed argument doesn’t represent the other side of the story, like the rags-to-riches tales of people who escape their past and create a happy life through self-determination. Ethos through ethos is also clearly employed; one could classify it as a thinly-veiled form of race-baiting disguised as social concern. Despite the wide variety of ethnicities that have fallen through the cracks of society, a black man is represented in this ad, as if he is the epitome of all that is ruthless and corruptible. This plays on the audience’s emotions, such as their preexisting apprehensions toward gun-toting blacks and their ultra-violent behavior (i.e. South Central, Los Angeles). Thus, this advertisement is very flawed in having been designed as an ultimatum to either save the dispossessed black race, or witness uncontrollable atrocities.
Source: http://www.wackyarchives.com/offbeat/best-rolling-stone-ads.html
Wednesday, April 30, 2008
Persuasive Analysis #2 - "When the Whip Comes Down"
“When the Whip Comes Down” is an article by Matt Haber, a writer from GQ magazine. It chronicles the subjugation of men to the domineering women who have manipulated them to cater to every feminine whim. References are made to certain historical figures who have been controlled by the leash of their female partners, such as John Lennon and Ronald Reagan. Then to further support the claim of the rule of women, Haber turns to modern-day examples that demonstrate the current trend of powerful and influential females who exert their control over their husbands/mates. Couples whose exploits are reported in the tabloids are the primary sources for proving that men are currently being whipped to a laughable extent. The history behind relationships like Eminem and his wife and Madonna and Guy Ritchie showcase how men undermine their masculinity in a variety of ways to satisfy the wishes of their beloved. Observations on reformed behavior and rapid character transformations are just a few of the incidents that reinforce the notion that female dominance is alive and well.
There are many persuasive elements that assist in proving Matt Haber’s assertion that women have an undeniable influence on the men they are with. Pathos in a vividly humorous way is utilized when the author recounts how Yoko Ono used to subject John Lennon to her authority when she left “cat turds in his path.” This description of such a preposterous situation may make some readers feel incredulous, but it is that same preposterousness that sways the audience toward the opinion of the writer. Then Haber tells about the obvious signs of women’s dominance, like “pathological obedience, public humiliation, couples Pilates.” These occurrences are not as rare and obscene as the author suggests they are. Thus, the article invokes blatantly faulty cause to justify the existence of men and women living their lives harmoniously while doing things they body enjoy. Haber also employs ethical reasoning to support his claim, such as when he describes one of the highlighted relationships in his article: the estranged union between Marshall Mathers (Eminem) and Kim Mathers. Eminem used to document his vehement hatred for his ex-wife through his acidic rap albums; now, after a long period of bitter feuding, he decides to marry “the women he’s spent years openly fantasizing about killing, then he goes and marries her again.” Ethos is the dominant persuasive device because the commonly held perception of Eminem as an ignorant, twisted misogynist is shattered by such a selfless, reconciliatory act. This does wonders to convince the reader that women truly have obtained the upper hand in relationships, no matter what the circumstances.
Source: http://men.style.com/gq/features/landing?id=content_6697
There are many persuasive elements that assist in proving Matt Haber’s assertion that women have an undeniable influence on the men they are with. Pathos in a vividly humorous way is utilized when the author recounts how Yoko Ono used to subject John Lennon to her authority when she left “cat turds in his path.” This description of such a preposterous situation may make some readers feel incredulous, but it is that same preposterousness that sways the audience toward the opinion of the writer. Then Haber tells about the obvious signs of women’s dominance, like “pathological obedience, public humiliation, couples Pilates.” These occurrences are not as rare and obscene as the author suggests they are. Thus, the article invokes blatantly faulty cause to justify the existence of men and women living their lives harmoniously while doing things they body enjoy. Haber also employs ethical reasoning to support his claim, such as when he describes one of the highlighted relationships in his article: the estranged union between Marshall Mathers (Eminem) and Kim Mathers. Eminem used to document his vehement hatred for his ex-wife through his acidic rap albums; now, after a long period of bitter feuding, he decides to marry “the women he’s spent years openly fantasizing about killing, then he goes and marries her again.” Ethos is the dominant persuasive device because the commonly held perception of Eminem as an ignorant, twisted misogynist is shattered by such a selfless, reconciliatory act. This does wonders to convince the reader that women truly have obtained the upper hand in relationships, no matter what the circumstances.
