Summary
I went with my family to the annual Flowertown Festival on April 5, 2008, where I bore witness to the masterfully crafted products of artisans from all over the South. There were also a wide variety of vendors that offered an exclusive taste of Charleston.
When I arrived at the festival at ten o’clock, the first thing I searched for was the booth that sold meal tickets that could be redeemed at any of the miniature restaurant representations that were all locally situated. The carnival was the first attraction that caught everyone’s attention, but I just kept on walking through the hustle-bustle crowd. I noticed that the number of people who attended this event was larger than usual. For the most part I couldn’t make two steps without employing some adept subterfuge. What immediately stood out as I roamed the grounds was that the azaleas were nowhere to be seen, which was an ironic fact, considering the heavy turnout. During my visit I took advantage of the easily accessibly food lined up and down the street. I dabbled in many ethnic foods, like Asian and Greek.
To cap off the day’s events, I journeyed to the center of the Flowertown Festival, where people of every imaginable trade congregated to showcase their creative inventions. There was a lot of handmade jewelry, weaved baskets, and paintings of majestic landscapes. As I expected, the prices on these eclectic items were exceedingly high. At around two o’clock, I decided to leave the festivities before the place became overrun with pedestrians.
Critique
At first, I was impressed with the depth of the culinary exhibit and the meticulous organization of the artists and artisans. But in retrospect, I feel like I was compelled to rate everything higher that it should have been. There wasn't anything particularly healthy on the menu; I felt bombarded by sickly entrees like bloomin' onions and funnel cakes. Also the artisans were a little less friendly and outgoing than what was expected of them. How could they expect customers to purchase their works if nobody sells the value of the art?
The absence of the azaleas was a blatantly conspicious detail that nagged in the back of my head all day. I imagined the disappointment in all those people who journeyed to Summerville to witness the much-hyped, primed flowers. Without those usually luminescent plants in the background, it seemed like everything else, from the concessions to the displays, paled in comparison.
The most enlightening moment during my stroll through the Flowertown Festival was when I met this elderly man who possessed the most beautiful collection of welded objects that I had ever seen. Some were in the shape of zoo animals, while others were indistinguishable abstract shapes. I was very impressed with the man's catalogue and was almost convinced to buy one, but I was short on cash. This highlight more than compensated for the lack of fireworks everywhere else at the event.
Thursday, May 1, 2008
Cultural Event #2 - Fort Dorchester Talent Show
Summary
On Friday, April 4, 2008, I attended the Talent Show at Fort Dorchester High School. It was an in-school event held at the gymnasium that showcased nearly a dozen myriad musical acts. The show was hosted by a charismatic DJ who took the microphone at certain intervals to pump up the crowd. There were also a number of faux celebrity presenters who attempted to announce each act amidst all the incessant noise. The affair was capped by an impromptu address notifying the audience of the winners nominated by the panel of judges.
The Talent Show opened with a performance by a male step team, which conspicuously featured a white guy. This was followed by a female step team; their routine was more elaborate and longer. Then one of the showcase acts, Shooting Shiloh, took the stage. Jerry Jacobs had singing and keyboard duties. They performed a brief romantic ballad, which segued into a rock-oriented version of Usher’s “Yeah,” which allowed Jerry to flesh out his white-boy rap skills. After that band’s bombastic performance, an onslaught of hip-hop-themed dance acts marched out to the stage. Each of them was received with riotous acclaim from the black portion of the student audience, while achieving a noticeably cold reception by the white students. In between the innumerable rap interpretations, other acts who had mustered up the courage to perform displayed their varied musical talents. A rock band did a technically proficient but impassive, with exception to the drummer, rendition of Metallica’s “One.” Out of nowhere, the spotlight was shone on flamenco music when a student wielded an acoustic guitar to play an intricate, instrumental number that was ill-suited to the raucous crowd. There were also girls willing to display their singing prowess during the show. Their songs were characteristically romantic ballads that struggled to capture the attention of the audience.
The talent show ended with yet another overblown dance routine, which ended abruptly. This allowed the DJ to announce the winners. His words fell on deaf ears, though, as students had already begun to file out of the school.
Critique
The Fort Dorchester Talent Show underwhelmed me on all accounts. It pounded me into submission with its monotonous and jumbled cacophony. On the most part, it seemed that the show’s list of performers was specifically catered to appeal to the hip-hop-loving crowd, who responded vivaciously to every pop music reference. Personally, the lack of variety and originality left me numb and blasé; I was left feeling more disappointed than my feeble expectations had prepared me for.
The event began with an impromptu dance performance by the male step team. They did a mix of a capella and music-accompanied steps. This act set the template for many more performances to come. Though these step performances appeared technically proficient, they came off as showboating operations designed to win over a crowd eager for in-your-face visual spectacles. Many of the talents showcased delved into the same genre. I could have just turned on MTV and gotten the same entertainment, except cheaper and with better clarity.
The most disappointing aspect of the over-hyped talent show was the acoustics of the venue. Held in the auditorium, where the cavernous ceiling made it nearly impossible for a performer to project any subtlety or atmosphere whatsoever, I felt sympathetic towards those who tried to connect intimately with the crowd while slightly resentful towards those who exploited the opportunity to revel in unchecked mediocrity. One girl tried to do a coffeehouse-style acoustic number, but was drowned out by the poor sound setup and an indifferent audience. The acts that bravely tried to differ from the predetermined ringtone-rap theme were dismissed as bland and unworthy of the crowd’s attention, which vexed me terribly.
Overall, I could have been spared the over-the-top theatrics, one-note setlist, and dispassionate aura. I felt like this whole show was cunningly designed to exploit a ridiculous fad in entertainment today, that is, a fascination with the mass-produced, degenerative rap genre.
On Friday, April 4, 2008, I attended the Talent Show at Fort Dorchester High School. It was an in-school event held at the gymnasium that showcased nearly a dozen myriad musical acts. The show was hosted by a charismatic DJ who took the microphone at certain intervals to pump up the crowd. There were also a number of faux celebrity presenters who attempted to announce each act amidst all the incessant noise. The affair was capped by an impromptu address notifying the audience of the winners nominated by the panel of judges.
The Talent Show opened with a performance by a male step team, which conspicuously featured a white guy. This was followed by a female step team; their routine was more elaborate and longer. Then one of the showcase acts, Shooting Shiloh, took the stage. Jerry Jacobs had singing and keyboard duties. They performed a brief romantic ballad, which segued into a rock-oriented version of Usher’s “Yeah,” which allowed Jerry to flesh out his white-boy rap skills. After that band’s bombastic performance, an onslaught of hip-hop-themed dance acts marched out to the stage. Each of them was received with riotous acclaim from the black portion of the student audience, while achieving a noticeably cold reception by the white students. In between the innumerable rap interpretations, other acts who had mustered up the courage to perform displayed their varied musical talents. A rock band did a technically proficient but impassive, with exception to the drummer, rendition of Metallica’s “One.” Out of nowhere, the spotlight was shone on flamenco music when a student wielded an acoustic guitar to play an intricate, instrumental number that was ill-suited to the raucous crowd. There were also girls willing to display their singing prowess during the show. Their songs were characteristically romantic ballads that struggled to capture the attention of the audience.
