In “The Bernie Bomb” by Kimberley Strassel, critical, mocking tones emphasize Strassel’s feelings towards Bernie Sanders’ inability to become the President of the United States. Bernie Sanders gave quite a performance at the first Democratic debate of the year. Strassel shares her thoughts on the nature of his responses to important issues during the debate by concluding that his followers should regret making donations to his campaign seeing that he really is not in it to win. Her witty critiques indicate her strong feelings that donating to Sanders’ campaign in hopes that he will become President, is truly not worth the money. Strassel’s diction heightens the uncertainty and unprofessional manner behind Sanders’ attempt at trying to be elected as President, which leads his supporters to doubt their contribution to his campaign.
The effective improvisations succeed one another with color and feeling. Highlighting Stinson 's basswork and Zack 's dry drumming, “Survival Instincts” appears as an awkwardly disconcerting dance that gets epic contours. It opposes to the simplicity of movements revealed in Stinson’s “Why She Loves”. “Alligator Got the Blues” is another high point, showcasing a leisurely-paced introductory section before exploring alternative beats with a strong foundation in rock music.
In Living for the City, Donna Murch argues that the Black Panther Party started with a study group in Oakland, California. She explains how a small city with a recent history of African American settlement produced such compelling and influential forms of Black Power politics. During the time of historical and political struggle in California 's system of public college, black southern traveling workers formed the BPP. In “Jim Crow’s Counterculture”, Lawson argues that the Great Migration and World War II changed the blues music from the thinking and behavior of younger people who want to be different from the rest of society to one that celebrated the work attitude and the war effort as ways to claim “American citizenship”.
By not only using pathos, but logos as well, Kelley appeals to a wider range of people. Until Kelley achieves her full right to vote, she considers herself “powerless” in the U.S. political
In the documentary Boys State, filmmakers Jesse Moss and Amanda McBaine capture the week-long process of 2018 Texas Boys State, where 1000 seventeen-year-old boys gather and run a mock political election. Moss and McBaine make several rhetorical choices throughout the film to cultivate a humorous, suspenseful, and at times shocking story. The directors appeal to pathos, use individual interviews with the candidates, and implement unique camera angles to show multiple perspectives. Moss and McBaine apply pathos, especially when telling Steven Garza’s story, to elicit empathy from the audience and introduce an emotional angle to the largely factual scope of politics. Garza, a candidate with liberal views who runs for governor with the Nationalist
A central theme in the book Whirligig by Paul Fleischman is that your actions have consequences. There is a lot of evidence from the book to support this theme. Good consequences follow towards the whirligigs just as bad consequences relate towards Brent’s reckless driving. Meet Brent, Brent is going through a tough time. He attempted to commit suicide, but didn't succeed.
American Writer and Musician, James McBride has written multiple books and has voiced his opinions in magazines as well as newspapers. In this particular essay, which appeared in National Geographic in 2007, he talks about how hip-hop has influenced the world and how he realized that he has missed an important part of his life. There are many rhetorics used in this essay, -“Irony, Metaphors, Hyperbole and Allusions. ”- are some of the more notable ones. While talking about his biggest nightmare, a feeling of disjoint comes into his mind, “It is no longer…hip-hop planet.”
The poem “ Feliks Skrzynecki” communicates to the responders that as a result of the Skrzynecki family migrating to Australia, Peter had lost a significant aspect of his life which was his relationship with his father due to the barriers that had arisen restricting them from proper communication. This is reinforced in the poem, in the quote “ Loved his garden like an only child,”. Through the application of this technique in the first stanza, it establishes the connection made amongst the father and his beloved garden. This suggests that the garden is the only mean in which he could recreate his lifestyle from Poland, therefore, loving the garden like an only child he felt comfort and a sense of belonging whilst in it. Another technique Skrzynecki
Flobots song Handlebars is a song of empowerment claiming “I can”, as in me and you, can do anything. For example “I can make money open up a thrift store/ I can make a living off a magazine/I can design an engine/sixty four miles to a gallon of gasoline/ I
The Dixie Chicks’ song “Not Ready to Make Nice” is one that has significantly influenced me, not only in my childhood, but increasingly more in recent years. The song was a response to the nation’s reaction towards Natalie Maines, the lead singer’s, comment nine days before the invasion of Iraq in which she said “…we don't want this war, this violence, and we're ashamed that the President of the United States (George W. Bush) is from Texas”. This song and the meaning of it strongly shaped not only my political views, but my views of how I should carry myself. Maines made a strong comment, that she was passionate about and she stood her ground even though it had seemed the whole world had turned against her.
The election is over and Donald Trump is now poised to be the 45th President of the United States. In “How Donald Trump Brought Populism to Washington” (2016), Matthew Continetti’s article seeks to analyze the strategies deployed by the Trump campaign that spoke directly to citizens feeling disenfranchised by political authority. The key to a successful presidential campaign came down to message. “Make American Great Again was clear, direct, and appealing to voters who believed the country in which they grew up, and for a time prospered, was transforming into something they did not understand, did not condone, and had no agency within” (Continetti, 2016). Having no public service experience, Trump capitalized on nostalgia of the United States
In a time where sampling is a staple of hip-hop and other predominant, modern genres, it is not unreasonable for an artist to take ownership of past artifacts, even those which once were oppressed or used for oppression, as a way to reclaim the artifact itself, to subvert it, or otherwise reconstitute meaning. When we examine remixing and sampling in pop music in an academic way, we must consider how it is consumed by and therefore affects a non-academic audience. Understanding the audience is foundational to communication, after all. Radio listeners will not necessarily know where sampled pieces originate from, let alone their original contexts. And those effects should be further examined in the future.
This sensibility not only combats the accusations that disco is not a legitimate form of music, but also provides minorities and oppressed groups a safe space that differs from those that rock and punk may provide. These differences in how disco allows people to be fabulous come through in the aspects
I’m at home on the high school parking lot. It’s the only space the administration grudgingly affords our marching band, and yet it’s ours. The band family lives and thrives off people supporting each other, we are there for each other when no one else is. I was elected by this family to be their band president last spring, and I have been completely changed. Despite the flashy title, I am still just one member of this 140 strong group, and I am still pushing to fulfill the responsibility placed on my shoulders.
In the end, the audience’s strong love for America contributed to Springsteen’s failed