Source: http://men.style.com/gq/features/landing?id=content_6697
Persuasive Analysis #1 - "Open Letter to Lou Dobbs"
“Open Letter to Lou Dobbs” is an article written by the editorial staff of GQ (Gentleman’s Quarterly) addressed to Lou Dobbs, a CNN news anchor and talk show host. It focuses on the repetitiveness of Dobbs’ impassioned argument against illegal immigration, aiming to persuade readers of his ineptitude. The authors of the article satirically say that his rants have become filled with platitudes and clichéd remarks. With tongue in cheek, they applaud Dobbs for having capitalized as a fervent demagogue who employs fear-mongering tactics so skillfully that everyone in the media world wants to be friends with him. Some of his anti-immigration argument is acknowledged, such as the need to secure jobs for Americans first and protect the feeble economy against a flood of illegal aliens. But the GQ staff reminds Lou Dobbs that immigrants are an integral part of America; they allude to the fact that the country was founded by immigrants. Then the article cites the inane solutions proposed by Republican presidential candidates, making Dobbs appear to be just another general voice in the fray. At the end of the open letter, four recommendations are given to Lou Dobbs. Half-jokingly, it is suggested that Dobbs spend some time with the Beckham soccer family to get a feel of what it is like to be an immigrant. GQ also advises him to tone down on the hardball tactics, á la Bill O’Reilly.
Throughout “Open Letter with Lou Dobbs,” the GQ editorial staff employs plenty of fallacies and other persuasive techniques to convince the reader of the errors of Lou Dobbs’ ways. A non sequitar is used to undermine the validity of the subject of criticism, in which the authors complain that Dobbs’ conversations have “gotten so boring we’d rather watch pro hockey” (8-9). Although this doesn’t follow in line with the source of the criticism, it appeals to the reader’s sense of humor and helps melt away any reservations or biases the reader holds. There is a faulty analogy present that also serves to discredit Lou Dobbs, in which a nonsensical reference states that “there are plenty of workers out there who are struggling to find jobs. Aaron Brown. Paula Zahn. Tucker Carlson” (21-22). It indirectly portrays Dobbs as an arrogant pundit who has no authority to offer discourse on the state of jobs when he is currently in possession of a comfy, high-paying one. Then, towards the end of the article, sweeping generalizations are made about the sort of people that share Dobbs’ ideals and what they have in store for America as presidential nominees. The writers say that “Huckabee will ask Jesus what he would do, and then he’ll get back to us” (30). These broad stereotypical comments do everything to prevent the validation of Lou Dobbs’ nativist crusade by likening him to uber-conservative right-wingers who tremendously overreact to the immigration problem, making it easier for the audience to easily dismiss Dobbs as an outlandish, hypocritical person without a pint of compassion for the plight of immigrants.
Source: http://men.style.com/gq/talkback/openletter/archive/0802
Throughout “Open Letter with Lou Dobbs,” the GQ editorial staff employs plenty of fallacies and other persuasive techniques to convince the reader of the errors of Lou Dobbs’ ways. A non sequitar is used to undermine the validity of the subject of criticism, in which the authors complain that Dobbs’ conversations have “gotten so boring we’d rather watch pro hockey” (8-9). Although this doesn’t follow in line with the source of the criticism, it appeals to the reader’s sense of humor and helps melt away any reservations or biases the reader holds. There is a faulty analogy present that also serves to discredit Lou Dobbs, in which a nonsensical reference states that “there are plenty of workers out there who are struggling to find jobs. Aaron Brown. Paula Zahn. Tucker Carlson” (21-22). It indirectly portrays Dobbs as an arrogant pundit who has no authority to offer discourse on the state of jobs when he is currently in possession of a comfy, high-paying one. Then, towards the end of the article, sweeping generalizations are made about the sort of people that share Dobbs’ ideals and what they have in store for America as presidential nominees. The writers say that “Huckabee will ask Jesus what he would do, and then he’ll get back to us” (30). These broad stereotypical comments do everything to prevent the validation of Lou Dobbs’ nativist crusade by likening him to uber-conservative right-wingers who tremendously overreact to the immigration problem, making it easier for the audience to easily dismiss Dobbs as an outlandish, hypocritical person without a pint of compassion for the plight of immigrants.
Source: http://men.style.com/gq/talkback/openletter/archive/0802
Monday, April 28, 2008
Works Cited - (All for nothing!, oh well)
Interpol. "Leif Erikson." By Paul Banks. Rec. Sept. 2004. Antics. Matador, 2004.
Interpol. "No I in Threesome" By Paul Banks. Rec. Aug. 2007. Our Love to Admire. Capitol Records, 2007.
Interpol. "Specialist." By Paul Banks. Rec. June 2002. Interpol EP. Matador, 2002.
Morrison, Jim. The American Night. Vol. 2. New York: Vintage Books, 1990. 133.
"Negrodamus." Chappelle's Show. Comedy Central. CC. Apr.-May 2003.