The talent show ended with yet another overblown dance routine, which ended abruptly. This allowed the DJ to announce the winners. His words fell on deaf ears, though, as students had already begun to file out of the school.
Critique
The Fort Dorchester Talent Show underwhelmed me on all accounts. It pounded me into submission with its monotonous and jumbled cacophony. On the most part, it seemed that the show’s list of performers was specifically catered to appeal to the hip-hop-loving crowd, who responded vivaciously to every pop music reference. Personally, the lack of variety and originality left me numb and blasé; I was left feeling more disappointed than my feeble expectations had prepared me for.
The event began with an impromptu dance performance by the male step team. They did a mix of a capella and music-accompanied steps. This act set the template for many more performances to come. Though these step performances appeared technically proficient, they came off as showboating operations designed to win over a crowd eager for in-your-face visual spectacles. Many of the talents showcased delved into the same genre. I could have just turned on MTV and gotten the same entertainment, except cheaper and with better clarity.
The most disappointing aspect of the over-hyped talent show was the acoustics of the venue. Held in the auditorium, where the cavernous ceiling made it nearly impossible for a performer to project any subtlety or atmosphere whatsoever, I felt sympathetic towards those who tried to connect intimately with the crowd while slightly resentful towards those who exploited the opportunity to revel in unchecked mediocrity. One girl tried to do a coffeehouse-style acoustic number, but was drowned out by the poor sound setup and an indifferent audience. The acts that bravely tried to differ from the predetermined ringtone-rap theme were dismissed as bland and unworthy of the crowd’s attention, which vexed me terribly.
Overall, I could have been spared the over-the-top theatrics, one-note setlist, and dispassionate aura. I felt like this whole show was cunningly designed to exploit a ridiculous fad in entertainment today, that is, a fascination with the mass-produced, degenerative rap genre.
Cultural Event #1 - Once Upon a Mattress play
Summary
On February 27, 2008, I attended the play Once Upon a Mattress, put on by the drama students at Fort Dorchester High School. It began at 8:30 a.m. and ended at about 11:00 a.m. The play is a musical comedy based off the fairy tale The Princess and the Pea. It is set in a medieval kingdom where everyone aspires to marry off the prince because law forbids any wedlock beforehand.
The show opens with a spoken/sung prologue by the Minstrel, setting the stage for the search for a true princess that dominates the play’s storyline. The action begins in what is presumably the royal court. The heads of the kingdom, King Sextimus and Queen Aggravain, are presiding over a series of tests to decide who is the most worthy princess to marry their son, Prince Dauntless. The audience is told that King Sextimus is tormented by a curse that forces him to be silent until “the mouse devours the hawk.” With his disability, the Queen has abused her powers and gone out of her way to keep Prince Dauntless from being married. As the latest princess to face the impossibly high standards of Queen Aggravain, all of the knights and ladies in waiting watch anxiously, for their fates are indelibly tied to the Prince’s. A law rules over the land stating that no one may wed until the prince finds a suitable bride. Unable to answer the final convoluted question given to her by the Queen, the twelfth prospective princess is dismissed. Everyone in the court then breaks into song, lamenting the rejection of yet another princess, which in turn has denied the happiness of all the future newlyweds.
The play then introduces a subplot involving Sir Harry, the most valiant knight of the land, and his girlfriend, Lady Larkin. She breaks the unfortunate news that she has become pregnant, much to the shock of Harry. This is unfortunate news because of the extenuating circumstances involving Prince Dauntless’s fruitless wife hunt. Forced to take bold action, Sir Harry pledges to his beloved to find the last princess in the realm and put an end to all their woes. After a while, he returns with an unconventional but suitable choice, Princess Winifred the Woebegone. She astounds the staunchly traditional queen with her eccentric mannerisms, audacious character, and colorful song-and-dance routines. She hails from the marshlands, where she appeared to have developed her athletic prowess, evidenced by her impressive feat of swimming the moat during her entrance into the kingdom. Prince Dauntless immediately takes a liking to her, as do the rest of the royal house, except Queen Aggravain. She stubbornly refuses to acknowledge any room in her son’s life for a mate. In adhering to her overbearing manner, she devises a scheme to deny Princess Winnifred of Dauntless’s hand in marriage. The queen and her loyal sidekick, the Wizard, come up with a secret test. Before Winnifred goes to bed, they place a pea underneath twenty mattresses. If the princess is unable to sleep because of discomfort, then she will be sensitive enough to marry Prince Dauntless.
On the day of the test, Dauntless and Winnifred fall head over heels in love. Sir Harry and Lady Larkin reach a rough spot in their relationship, only to have it resolved by the sincere charm of Princess Winnifred. Numerous slow ballads are played to emphasize the romantic feeling in the air. King Sextimus, wary of the queen’s cunning plans, enlists the aid of the Minstrel and the Jester to help discover the true test set up for Winnifred. They confront the conceited Wizard, who they are able to flatter enough so that he divulges the blueprint for the princess and the pea evaluation. When Princess Winnifred finally lies down on the twenty mattresses, Queen Aggravain intrudes. In order to help Winnifred sleep easier, and in turn fail the test, the queen sets up a nightengale’s cage in the room to help lure the princess to slumber. Instead, the plan backfires; Winnifred couldn’t get any shuteye because of the godforsaken bird’s shrieking. The following morning, the flabbergasted queen sees the princess still awake. Still, she denies that Winnifred is a true princess. Angered and frustrated by his mother’s circumlocution, Prince Dauntless tells Queen Aggravain to shut up. This fulfills the prophecy that restores speech to King Sextimus, for Dauntless was the “mouse” that devoured the queen, “the hawk.” As payback for ruling as a tyrant, Queen Aggravain loses her own tongue. Everyone in the kingdom, realizing that the chains on matrimony have been lifted, rejoice in a celebratory finale.
Critique
Once Upon a Mattress was a deftly handled play, containing all sorts of humor within the context of the script, a lot of which was hit or miss. Most of the musical numbers were energetic and had deftly satirical undertones. Although some of the performances were a bit hammy and histrionic, the whole event was so light-hearted that the audience hardly even noticed. The set pieces were expertly crafted, which helped lend a sense of realism to the atmosphere. Overall, I enjoyed the play, even though it seemed the acting couldn’t match up to the music.
What I found most glaringly obvious during the play was that many of the actors’ deliveries were stilted and/or pretentious. Natural emotions were few and far between. It was almost as If the troupe had practiced for so long that they weren’t able to inject any fresh vitality into the script. The most grating performance by far was the portrayal of Queen Aggravain by Ashley West. The entire performance was one-note; the idea of a multi-faceted character was thrown out of the window. One acting job that wasn’t entirely botched was Anthony Massarotto’s portrayal of Prince Dauntless. By behaving with impulsive abandon and confidence, he came off less like a self-conscious android and more like a vibrant tour-de-force.
The music was the backbone of the play that kept the wooden acting from boring the life of the audience. Many of the songs were irresistibly catchy and infected with humor. The dance numbers were pulled off impeccably, with nary a hitch. The instrumentation during the musical was essential to the fluidity of the music; flawless percussion seemed to be synchronized with the dancers’ movements.
I discovered a true affinity for high school productions with this musical. However many flaws there were, they didn’t detract from the playful energy that mesmerized the audience. The only thing that really annoyed me was the mental bird that kept croaking for what seemed like eternity; it was a running gag that was barely funny the first time.
On February 27, 2008, I attended the play Once Upon a Mattress, put on by the drama students at Fort Dorchester High School. It began at 8:30 a.m. and ended at about 11:00 a.m. The play is a musical comedy based off the fairy tale The Princess and the Pea. It is set in a medieval kingdom where everyone aspires to marry off the prince because law forbids any wedlock beforehand.
The show opens with a spoken/sung prologue by the Minstrel, setting the stage for the search for a true princess that dominates the play’s storyline. The action begins in what is presumably the royal court. The heads of the kingdom, King Sextimus and Queen Aggravain, are presiding over a series of tests to decide who is the most worthy princess to marry their son, Prince Dauntless. The audience is told that King Sextimus is tormented by a curse that forces him to be silent until “the mouse devours the hawk.” With his disability, the Queen has abused her powers and gone out of her way to keep Prince Dauntless from being married. As the latest princess to face the impossibly high standards of Queen Aggravain, all of the knights and ladies in waiting watch anxiously, for their fates are indelibly tied to the Prince’s. A law rules over the land stating that no one may wed until the prince finds a suitable bride. Unable to answer the final convoluted question given to her by the Queen, the twelfth prospective princess is dismissed. Everyone in the court then breaks into song, lamenting the rejection of yet another princess, which in turn has denied the happiness of all the future newlyweds.
The play then introduces a subplot involving Sir Harry, the most valiant knight of the land, and his girlfriend, Lady Larkin. She breaks the unfortunate news that she has become pregnant, much to the shock of Harry. This is unfortunate news because of the extenuating circumstances involving Prince Dauntless’s fruitless wife hunt. Forced to take bold action, Sir Harry pledges to his beloved to find the last princess in the realm and put an end to all their woes. After a while, he returns with an unconventional but suitable choice, Princess Winifred the Woebegone. She astounds the staunchly traditional queen with her eccentric mannerisms, audacious character, and colorful song-and-dance routines. She hails from the marshlands, where she appeared to have developed her athletic prowess, evidenced by her impressive feat of swimming the moat during her entrance into the kingdom. Prince Dauntless immediately takes a liking to her, as do the rest of the royal house, except Queen Aggravain. She stubbornly refuses to acknowledge any room in her son’s life for a mate. In adhering to her overbearing manner, she devises a scheme to deny Princess Winnifred of Dauntless’s hand in marriage. The queen and her loyal sidekick, the Wizard, come up with a secret test. Before Winnifred goes to bed, they place a pea underneath twenty mattresses. If the princess is unable to sleep because of discomfort, then she will be sensitive enough to marry Prince Dauntless.
On the day of the test, Dauntless and Winnifred fall head over heels in love. Sir Harry and Lady Larkin reach a rough spot in their relationship, only to have it resolved by the sincere charm of Princess Winnifred. Numerous slow ballads are played to emphasize the romantic feeling in the air. King Sextimus, wary of the queen’s cunning plans, enlists the aid of the Minstrel and the Jester to help discover the true test set up for Winnifred. They confront the conceited Wizard, who they are able to flatter enough so that he divulges the blueprint for the princess and the pea evaluation. When Princess Winnifred finally lies down on the twenty mattresses, Queen Aggravain intrudes. In order to help Winnifred sleep easier, and in turn fail the test, the queen sets up a nightengale’s cage in the room to help lure the princess to slumber. Instead, the plan backfires; Winnifred couldn’t get any shuteye because of the godforsaken bird’s shrieking. The following morning, the flabbergasted queen sees the princess still awake. Still, she denies that Winnifred is a true princess. Angered and frustrated by his mother’s circumlocution, Prince Dauntless tells Queen Aggravain to shut up. This fulfills the prophecy that restores speech to King Sextimus, for Dauntless was the “mouse” that devoured the queen, “the hawk.” As payback for ruling as a tyrant, Queen Aggravain loses her own tongue. Everyone in the kingdom, realizing that the chains on matrimony have been lifted, rejoice in a celebratory finale.
Critique
Once Upon a Mattress was a deftly handled play, containing all sorts of humor within the context of the script, a lot of which was hit or miss. Most of the musical numbers were energetic and had deftly satirical undertones. Although some of the performances were a bit hammy and histrionic, the whole event was so light-hearted that the audience hardly even noticed. The set pieces were expertly crafted, which helped lend a sense of realism to the atmosphere. Overall, I enjoyed the play, even though it seemed the acting couldn’t match up to the music.
What I found most glaringly obvious during the play was that many of the actors’ deliveries were stilted and/or pretentious. Natural emotions were few and far between. It was almost as If the troupe had practiced for so long that they weren’t able to inject any fresh vitality into the script. The most grating performance by far was the portrayal of Queen Aggravain by Ashley West. The entire performance was one-note; the idea of a multi-faceted character was thrown out of the window. One acting job that wasn’t entirely botched was Anthony Massarotto’s portrayal of Prince Dauntless. By behaving with impulsive abandon and confidence, he came off less like a self-conscious android and more like a vibrant tour-de-force.
The music was the backbone of the play that kept the wooden acting from boring the life of the audience. Many of the songs were irresistibly catchy and infected with humor. The dance numbers were pulled off impeccably, with nary a hitch. The instrumentation during the musical was essential to the fluidity of the music; flawless percussion seemed to be synchronized with the dancers’ movements.
I discovered a true affinity for high school productions with this musical. However many flaws there were, they didn’t detract from the playful energy that mesmerized the audience. The only thing that really annoyed me was the mental bird that kept croaking for what seemed like eternity; it was a running gag that was barely funny the first time.
Song Analysis #4 - "A Time To Be So Small"
“A Time To Be So Small” is a song by Interpol, a post-punk rock band from New York City. The lyrics dominantly pertain to an irresolvable conflict between a father and a son. The story is told abstractly from a third-person point of view; the narrators are figuratively referred to as observant underwater creatures. Much of their musings are directed toward the father. The parent longs to shield his child from the alluring dangers of life, while the rebellious son is anxious to break from paternal protection and explore. He hopelessly despairs as he watches his son’s innocence melt away. The message of the song is that a parent cannot always be there as a moral compass for their child; only with experience and exposure to the harsh realities of life can the child truly be satisfied.