Rage Against the Machine. "Fistful of Steel." By Zack De La Rocha. Rec. Nov. 1992. Rage Against the Machine. Epic Records, 1992.
Rage Against the Machine. "Wake Up." By Zack De La Rocha. Rec. Nov. 1992. Rage Against the Machine. Epic Records, 1992.
Scissor Sisters. "I Don't Feel Like Dancin'" By Jake Shears. Rec. May 2005. Ta-Dah. Universal Records, 2006.
Soundgarden. "Jesus Christ Pose." By Chris Cornell. Rec. Oct. 1991. Badmotorfinger. A&M, 1991.
Traveling Wilburys. "Like a Ship." By George Harrison, Jeff Lynne, Roy Orbison, Tom Petty, and Bob Dylan. Rec. May 1988. Traveling Wilburys Vol. 1. Warner Bros., 1988.
Interpol. "No I in Threesome" By Paul Banks. Rec. Aug. 2007. Our Love to Admire. Capitol Records, 2007.
Interpol. "Specialist." By Paul Banks. Rec. June 2002. Interpol EP. Matador, 2002.
Morrison, Jim. The American Night. Vol. 2. New York: Vintage Books, 1990. 133.
"Negrodamus." Chappelle's Show. Comedy Central. CC. Apr.-May 2003.
Rage Against the Machine. "Fistful of Steel." By Zack De La Rocha. Rec. Nov. 1992. Rage Against the Machine. Epic Records, 1992.
Rage Against the Machine. "Wake Up." By Zack De La Rocha. Rec. Nov. 1992. Rage Against the Machine. Epic Records, 1992.
Scissor Sisters. "I Don't Feel Like Dancin'" By Jake Shears. Rec. May 2005. Ta-Dah. Universal Records, 2006.
Soundgarden. "Jesus Christ Pose." By Chris Cornell. Rec. Oct. 1991. Badmotorfinger. A&M, 1991.
Traveling Wilburys. "Like a Ship." By George Harrison, Jeff Lynne, Roy Orbison, Tom Petty, and Bob Dylan. Rec. May 1988. Traveling Wilburys Vol. 1. Warner Bros., 1988.
Literary Devices
1. The Traveling Wilburys sing, “Like a weepin’ willow tree, her love hangs over me” (“Like a Ship”).
This is an example of a simile that likens a woman’s affection for a man to a weeping willow. It is used to characterize the love as something inescapable, a ubiquitous entity that follows the man everywhere he goes.
2. Paul Banks of Interpol sings, “My love’s a laboratory, I set all my pets free” (“Specialist”).
This is a pair of metaphors that are used to represent both the singer’s love and the various charms and romantic tactics that are entailed with it. His love is compared to a laboratory because it has been kept under wraps and tinkered with; finally he can release his inhibitions and become Romeoesque, which is embodied by the release of the pets.
3. Paul Banks of Interpol sings, “She feels that my sentimental side should be held with kids gloves” (“Leif Erikson”).
This is an example of personification, in which the singer’s sentimental side, an abstract, emotional quality, is treated as something life-like. The literary device is used to show that his sentimentality is a domineering facet of his personality; it deserves to be represented as an entirely separate being that needs special treatment.
4. Jim Morrison says, “Fear is a porch where winds slide thru in the North” (“Fear is a Porch . . .”).
This is a metaphor that compares fear to a porch that suffers the brute force of raging Northern winds. Morrison characterizes the emotion of fear as a vulnerable, exposed entity, like a rickety porch that has cracks for the wind to attack.
5. Negrodamus, a fictionalized character on Chappelle’s Show, prophesizes, “Arsenio Hall will have a new show called ‘Good Morning, Black America.’ It will be played at noon throughout the country.”
This is satire of the racial misconception about blacks that stereotypes them as listless, jobless bums that litter the ghettos of America. The famous talk show host Arsenio Hall is predicted to host a morning show that’s televised at noon, presumably to accommodate blacks that wake up incredibly late because they don’t have jobs, who in fact don’t represent the majority of the black population.
6. Jake Shears of the Scissor Sisters sings, “You got so many colours, make a blind man so confused” (“I Don’t Feel Like Dancin’”).
This is an example of a hyperbole that describes a girl’s apparel as being so vibrant that it discombobulates a blind man. It is an overt exaggeration to help convey the flashy and vibrant nature of the girl’s appearance to the listener.
7. Zack de la Rocha of Rage Against the Machine sings, “Something about silence makes me sick'Cause silence can be violent sorta like a slit wrist” (“Fistful of Steel”).