This song is filled with ambiguous figurative language that describes the complicated relationship between father and son. Many of the words are in a broad and philosophical nature. The two central characters’ journey through life is embodied by travel on a boat. The translucent, narrative third party remarks, “We saw you making knots, we saw you get the rope.” This metaphor alludes to the father, who is the captain charged with making sure everything runs smoothly. But despite all his meticulous preparation and management, his son clearly has intentions to disturb the tranquil balance of their existence. When the boy finally matures enough to gain access to the “deck” of adulthood, the father is rattled by his son’s aggressive demand to be free. The father’s erosion of the influence over his offspring is referred to as “the bubble of your interest ready to burst.” He is clearly distraught over his son’s interest in the forbidden fruit of life. The father is described as “a sleeping, slow despair,” characterizing him as the epitome of sadness. The son expresses disillusionment about his outdated father, who once was preserved as an image of immaculate perfection in the son’s eyes. Thus, the father recognizes his limitations as a form of influence. The narrative party, in seeing this situation, addresses the father’s despondency, “A creature is a creature, though you wish you were the wind.” This is a sort of reverse personification; instead of nature obtaining human-like qualities, the man desires to transcend his bodily cage and gain omniscient power, only to have more ability to ward off the horrors that his son associates with.
The title of the song, “A Time To Be So Small,” does a exemplary job of encompassing all of the adverse forces working against the poor father. The bond between the father and his son strains instead of getting stronger over time. As the son grows up, his father’s weaknesses are revealed to him when before nothing could desecrate their familial love. The son, indignant at having been shielded for so long, flies the coop. The narrators refer to him as having “a keen eye for what you (the father) used to be.” This leaves the father to lament the folly of his overbearing guardianship. The attractive vices that the father tried to hide for so long, in a twist of irony, steal away the love of the son. This makes the father feel smaller than what he ever could have conceived.
The tone of the song undergoes a significant change during the account of father versus son. At first, complacency and peace emanate from the lyrics. But foreshadowing to what is to come is evident when the boy is “appearing on the deck and making it lurch.” The son rocks the boat as soon as he gets the chance; this does not bode for the father’s chances to save his son’s soul. The father works tediously to preserve his son’s naiveté and innocence, but these efforts are to no avail. The observant narrators predict, “The boat will not stop moving if you tie him up until the end.” Even if the father made it his crusade to hide the wanton aspects of life from his son, the infiltrative agent of time would reveal them. Towards the end of the song, the tone shifts from anguish and despair to mourning over the father’s loss. The son strays from the path of goodness, and the father is compelled to forsake him. The son has reached the point of no return, evidenced by the presence of “the cadaverous mob”, who “saves its doors for the dead men. He has dirtied his soul so much that there is no chance of redemption.
The father, a tragic hero who receives blow after blow to his heart, goes to great lengths to teach his son between right and wrong, but to no avail. He could not accept that it was not up to him to dictate how his son’s life should be led. In the end, it was a tragedy that could not be overturned. Fatherly guidance proved no match for the temptations of sin. This song preaches that the path to hell attracts those who disregard the advice of caring parents and refuse to recognize the perverseness of their own ways.
Lyrics
We saw you from the urchins’ side, from under the boat / We saw you making knots, we saw you get the rope / The boy appearing on the deck and making it lurch / And the bubble of your interest ready to burst
He whistles and he runs
We saw you in distraction: a sleeping, slow despair / Rehearsing interaction, he wasn't even there/ A creature is a creature, Though you wish you were the wind / The boat will not stop moving if you tie him up until the end
He whistles and he runs so hold him fast / Breathe the burn, you want to let it last / He might succumb to what you haven't seen/ He has a keen eye for what you used to be/ When the cadaverous mob saves its doors for the dead men/ You cannot leave x3
This song is filled with ambiguous figurative language that describes the complicated relationship between father and son. Many of the words are in a broad and philosophical nature. The two central characters’ journey through life is embodied by travel on a boat. The translucent, narrative third party remarks, “We saw you making knots, we saw you get the rope.” This metaphor alludes to the father, who is the captain charged with making sure everything runs smoothly. But despite all his meticulous preparation and management, his son clearly has intentions to disturb the tranquil balance of their existence. When the boy finally matures enough to gain access to the “deck” of adulthood, the father is rattled by his son’s aggressive demand to be free. The father’s erosion of the influence over his offspring is referred to as “the bubble of your interest ready to burst.” He is clearly distraught over his son’s interest in the forbidden fruit of life. The father is described as “a sleeping, slow despair,” characterizing him as the epitome of sadness. The son expresses disillusionment about his outdated father, who once was preserved as an image of immaculate perfection in the son’s eyes. Thus, the father recognizes his limitations as a form of influence. The narrative party, in seeing this situation, addresses the father’s despondency, “A creature is a creature, though you wish you were the wind.” This is a sort of reverse personification; instead of nature obtaining human-like qualities, the man desires to transcend his bodily cage and gain omniscient power, only to have more ability to ward off the horrors that his son associates with.
The title of the song, “A Time To Be So Small,” does a exemplary job of encompassing all of the adverse forces working against the poor father. The bond between the father and his son strains instead of getting stronger over time. As the son grows up, his father’s weaknesses are revealed to him when before nothing could desecrate their familial love. The son, indignant at having been shielded for so long, flies the coop. The narrators refer to him as having “a keen eye for what you (the father) used to be.” This leaves the father to lament the folly of his overbearing guardianship. The attractive vices that the father tried to hide for so long, in a twist of irony, steal away the love of the son. This makes the father feel smaller than what he ever could have conceived.
The tone of the song undergoes a significant change during the account of father versus son. At first, complacency and peace emanate from the lyrics. But foreshadowing to what is to come is evident when the boy is “appearing on the deck and making it lurch.” The son rocks the boat as soon as he gets the chance; this does not bode for the father’s chances to save his son’s soul. The father works tediously to preserve his son’s naiveté and innocence, but these efforts are to no avail. The observant narrators predict, “The boat will not stop moving if you tie him up until the end.” Even if the father made it his crusade to hide the wanton aspects of life from his son, the infiltrative agent of time would reveal them. Towards the end of the song, the tone shifts from anguish and despair to mourning over the father’s loss. The son strays from the path of goodness, and the father is compelled to forsake him. The son has reached the point of no return, evidenced by the presence of “the cadaverous mob”, who “saves its doors for the dead men. He has dirtied his soul so much that there is no chance of redemption.
The father, a tragic hero who receives blow after blow to his heart, goes to great lengths to teach his son between right and wrong, but to no avail. He could not accept that it was not up to him to dictate how his son’s life should be led. In the end, it was a tragedy that could not be overturned. Fatherly guidance proved no match for the temptations of sin. This song preaches that the path to hell attracts those who disregard the advice of caring parents and refuse to recognize the perverseness of their own ways.