This is an example of a simile that compares the violence of silence to a slit wrist. Zack attempts to explain how silence, the epitome of complacence, can lead to grisly results. He likens it to the demise of suicide to show those who refuse to speak out the error of their ways.
8. Paul Banks of Interpol sings, “I see your lips are on fire, and life is wine” (“No I in Threesome”).
This is a couplet that contains both a hyperbole and a metaphor. The singer describes a woman’s lips as being on fire, an extreme exaggeration used to convey the passionate lust within her. Then he describes life as being wine, the quenching drink for all of her decadent desires. This is perhaps an enticement to tempt the woman to try something new.
9. Zack de la Rocha of Rage Against the Machine sings, “Set the groove, then stick and move like I was Cassius” (“Wake Up”).
This is an example of a simile that compares the lyrical prowess of Zack to the agile boxing ability of Cassius Clay, later known as Muhammad Ali. The singer boasts he can throw barbs at his targets like Ali could throw punches at his opponents.
10. Chris Cornell of Soundgarden sings, “But you’re staring at me like I need to be saved, in your Jesus Christ pose” (“Jesus Christ Pose”).
This is an example of an allusion to the crucifixion of Jesus Christ. Chris accuses someone of trying to garner excessive sympathy or pity, when in fact the person in question doesn’t carry a burden that warrants those sentiments.
This is an example of a simile that likens a woman’s affection for a man to a weeping willow. It is used to characterize the love as something inescapable, a ubiquitous entity that follows the man everywhere he goes.
2. Paul Banks of Interpol sings, “My love’s a laboratory, I set all my pets free” (“Specialist”).
This is a pair of metaphors that are used to represent both the singer’s love and the various charms and romantic tactics that are entailed with it. His love is compared to a laboratory because it has been kept under wraps and tinkered with; finally he can release his inhibitions and become Romeoesque, which is embodied by the release of the pets.
3. Paul Banks of Interpol sings, “She feels that my sentimental side should be held with kids gloves” (“Leif Erikson”).
This is an example of personification, in which the singer’s sentimental side, an abstract, emotional quality, is treated as something life-like. The literary device is used to show that his sentimentality is a domineering facet of his personality; it deserves to be represented as an entirely separate being that needs special treatment.
4. Jim Morrison says, “Fear is a porch where winds slide thru in the North” (“Fear is a Porch . . .”).
This is a metaphor that compares fear to a porch that suffers the brute force of raging Northern winds. Morrison characterizes the emotion of fear as a vulnerable, exposed entity, like a rickety porch that has cracks for the wind to attack.
5. Negrodamus, a fictionalized character on Chappelle’s Show, prophesizes, “Arsenio Hall will have a new show called ‘Good Morning, Black America.’ It will be played at noon throughout the country.”
This is satire of the racial misconception about blacks that stereotypes them as listless, jobless bums that litter the ghettos of America. The famous talk show host Arsenio Hall is predicted to host a morning show that’s televised at noon, presumably to accommodate blacks that wake up incredibly late because they don’t have jobs, who in fact don’t represent the majority of the black population.
6. Jake Shears of the Scissor Sisters sings, “You got so many colours, make a blind man so confused” (“I Don’t Feel Like Dancin’”).
This is an example of a hyperbole that describes a girl’s apparel as being so vibrant that it discombobulates a blind man. It is an overt exaggeration to help convey the flashy and vibrant nature of the girl’s appearance to the listener.
7. Zack de la Rocha of Rage Against the Machine sings, “Something about silence makes me sick'Cause silence can be violent sorta like a slit wrist” (“Fistful of Steel”).
This is an example of a simile that compares the violence of silence to a slit wrist. Zack attempts to explain how silence, the epitome of complacence, can lead to grisly results. He likens it to the demise of suicide to show those who refuse to speak out the error of their ways.
8. Paul Banks of Interpol sings, “I see your lips are on fire, and life is wine” (“No I in Threesome”).
This is a couplet that contains both a hyperbole and a metaphor. The singer describes a woman’s lips as being on fire, an extreme exaggeration used to convey the passionate lust within her. Then he describes life as being wine, the quenching drink for all of her decadent desires. This is perhaps an enticement to tempt the woman to try something new.
9. Zack de la Rocha of Rage Against the Machine sings, “Set the groove, then stick and move like I was Cassius” (“Wake Up”).
This is an example of a simile that compares the lyrical prowess of Zack to the agile boxing ability of Cassius Clay, later known as Muhammad Ali. The singer boasts he can throw barbs at his targets like Ali could throw punches at his opponents.
10. Chris Cornell of Soundgarden sings, “But you’re staring at me like I need to be saved, in your Jesus Christ pose” (“Jesus Christ Pose”).