Lyrics
We saw you from the urchins’ side, from under the boat / We saw you making knots, we saw you get the rope / The boy appearing on the deck and making it lurch / And the bubble of your interest ready to burst
He whistles and he runs
We saw you in distraction: a sleeping, slow despair / Rehearsing interaction, he wasn't even there/ A creature is a creature, Though you wish you were the wind / The boat will not stop moving if you tie him up until the end
He whistles and he runs so hold him fast / Breathe the burn, you want to let it last / He might succumb to what you haven't seen/ He has a keen eye for what you used to be/ When the cadaverous mob saves its doors for the dead men/ You cannot leave x3
Song Analysis #3 - "God's Away on Business"
“God’s Away on Business”
“God’s Away on Business” is a tune by American singer-songwriter Tom Waits. It is a bitter commentary on how society, and mankind in general, has degraded to such a despicable level. The singer delivers world-weary remarks about the absence of moral values that has led to the rise of greed and misanthropy. The resounding theme appears to be that God has forsaken man for wallowing in sin, and has abstained from intervening, viewing the earth’s perpetual state of entropy as irreversible.
In this song there is a plethora of literary devices meant to perceive the world through abstract means. Imagery is employed when Waits sings the refrain, “The ship is sinking.” This is meant to evoke a foreboding sense of dread. It relates to the decline in human nature, perhaps a harbinger of the point of no return. The singer refers to “the ones that we kept in charge” as “killers, thieves and lawyers. These labels are metaphors that represent the ruling government and its corrupt hierarchy. This harsh accusation does not specifically name the U.S. government, but there are certainly some people who could fit the bill, more or less. Another metaphor is utilized to symbolize the alluring temptation to do evil. Waits scathingly declares in an attempt at sarcasm, “There’s always free cheddar in a mousetrap, baby.” This slogan implies that leading sinful lives has its consequences, but the deviant pleasures that go with them are more than worth it.
A deftly-placed allusion to Hamlet is also found in the lyrics of “God’s Away on Business.” During one of the verses the main character laments, “Digging up the dead with a shovel and a pick, it’s a job.” This alludes to the graveyard scene in Hamlet when the two apathetic clowns calmly talk about death and mortality, having been numbed by their exposure to such subjects. These characters perfectly embody the attitude of the singer, who feels so forlorn and without hope. Any optimism he previously had for the future was blown away with the ashes of the dead by the wind.
The tone of the song begins as being palpably despondent beyond comprehension to becoming even more woebegone with no hope for salvation. Waits displays shockingly listless apathy for the wellbeing of his fellowman. A general urgency of ‘every man for himself’ permeates through every line. The singer has been disillusioned through experience; his faith in mankind and in himself has been shattered. Embodying this lack of morality is the singer’s cold condescension, “I’d sell your heart to the junkman, baby, for a buck.” Through these stinging remarks Waits tries to inject his pessimism into the mind of the listener. In the middle of the song he intones, “It’s all over, it’s all over,” to squash any remaining faith or optimism. One last stab at the dignity of mankind is released when the singer snarls, “I narrow my eyes like a coin slot, baby,” presumably toward the plight of any suffering human being. He is consumed with greed and repulsed by the thought of philanthropy, a most petty waste of time for someone like him.
“God’s Away on Business” is a medium for Tom Waits to mercilessly pass judgment on those who commit atrocious deeds. It seems that he has searched far and wide for a redeeming trait of humanity, and has come up empty. With the banality of evil and the lack of preventive measures, it appears that God has gone away on a business trip to shield his eyes from the depravity of his children.
Lyrics
I'd sell your heart to the junkman baby/ For a buck, for a buck / If you're looking for someone to pull you out of that ditch / You're out of luck, you're out of luck
Ship is sinking / The ship is sinking / The ship is sinking
Bridge
There's a leak, there's a leak in the boiler room / The poor, the lame, the blind / Who are the ones that we kept in charge? / Killers, thieves and lawyers
Chorus
God's away, God's away, God's away on business, business
God's away, God's away, God's away on business, business
Digging up the dead with a shovel and a pick / It's a job, it's a job / Bloody moon rising with a plague and a flood / Join the mob, join the mob
It's all over, it's all over, It's all over
Bridge
Chorus
Godddamn there's always such a big temptation / To be good, to be good / There's always free cheddar in a mousetrap, baby / It's a deal, it's a deal
Chorus
I narrow my eyes like a coin slot baby/Let her ring, let her ring
Chorus
“God’s Away on Business” is a tune by American singer-songwriter Tom Waits. It is a bitter commentary on how society, and mankind in general, has degraded to such a despicable level. The singer delivers world-weary remarks about the absence of moral values that has led to the rise of greed and misanthropy. The resounding theme appears to be that God has forsaken man for wallowing in sin, and has abstained from intervening, viewing the earth’s perpetual state of entropy as irreversible.
In this song there is a plethora of literary devices meant to perceive the world through abstract means. Imagery is employed when Waits sings the refrain, “The ship is sinking.” This is meant to evoke a foreboding sense of dread. It relates to the decline in human nature, perhaps a harbinger of the point of no return. The singer refers to “the ones that we kept in charge” as “killers, thieves and lawyers. These labels are metaphors that represent the ruling government and its corrupt hierarchy. This harsh accusation does not specifically name the U.S. government, but there are certainly some people who could fit the bill, more or less. Another metaphor is utilized to symbolize the alluring temptation to do evil. Waits scathingly declares in an attempt at sarcasm, “There’s always free cheddar in a mousetrap, baby.” This slogan implies that leading sinful lives has its consequences, but the deviant pleasures that go with them are more than worth it.
A deftly-placed allusion to Hamlet is also found in the lyrics of “God’s Away on Business.” During one of the verses the main character laments, “Digging up the dead with a shovel and a pick, it’s a job.” This alludes to the graveyard scene in Hamlet when the two apathetic clowns calmly talk about death and mortality, having been numbed by their exposure to such subjects. These characters perfectly embody the attitude of the singer, who feels so forlorn and without hope. Any optimism he previously had for the future was blown away with the ashes of the dead by the wind.
The tone of the song begins as being palpably despondent beyond comprehension to becoming even more woebegone with no hope for salvation. Waits displays shockingly listless apathy for the wellbeing of his fellowman. A general urgency of ‘every man for himself’ permeates through every line. The singer has been disillusioned through experience; his faith in mankind and in himself has been shattered. Embodying this lack of morality is the singer’s cold condescension, “I’d sell your heart to the junkman, baby, for a buck.” Through these stinging remarks Waits tries to inject his pessimism into the mind of the listener. In the middle of the song he intones, “It’s all over, it’s all over,” to squash any remaining faith or optimism. One last stab at the dignity of mankind is released when the singer snarls, “I narrow my eyes like a coin slot, baby,” presumably toward the plight of any suffering human being. He is consumed with greed and repulsed by the thought of philanthropy, a most petty waste of time for someone like him.