This is an example of an allusion to the crucifixion of Jesus Christ. Chris accuses someone of trying to garner excessive sympathy or pity, when in fact the person in question doesn’t carry a burden that warrants those sentiments.
Sunday, April 27, 2008
Poem #4 - Forgettable End Days
This leviathan circus beckons me to strip recognition
A wooly brim covers the eyes of a man sans diction
Why bother resuscitating the pale, stone wings in tow
When I look like a lost puppy begging for quid pro quo
Ancient prose makes love to conscience, the penultimate soothsayer
Heavenly reservations rain from the sky, a pious cat says, “Where?”
Faceless judges point their loaded markers at frolicking youth
The Bloody ritual is consummated in the monotonous booth
We should all crowd around the fatalistic, the owls in sight of sun
All the toothpick shanties await divine castigation, it’s almost done
Slimy, blinding, gapless teeth are positioned for the take
While some impale pretensions and dive wristfully into the lake
A wooly brim covers the eyes of a man sans diction
Why bother resuscitating the pale, stone wings in tow
When I look like a lost puppy begging for quid pro quo
Ancient prose makes love to conscience, the penultimate soothsayer
Heavenly reservations rain from the sky, a pious cat says, “Where?”
Faceless judges point their loaded markers at frolicking youth
The Bloody ritual is consummated in the monotonous booth
We should all crowd around the fatalistic, the owls in sight of sun
All the toothpick shanties await divine castigation, it’s almost done
Slimy, blinding, gapless teeth are positioned for the take
While some impale pretensions and dive wristfully into the lake
Poem #3 - Luscious Dissenters
Oceans blue lie in regrettable dew, a hypnotizing daze
They peacefully fidget asleep on your cerulean face
Pulsating heart takes a leap, then falls in a heap
I murder my essence and anguish seeps
Fifty-six ways I can make no one happy
It’s like keeping the house of a dog-lover cat-free
Articulation is your trade, you do it so well
Prose flows out like melted honey from a shell
These days my brooding is just ode to my woe
While you float above petty grass like a doe
New dawn Juans cry out, “Divine!” in a torrent
They peacefully fidget asleep on your cerulean face
Pulsating heart takes a leap, then falls in a heap
I murder my essence and anguish seeps
Fifty-six ways I can make no one happy
It’s like keeping the house of a dog-lover cat-free
Articulation is your trade, you do it so well
Prose flows out like melted honey from a shell
These days my brooding is just ode to my woe
While you float above petty grass like a doe
New dawn Juans cry out, “Divine!” in a torrent
In your world I’m a woodsman lost in the forest
I’d love to be a disenchanted boy in an ebullient garden
And soothe the cowering ruffles that wilt at your whim
It’s hard to hug a cadaverous leaf, sadly
But I scheme to navigate the labyrinth like Señor Wily
I’d love to be a disenchanted boy in an ebullient garden
And soothe the cowering ruffles that wilt at your whim
It’s hard to hug a cadaverous leaf, sadly
But I scheme to navigate the labyrinth like Señor Wily
Poem #2 - Downfall
The oily, black serpent crawls out of the ground
Mothers shield their babies, fathers jump town
The trail to Perdition shows the visage of the lightning messiah
Who beckons them to cut their morality wire
Dystopian highways intersect through the sacred forest
Where mutilated nymphs cry out in a woeful chorus
The foaming hoards spoil the milk of God’s ancient crusade
With their greed, ambition, and clever grey shades
Samuel the Despot reveals his crooked grin
He’s a huckster toward the people and a saint toward his kin
Killing comes easy for the forsaken wielder of Thor’s hammer
Practice makes perfect as he guts the helpless debtors
The emblazoned preacher hurls his cross at anyone in his path
Slashing their dignity into ribbons; for pious leeches it’s simple math
In the gleam of the fanatical eyes one sees quixotic pleasures waiting
Once he devours the first tender soul allured to the baiting
Mothers shield their babies, fathers jump town
The trail to Perdition shows the visage of the lightning messiah
Who beckons them to cut their morality wire
Dystopian highways intersect through the sacred forest
Where mutilated nymphs cry out in a woeful chorus
The foaming hoards spoil the milk of God’s ancient crusade
With their greed, ambition, and clever grey shades
Samuel the Despot reveals his crooked grin
He’s a huckster toward the people and a saint toward his kin
Killing comes easy for the forsaken wielder of Thor’s hammer
Practice makes perfect as he guts the helpless debtors
The emblazoned preacher hurls his cross at anyone in his path
Slashing their dignity into ribbons; for pious leeches it’s simple math
In the gleam of the fanatical eyes one sees quixotic pleasures waiting
Once he devours the first tender soul allured to the baiting
Sunday, April 20, 2008
Train Insane
Train Insane – A Start-stop Rollercoaster
Train Insane is a song formed out an imagined fantasy involving a guy longing to be with a girl who completely ignores him because of his lack of attractive qualities. The lyrics approach the situation from the woeful man’s point of view, as he tries to persuade the girl of his dreams of his hidden yet worthy value. The protagonist yearns for that elusive mutual love, pulling out all the stops to gain her attention. Then during the third verse, he turns more despondent and basically gives up all hope. The closing line, repeated over and over, pay tribute to the hopeless, ludicrous dance that lovers partake in to achieve fulfillment.