“God’s Away on Business” is a medium for Tom Waits to mercilessly pass judgment on those who commit atrocious deeds. It seems that he has searched far and wide for a redeeming trait of humanity, and has come up empty. With the banality of evil and the lack of preventive measures, it appears that God has gone away on a business trip to shield his eyes from the depravity of his children.
Lyrics
I'd sell your heart to the junkman baby/ For a buck, for a buck / If you're looking for someone to pull you out of that ditch / You're out of luck, you're out of luck
Ship is sinking / The ship is sinking / The ship is sinking
Bridge
There's a leak, there's a leak in the boiler room / The poor, the lame, the blind / Who are the ones that we kept in charge? / Killers, thieves and lawyers
Chorus
God's away, God's away, God's away on business, business
God's away, God's away, God's away on business, business
Digging up the dead with a shovel and a pick / It's a job, it's a job / Bloody moon rising with a plague and a flood / Join the mob, join the mob
It's all over, it's all over, It's all over
Bridge
Chorus
Godddamn there's always such a big temptation / To be good, to be good / There's always free cheddar in a mousetrap, baby / It's a deal, it's a deal
Chorus
I narrow my eyes like a coin slot baby/Let her ring, let her ring
Chorus
Song Analysis #2 - "Calm Like a Bomb"
“Calm Like a Bomb” is a song by Rage Against the Machine, a rock band based out of Los Angeles. The lyrics can be synopsized as an extensive diatribe on the decrepit state of American society. He issues a number of vitriolic criticisms pertaining to the irreparable treatment of the poor and unfortunate classes. The song acts as a rallying cry for the dispossessed to get behind and demand immediate change. The major theme that permeates this tune is that outrage at the dark history of America is justified and should precipitate a revolution to overthrow the tyrannical rule that has corrupted the country for so long.
Zack de la Rocha employs a whole arsenal of figurative language to help convey the furious indignation fueling through his lyrics. He boastingly opens the song with the proclamation, “I be walkin’ God like a dog.” This metaphor represents his belief that God should not be elevated as justification or divine support for governmental policies, like it has been done countless times in the past. Immediately he sets the record straight by condemning the fire-and-brimstone hypocrites that populate the world. While introducing himself, Zack boasts, “Yes, I spit fire.” This is a metaphor used to describe his censorious speech that is figuratively scorching with its shocking and indelible truths. Zack also uses plenty of allusions in “Calm Like a Bomb.” During the song, he comments, “Word war returns to burn like Baldwin home from Paris.” He is alluding to the exploits of James Baldwin, a writer and civil rights advocate who returned to participate in the Civil Rights Movement in America after living in seclusion as an expatriate for years. Zack is likening his verbal attack to Baldwin’s during the mid-20th century.
The title serves as an adequate slogan that embodies all of the frenetic ideals that underlie this particular song. “Calm Like a Bomb” is a extreme oxymoron that is such a contradictory statement that it further persuades listeners to recognize the urgent conviction of the singer’s message and help empathize with the anger and frustration that is so interlaced with his stream of thought. It also has a very visceral impact with the comparison to a bomb, an explosive device capable of literally destroying everything in its path. But in this song, a positive connation is subtly lent to the bomb, which is less portrayed as a weapon of fear and more like a tool of the radicals who want to shake the foundations of the United States to its very core. Thus, being calm like a bomb is a natural side effect of the rebels who wield their agitprop like a sword of justice.
The tone of the song undergoes myriad changes as Zack de la Rocha vents his anger at the broken American system and searches for an answer amidst all the suffering. In the beginning, he makes inflammatory comments about the injustices committed to the poor and impoverished. He accuses the government of neglecting the people with insufficient care. Zack laments the “same bodies buried hungry, but with different last names,” referring to the ongoing inhumane treatment of American citizens who struggle to put food on the table every day. The incorrigible avarice of profiteers and capitalists are represented as “vultures robbin’ everything, leave nothing but chains.” These uncomfortable truths evoke feelings of indignation and sympathy towards the people who have been viewed with indifference for so long. Then the tone shifts from having resentful and furiously antagonistic undertones to containing an urgent demand for a better life and future. Zack foresees “America’s demise,” that is, the downfall of the current system of capitalism. He utters, “Hope lies in the smoldering rubbles of empires.” So with the occurrence of a massive revolution against a heartless government, a new, equal world order can be forged from the ashes, where all people are treated equally. Thus, the song ends on a more idealistic note, while at the same time reiterating the ongoing calamities.
In one encompassing song, Zack de la Rocha of Rage Against the Machine takes a obstinately one-sided look at all of the corrupt and immoral dealings that have been going on in America for a long time. According to him, the lower class’s right to live is being threatened by supercilious Corporate America, and if things do not change, then a revolt against the status quo can be expected and embraced.
Lyrics
feel the funk blast,feel the funk blast,FEEL THE FUNK BLAST,a yo-yo-yo-yo-yo-yo-yo, check it out yo-yo-yo
I be walkin god like a dog My narrative fearless Word war returns to burn Like Baldwin home from Paris, Uh Like steel from a furnace I was born landless Yes its tha native son Born of Zapatas guns Stroll through the shanties And tha cities remains Same bodies buried hungry But with different last names The vultures robbin everything Leave nothing but chains Pick a point on the globe Yes tha pictures tha same
Theres a bank, theres a church, a myth and a hearse A mall and a loan, a child dead at birth Theres a widow pig parrot A rebel to tame A whitehooded judge A syringe and a vein And the riot be the rhyme of the unheard
What ya say? What ya say? What ya say? What? (x4)Calm like a bomb
This aint subliminal Feel the critical mass approach horizon Tha pulse of the condemned Sound off Americas demise Tha anti-myth rhythm rock shocker Yes I spit fire Hope lies in the smoldering rubble of empires Yes back through tha shanties and tha cities remains Same bodies buried hungry, uh-huh With different last names, uh-huh The vultures robbin everyone Leave nothing but chains Pick a point here at home Yes the pictures tha same
Theres a field full of slaves Some corn and some debt Theres a ditch full of bodies Tha check for the rent Theres a tap, tha phone, tha silence of stone The numb black screen That be feelin like home And the riot be the rhyme of the unheard
What ya say? What ya say? What ya say? What?(x4)Calm like a bomb
There's a mass without roofs There's a prison to fill There's a countrys soul that reads post no bills There's a strike and a line of cops outside of tha mill There's a right to obey And a right to kill x2
Zack de la Rocha employs a whole arsenal of figurative language to help convey the furious indignation fueling through his lyrics. He boastingly opens the song with the proclamation, “I be walkin’ God like a dog.” This metaphor represents his belief that God should not be elevated as justification or divine support for governmental policies, like it has been done countless times in the past. Immediately he sets the record straight by condemning the fire-and-brimstone hypocrites that populate the world. While introducing himself, Zack boasts, “Yes, I spit fire.” This is a metaphor used to describe his censorious speech that is figuratively scorching with its shocking and indelible truths. Zack also uses plenty of allusions in “Calm Like a Bomb.” During the song, he comments, “Word war returns to burn like Baldwin home from Paris.” He is alluding to the exploits of James Baldwin, a writer and civil rights advocate who returned to participate in the Civil Rights Movement in America after living in seclusion as an expatriate for years. Zack is likening his verbal attack to Baldwin’s during the mid-20th century.
The title serves as an adequate slogan that embodies all of the frenetic ideals that underlie this particular song. “Calm Like a Bomb” is a extreme oxymoron that is such a contradictory statement that it further persuades listeners to recognize the urgent conviction of the singer’s message and help empathize with the anger and frustration that is so interlaced with his stream of thought. It also has a very visceral impact with the comparison to a bomb, an explosive device capable of literally destroying everything in its path. But in this song, a positive connation is subtly lent to the bomb, which is less portrayed as a weapon of fear and more like a tool of the radicals who want to shake the foundations of the United States to its very core. Thus, being calm like a bomb is a natural side effect of the rebels who wield their agitprop like a sword of justice.
The tone of the song undergoes myriad changes as Zack de la Rocha vents his anger at the broken American system and searches for an answer amidst all the suffering. In the beginning, he makes inflammatory comments about the injustices committed to the poor and impoverished. He accuses the government of neglecting the people with insufficient care. Zack laments the “same bodies buried hungry, but with different last names,” referring to the ongoing inhumane treatment of American citizens who struggle to put food on the table every day. The incorrigible avarice of profiteers and capitalists are represented as “vultures robbin’ everything, leave nothing but chains.” These uncomfortable truths evoke feelings of indignation and sympathy towards the people who have been viewed with indifference for so long. Then the tone shifts from having resentful and furiously antagonistic undertones to containing an urgent demand for a better life and future. Zack foresees “America’s demise,” that is, the downfall of the current system of capitalism. He utters, “Hope lies in the smoldering rubbles of empires.” So with the occurrence of a massive revolution against a heartless government, a new, equal world order can be forged from the ashes, where all people are treated equally. Thus, the song ends on a more idealistic note, while at the same time reiterating the ongoing calamities.
In one encompassing song, Zack de la Rocha of Rage Against the Machine takes a obstinately one-sided look at all of the corrupt and immoral dealings that have been going on in America for a long time. According to him, the lower class’s right to live is being threatened by supercilious Corporate America, and if things do not change, then a revolt against the status quo can be expected and embraced.
Lyrics
feel the funk blast,feel the funk blast,FEEL THE FUNK BLAST,a yo-yo-yo-yo-yo-yo-yo, check it out yo-yo-yo
I be walkin god like a dog My narrative fearless Word war returns to burn Like Baldwin home from Paris, Uh Like steel from a furnace I was born landless Yes its tha native son Born of Zapatas guns Stroll through the shanties And tha cities remains Same bodies buried hungry But with different last names The vultures robbin everything Leave nothing but chains Pick a point on the globe Yes tha pictures tha same
Theres a bank, theres a church, a myth and a hearse A mall and a loan, a child dead at birth Theres a widow pig parrot A rebel to tame A whitehooded judge A syringe and a vein And the riot be the rhyme of the unheard
What ya say? What ya say? What ya say? What? (x4)Calm like a bomb
This aint subliminal Feel the critical mass approach horizon Tha pulse of the condemned Sound off Americas demise Tha anti-myth rhythm rock shocker Yes I spit fire Hope lies in the smoldering rubble of empires Yes back through tha shanties and tha cities remains Same bodies buried hungry, uh-huh With different last names, uh-huh The vultures robbin everyone Leave nothing but chains Pick a point here at home Yes the pictures tha same
Theres a field full of slaves Some corn and some debt Theres a ditch full of bodies Tha check for the rent Theres a tap, tha phone, tha silence of stone The numb black screen That be feelin like home And the riot be the rhyme of the unheard
What ya say? What ya say? What ya say? What?(x4)Calm like a bomb
There's a mass without roofs There's a prison to fill There's a countrys soul that reads post no bills There's a strike and a line of cops outside of tha mill There's a right to obey And a right to kill x2
Song Analysis #1 - "Cello Song"
“Cello Song” is a tune by Nick Drake, an English singer-songwriter who made melancholic folk music about the highs and lows of life. His songs were plainspoken and insightful, while possessing a mystic quality all the while. Drake’s life was cut short when he died from an overdose of anti-depressants. This song that I chose seems to represent a definitive perspective on the folly of life from an artist that struggled to find any optimism at all in it. What starts off as a bittersweet tribute to a fallen friend morphs into deep contemplation about what is awaiting Nick after death; he hopes that it is a heaven that will put an end to all of his suffering and reunite him with his blissful friend.
In the first stanza, Drake makes a vague allusion to a key component of the Biblical tales of old: Heaven. The speaker of the song admires his friend’s calm serenity and pure nonchalance, attributed no doubt derived from a rock solid faith in the existence of a final destination that underplays life as simply a means to an end. He enviously asserts, “You have nothing to fear / for the dreams that came to you when so young / told of a life / where spring is sprung” (4-7). God’s kingdom is portrayed as the light at the end of the tunnel; Drake isn’t so steadfast as his friend, leaving him susceptible to the daily emotional tumult that plagues him. Then, when his beloved friend passes away, “(sailing) to the sky on the crest of a wave” (13-14), Drake imagines the deceased’s transcendence from confined body to freed soul.
In telling the tale of his companion’s tragic end, Drake inevitably compares the liberties of someone else to his own incessant calamities. Metaphorical language is employed to describe the mental conflicts that the speaker faces within his mind. His dark bouts of depression are described as that time “in the cold of the night / when the armies of emotion go out to fight” (9-10). While Drake tries to keep his personal demons at bay, he fears for the safety of his friend, saying, “You would seem so frail.” But the friend, who piously places faith in salvation, manages to evade the inner turmoil that invades Drake’s consciousness.
The tone that permeates the first half of the song is strongly mournful and regrettable, not solely because of the death of the speaker’s close friend, but because of the wondrous escape through death that occurred, leaving him to wallow even more in his doubt and misery. Drake carries a negative aspect on most things, as evidenced by the forlorn proclamation, “The earth sinks to its grave” (12). With pessimism abound, he can only dream about a better existence that can possibly offer solace and nurture his emotional pain. Towards the closing of the song, the attitude of the singer slightly alters. With a heavy note of resignation, Drake resolves to ignore his pitiful state and “forget this cruel world” (15) and focus on perseveringly pouring out the blues in music, which may somehow dull the pervasive pathos. He aspires to wait it out, hoping that one day he’ll spot the hand of his long lost friend, who’ll lead him into a newly discovered paradise.