In order to convey the raging emotions of the central character, I aimed to create a blend of melodic rhythm and abrasive squalls of noise. When one of the verses falls apart into an extended series of screeching guitar notes, this is meant to symbolize the frustration of someone who is continually snatched from the jaws of victory. I implemented the use of a drum machine and a bass guitar so that the added percussion would add more urgency and forcefulness to the song. For the guitar solo, I devised its entrance to be unannounced and standing alone, similar to how the earnest love-sick boy feels all the time. It could be likened to a mating call, perhaps out of desperation, because the idolized girl probably has given up on him by now.
In a nutshell, Train Insane is just blithe and frothy commentary on how the innocent game of love can be based on such faulty notions like conceit and ignorance. If everyone were as selective and unyielding as the suggested ice-queen of this song, then humans would never be able to procreate.
Lyrics
I sure do like your striped cotton sweater
I think it'd make an earnest mermaid wetter
Don't reproach these face-saving acts of love
You could always pull the plug with a shove
I wish you wouldn't file me away
Always trying to hold my lust at bay
You float me like a cadaver on a dirge
But I'll reciprocate, like a tortoise on the surge
Daring social manuevers abound
Have you ever heard of a girl so wound?
Oh well, I pleaded with your porcelain face
I guess my straw ambitions will go to waste
Kraut passion flows out of your fingertips
The prodigal Poseidon craves your luscious lips
Those quizzical brows must look past me being shy
If not then what is there for me but to die
Whirling glib tribal dances, like scornful generals armed with lances
Train Insane is a song formed out an imagined fantasy involving a guy longing to be with a girl who completely ignores him because of his lack of attractive qualities. The lyrics approach the situation from the woeful man’s point of view, as he tries to persuade the girl of his dreams of his hidden yet worthy value. The protagonist yearns for that elusive mutual love, pulling out all the stops to gain her attention. Then during the third verse, he turns more despondent and basically gives up all hope. The closing line, repeated over and over, pay tribute to the hopeless, ludicrous dance that lovers partake in to achieve fulfillment.
In order to convey the raging emotions of the central character, I aimed to create a blend of melodic rhythm and abrasive squalls of noise. When one of the verses falls apart into an extended series of screeching guitar notes, this is meant to symbolize the frustration of someone who is continually snatched from the jaws of victory. I implemented the use of a drum machine and a bass guitar so that the added percussion would add more urgency and forcefulness to the song. For the guitar solo, I devised its entrance to be unannounced and standing alone, similar to how the earnest love-sick boy feels all the time. It could be likened to a mating call, perhaps out of desperation, because the idolized girl probably has given up on him by now.
In a nutshell, Train Insane is just blithe and frothy commentary on how the innocent game of love can be based on such faulty notions like conceit and ignorance. If everyone were as selective and unyielding as the suggested ice-queen of this song, then humans would never be able to procreate.
Lyrics
I sure do like your striped cotton sweater
I think it'd make an earnest mermaid wetter
Don't reproach these face-saving acts of love
You could always pull the plug with a shove
I wish you wouldn't file me away
Always trying to hold my lust at bay
You float me like a cadaver on a dirge
But I'll reciprocate, like a tortoise on the surge
Daring social manuevers abound
Have you ever heard of a girl so wound?
Oh well, I pleaded with your porcelain face
I guess my straw ambitions will go to waste
Kraut passion flows out of your fingertips
The prodigal Poseidon craves your luscious lips
Those quizzical brows must look past me being shy
If not then what is there for me but to die
Whirling glib tribal dances, like scornful generals armed with lances
Wednesday, April 16, 2008
"Across the Universe"
“Across the Universe” – A Quintessential Beatles Song
I chose to do a cover of “Across the Universe” because it speaks to me on innumerable levels. Written during the Beatles’ Transcendental Meditation period, the lyrics are an encompassing, omnipotent reflection on mankind’s existence in the world and everything beyond it. The words are so fluidly poetic, like something that has emerged from a tranquil dream. John Lennon wrote these lyrics to maybe underline people’s insignificance in the face of a massive, unknown universe. The tone is effervescent and melancholic at the same time; the song champions the vivacious human spirit, while lamenting the outpouring of grief and sorrow that surrounds us. I relate to this song because I also feel overwhelmed by the immeasurable gravitas of life and by a muddled perception of the unknown. The Sanskrit phrase “Jai guru deva,” which roughly translates to “All hail the God divine,” is a fitting tribute that I have often found myself longing to express. Whoever listens to this song and understands what presence it’s alluding to should be incredulous of anyone not in perpetual awe of the creator of such an universe.
For my rendition of “Across the Universe,” I tried to keep my arrangement as sparse as possible. It’s not even feasible for someone to come close to the atmosphere of excellence that the Beatles reigned in during all their songs. I just tried to do the song justice by conveying supple empathy while keeping mellow undertones in the background.
I chose to do a cover of “Across the Universe” because it speaks to me on innumerable levels. Written during the Beatles’ Transcendental Meditation period, the lyrics are an encompassing, omnipotent reflection on mankind’s existence in the world and everything beyond it. The words are so fluidly poetic, like something that has emerged from a tranquil dream. John Lennon wrote these lyrics to maybe underline people’s insignificance in the face of a massive, unknown universe. The tone is effervescent and melancholic at the same time; the song champions the vivacious human spirit, while lamenting the outpouring of grief and sorrow that surrounds us. I relate to this song because I also feel overwhelmed by the immeasurable gravitas of life and by a muddled perception of the unknown. The Sanskrit phrase “Jai guru deva,” which roughly translates to “All hail the God divine,” is a fitting tribute that I have often found myself longing to express. Whoever listens to this song and understands what presence it’s alluding to should be incredulous of anyone not in perpetual awe of the creator of such an universe.
For my rendition of “Across the Universe,” I tried to keep my arrangement as sparse as possible. It’s not even feasible for someone to come close to the atmosphere of excellence that the Beatles reigned in during all their songs. I just tried to do the song justice by conveying supple empathy while keeping mellow undertones in the background.
Saturday, April 12, 2008
Warbling Bytes
Warbling Bytes - Intricate Squabble
Warbling Squabble is a song built around a grooving beat that I found so irresistible that the rest of the song is built around. I imagine the drums being played by some powerhouse performer like Neil Pert from Rush. The song opens with some eloquent noodling, then delves into a riff that I came up while listening to the country legend Hank Williams. It sounds a bit formulaic and recycled, but it’s a solid and reliable riff that carries the song. The lyrics are brief, and are open to interpretation. I dabbled in some accusations toward petty souls that are satisfied to watch atrocities from a distance. I also throw some barbs at the religious hypocrisy that has consumed so many. Then I belt out a face-melting solo just for kicks. I advise listeners to wear protective gear before exposing their ears to such grandiosity. After that, I took an old drum sample and played it in reverse, creating a vacuum sound that came out pretty epic, like something from 2001: A Space Odyssey. Once again I borrowed something, this time from Radiohead, specifically their OK Computer album. The robot voice from “Fitter Happier” proved to be a haunting interlude that leads to the most ludicrous closer that I could possibly imagine. First, there’s a sound bite from a skit involving Will Ferrell. Lasting for a few seconds, it contains an originally gleeful laugh that sounds rather sadistic placed in the context of my song.
Saving the best for last, I ended with a doleful and Oscar-worthy moment. I created an imaginary dialogue between me and Daniel Plainview, the megalomaniac from There Will Be Blood. I plead with him to spare my metaphorical milkshake, which really alludes to anything one wants it to. My efforts are to no avail; in the end Daniel, filled with gluttony, slurps up my milkshake. Then he calls the waiter for another one, just to rub it in my face.
Lyrics
What are you going to sue for
Waiting for your charred soul
Your compassion crumpled up like a useless doll
Don't your hands turn cold when you see them hollow eyes
The rusted fence hides the blood of innocents
Run now and don't look back at the outdated book
Till there's nothing left
Of your precious naivete
Warbling Squabble is a song built around a grooving beat that I found so irresistible that the rest of the song is built around. I imagine the drums being played by some powerhouse performer like Neil Pert from Rush. The song opens with some eloquent noodling, then delves into a riff that I came up while listening to the country legend Hank Williams. It sounds a bit formulaic and recycled, but it’s a solid and reliable riff that carries the song. The lyrics are brief, and are open to interpretation. I dabbled in some accusations toward petty souls that are satisfied to watch atrocities from a distance. I also throw some barbs at the religious hypocrisy that has consumed so many. Then I belt out a face-melting solo just for kicks. I advise listeners to wear protective gear before exposing their ears to such grandiosity. After that, I took an old drum sample and played it in reverse, creating a vacuum sound that came out pretty epic, like something from 2001: A Space Odyssey. Once again I borrowed something, this time from Radiohead, specifically their OK Computer album. The robot voice from “Fitter Happier” proved to be a haunting interlude that leads to the most ludicrous closer that I could possibly imagine. First, there’s a sound bite from a skit involving Will Ferrell. Lasting for a few seconds, it contains an originally gleeful laugh that sounds rather sadistic placed in the context of my song.