This mellow song deeply resonates as ample representation of the sad heart of a man dissatisfied and let down by all of life’s banality. It plays on the heartstrings of anyone who’s ever felt traumatized and despondent. Through the envious eyes of a restless man, death is portrayed not as a foreboding end, but a benevolent savior that will whisk one away to a place where expectations are met, not battered away into oblivion.
Lyrics
Strange face, with your eyes / So pale and sincere / Underneath you know well / You have nothing to fear / For the dreams that came to you when so young / Told of a life / Where spring is sprung
You would seem so frail / In the cold of the night / When the armies of emotion / Go out to fight / But while the earth sinks to its grave / You sail to the sky / On the crest of a wave
So forget this cruel world / Where I belong / I'll just sit and wait / And sing my song / And if one day you should see me in the crowd / Lend a hand and lift me / To your place in the cloud.
In the first stanza, Drake makes a vague allusion to a key component of the Biblical tales of old: Heaven. The speaker of the song admires his friend’s calm serenity and pure nonchalance, attributed no doubt derived from a rock solid faith in the existence of a final destination that underplays life as simply a means to an end. He enviously asserts, “You have nothing to fear / for the dreams that came to you when so young / told of a life / where spring is sprung” (4-7). God’s kingdom is portrayed as the light at the end of the tunnel; Drake isn’t so steadfast as his friend, leaving him susceptible to the daily emotional tumult that plagues him. Then, when his beloved friend passes away, “(sailing) to the sky on the crest of a wave” (13-14), Drake imagines the deceased’s transcendence from confined body to freed soul.
In telling the tale of his companion’s tragic end, Drake inevitably compares the liberties of someone else to his own incessant calamities. Metaphorical language is employed to describe the mental conflicts that the speaker faces within his mind. His dark bouts of depression are described as that time “in the cold of the night / when the armies of emotion go out to fight” (9-10). While Drake tries to keep his personal demons at bay, he fears for the safety of his friend, saying, “You would seem so frail.” But the friend, who piously places faith in salvation, manages to evade the inner turmoil that invades Drake’s consciousness.
The tone that permeates the first half of the song is strongly mournful and regrettable, not solely because of the death of the speaker’s close friend, but because of the wondrous escape through death that occurred, leaving him to wallow even more in his doubt and misery. Drake carries a negative aspect on most things, as evidenced by the forlorn proclamation, “The earth sinks to its grave” (12). With pessimism abound, he can only dream about a better existence that can possibly offer solace and nurture his emotional pain. Towards the closing of the song, the attitude of the singer slightly alters. With a heavy note of resignation, Drake resolves to ignore his pitiful state and “forget this cruel world” (15) and focus on perseveringly pouring out the blues in music, which may somehow dull the pervasive pathos. He aspires to wait it out, hoping that one day he’ll spot the hand of his long lost friend, who’ll lead him into a newly discovered paradise.
This mellow song deeply resonates as ample representation of the sad heart of a man dissatisfied and let down by all of life’s banality. It plays on the heartstrings of anyone who’s ever felt traumatized and despondent. Through the envious eyes of a restless man, death is portrayed not as a foreboding end, but a benevolent savior that will whisk one away to a place where expectations are met, not battered away into oblivion.
Lyrics
Strange face, with your eyes / So pale and sincere / Underneath you know well / You have nothing to fear / For the dreams that came to you when so young / Told of a life / Where spring is sprung
You would seem so frail / In the cold of the night / When the armies of emotion / Go out to fight / But while the earth sinks to its grave / You sail to the sky / On the crest of a wave
So forget this cruel world / Where I belong / I'll just sit and wait / And sing my song / And if one day you should see me in the crowd / Lend a hand and lift me / To your place in the cloud.
Persuasive Analysis #4 - "Tobacco Free Hall County"
“Tobacco Free Hall County” is an anti-smoking advertisement that attacks secondhand smoke, one of the more dominant side effects of cigarettes. It features a disheveled, young soccer player sitting on a bench in what appears to be an empty locker room. His face is covered with grime and appears inwardly anxious, as if awaiting the outcome of a decisive match. To the left side of the athlete is a subtitle that bluntly says, “Secondhand Smoke Kills”, while underneath are some facts pertaining to the casualties of smoking. They point to chain smoking parents as the main culprits behind childhood asthma. In the bottom right-hand corner the advertisement offers two phone numbers, presumably so that the curious audience can discover more information about the plague of secondhand smoke.
In this pertinent advertisement against smoking and the collateral damage that it incurs, logical reasoning is relied on heavily to enforce the idea that smoking is deadly and has vast repercussions. It gravely states, “[secondhand smoke] increases the number of asthma attacks and the severity of asthma by 20%." Positioned at the forefront of the ad, these words greatly perturb the conscience of the reader, whether he or she is a smoker or a non-smoker, because the reader is presented with irrevocable hard facts that support the claim of secondhand smoke’s lethality. But while the inclusion of quantitative data helps in convincing the audience of the validity of the argument, there is some faulty logic present that is reinforced by obvious fallacies. The inventors of this ad are guilty of begging the question; it is apparent that secondhand smoke is portrayed as the ultimate, if not sole, perpetrator of asthma attacks. It leads the audience on to believe that smokers should be charged with spreading an epidemic of asthma, while ignoring other contributing factors like genetics and environmental pollution, thus predetermining the conclusion of the argument before the reader can do so.The severity of secondhand smoke is also overstated through the use of evocative imagery. In the advertisement the soccer player is sitting behind two barred windows, creating a sense of impending doom. This is a deft way of using ethos to appeal to the audience. Anyone with an open mind could easily be moved by such a harrowing representation of the hazards of smoking.
Source: http://www.jasonkobs.com/images/design/advertising_anti-smoking.jpg
In this pertinent advertisement against smoking and the collateral damage that it incurs, logical reasoning is relied on heavily to enforce the idea that smoking is deadly and has vast repercussions. It gravely states, “[secondhand smoke] increases the number of asthma attacks and the severity of asthma by 20%." Positioned at the forefront of the ad, these words greatly perturb the conscience of the reader, whether he or she is a smoker or a non-smoker, because the reader is presented with irrevocable hard facts that support the claim of secondhand smoke’s lethality. But while the inclusion of quantitative data helps in convincing the audience of the validity of the argument, there is some faulty logic present that is reinforced by obvious fallacies. The inventors of this ad are guilty of begging the question; it is apparent that secondhand smoke is portrayed as the ultimate, if not sole, perpetrator of asthma attacks. It leads the audience on to believe that smokers should be charged with spreading an epidemic of asthma, while ignoring other contributing factors like genetics and environmental pollution, thus predetermining the conclusion of the argument before the reader can do so.The severity of secondhand smoke is also overstated through the use of evocative imagery. In the advertisement the soccer player is sitting behind two barred windows, creating a sense of impending doom. This is a deft way of using ethos to appeal to the audience. Anyone with an open mind could easily be moved by such a harrowing representation of the hazards of smoking.
Source: http://www.jasonkobs.com/images/design/advertising_anti-smoking.jpg
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