Saving the best for last, I ended with a doleful and Oscar-worthy moment. I created an imaginary dialogue between me and Daniel Plainview, the megalomaniac from There Will Be Blood. I plead with him to spare my metaphorical milkshake, which really alludes to anything one wants it to. My efforts are to no avail; in the end Daniel, filled with gluttony, slurps up my milkshake. Then he calls the waiter for another one, just to rub it in my face.
Lyrics
What are you going to sue for
Waiting for your charred soul
Your compassion crumpled up like a useless doll
Don't your hands turn cold when you see them hollow eyes
The rusted fence hides the blood of innocents
Run now and don't look back at the outdated book
Till there's nothing left
Of your precious naivete
Draconian Picket Plunge
Draconian Picket Plunge - An Exercise in Bombast
I came up with this song while I was thinking of a way to create a fusion of genres that I am particularly fond of (ie. folk, house). The lyrics of the songs were written in a flurry, as sort of a cautionary tale about the evils of humanity and how greed can seduce a person’s soul. Then, thinking that simple, frugal words and a strummed guitar weren't sufficient enough in conveying the desperate tone, I applied my voice through a vocoder at certain moments. Although one may think that that decision was a schlocky, whimsical touch, I intended it to project an extension of melancholy sentiment I threw in an ominous synthesizer during the supposed breakdown midway through the song. This section was imagined as a funeral dirge in memory of the death of goodwill; it later evolves into a requiem of insanity/corruption. To create an eerie and subversive undertone, I played my voice in reverse over the synthesizer, which came out sounding ritualistic and demonic in nature. Then, at the end of the song, all hell breaks loose, figuratively and in a way literally. This portion was conceived in my mind as a sort of house party in hell. The unnamed hero of the song has been tempted by Satan and has decided to let loose his inhibitions, so appropriately, the end comes off as a hedonistic sonic narrative of a lost soul who inevitably joined the tormenters he could not defeat.
The title, as confusing and inadvertent as it sounds, describes the futile efforts of people who try to rise against the system, then are merciless crushed. Their hopes and ideals are squashed by the totalitarian, stentorian voice of authority. The protagonist, once a moralizer and fighter for rights, is horribly scarred from experience, and ends up a disillusioned man who revels in decadence, a postmodern Lord Henry.
Lyrics
Verse
What are you waiting for?
The sun is glistening for you
But the luster, well it blinds me
And binds me, till my hands caress no one
Chorus
All the willows are burning in their irreparable debt
They’ll lure you and betray you with a check
Verse
Oh, permit the trespass against the beggar
Cause soon…
The art of squinting points you toward cheerful killings
The black gasoline coalesces both sin & virtue
Chorus
Friday, April 11, 2008
Thursday, April 10, 2008
Poem #1 - Surreal
I’m wandering for my celestial providence
Putrid doors seen to follow me everywhere
Lucid pig grins are piled on dense
Through Shiva’s embrace I let my heart tear
To search for the sepulchral agent of chaos
It’s wingful madness, I suppose
But I’ve ran hard in the labyrinth boss
“Game’s over,” bellows the cloud and smites me in boast
I will claw out of this postmodern cage
Coalesce my eagerness with the dew-laden leaves
Strike a deal with the swindling mage
And get my kicks before they find my brain of weaves
Long ago I lost the gilded rudder
That used to fend off those she-devils of damnation
So I dolefully board the train covered by cemented shutters
It will drag me to the laconic reptilian exhibition
Putrid doors seen to follow me everywhere
Lucid pig grins are piled on dense
Through Shiva’s embrace I let my heart tear
To search for the sepulchral agent of chaos
It’s wingful madness, I suppose
But I’ve ran hard in the labyrinth boss
“Game’s over,” bellows the cloud and smites me in boast
I will claw out of this postmodern cage
Coalesce my eagerness with the dew-laden leaves
Strike a deal with the swindling mage
And get my kicks before they find my brain of weaves
Long ago I lost the gilded rudder
That used to fend off those she-devils of damnation
So I dolefully board the train covered by cemented shutters
It will drag me to the laconic reptilian exhibition
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