Monday, February 1, 2010
Born in the U.S.A.
Springsteen creates an emotional appeal to the listener just from the music itself, which is very powerful. But this is juxtaposed against the lyrics which paint a very different picture. This juxtaposition allows the listener to garner different meanings of the chorus, “Born in the U.S.A.” I feel that Springsteen is trying to demonstrate the irony behind the hero’s welcome given to veterans of other wars, but the hatred given to Vietnam veterans. The lyrics and music together create an interesting dichotomy between patriotism and the actual realities faced by those who fight those battles.
The Dead Flag Blues
The car is on fire
and there's no driver at the wheel
and the sewers are all muddied
with a thousand lonely suicides
and a dark wind blows
The government is corrupt
and we're all on so many drugs
with the radio on and the curtains drawn
We're trapped in the belly of this horrible machine
and the machine is bleeding to death
The sun has fallen down
and the billboards are all leering
and the flags are all dead
at the top of their poles
It went like this:
the buildings toppled in on themselves
mothers clutching babies
picked through the rubble
and pulled out their hair
The skyline was beautiful on fire
all twisted metal stretching upwards
everything washed in a thin orange haze
I said, "Kiss me, you're beautiful, these are truly the last days"
You grabbed my hand, and we fell into it
like a daydream
or a fever.
We woke up one morning
and fell a little further down
For sure it's the valley of death
I open up my wallet
and it's full of blood
The Dead Flag Blues by Godspeed You! Black Emperor is a brooding, ambient, orchestral jeremiad set in the near future, after some tremendous, unspecified cataclysm. The monologue can be divided into two sections: first, a portrait of a diseased society, slouching painfully toward oblivion; and then the inevitable destruction and quietus that follow.
Part 1 is a harsh indictment of modernity, set to a constant, mechanical droning that augments the mind-numbing, suffocating quality of the narrative; and though he begins with histrionic, value-laden language ("muddied with a thousand lonely suicides"), the narrative ends in a simple, terse report; clearly, the narrator has been changed by what he has experienced. In the security of a mellow, suburban milieu, it is easy to wax eloquent about social ills; but the narrator appears to mature through his experience, and finds little to critique in what he sees when the story concludes.
In part 2, his lyrics are laconic and dispassionate, conveying the dreamlike state of shock that follows disaster. The narrator simply states what he observes, seemingly unable to process the emotional ramifications. He pauses to notice the morbid beauty of a burning city, and makes subtle comment on his circumstances ("these are truly the last days" -- "for sure it's the valley of death"); but there is no mourning, or even fear suggested. This makes the listener a participant in the story, as one is forced to infer or imagine the details.
The monologue ends three minutes into the track, and the listener is left to ponder the cryptic, half-told story through thirteen minutes of ambient, dirge-like violin and guitar. Interestingly, the song concludes with two minutes of incongruously cheerful xylophone and violin. This may simply be sarcastic or absurdist, or it may be a sincere expression of optimism.
Wake Me Up When September Ends
I think that the emotion of this song and the lyrics it contains about pain and things ending are very strong and can make the audience instantly get something personal out of the song. In this way pathos is being used to touch the audience, whatever their goodbyes and hard times in life have been. Also the use of logos is shown by the lyrics because of their straight forward evidence of an event. Even though the song wasn't written about the war, it does apply well to those who have lost and sacrificed because of it and such an event touches the emotions of the readers. I think that even logos is used because when the audience knows the personal background that a member of the band has with the song it makes it more real and wothwhile to the audience.
Superman (it's not easy)
Just Another Day In Paradise
Stand
The song starts off pretty quite, when it is talking about how life is hard. But then it gets louder till the chorus making you feel like you will make it, its ok. Then the chorus goes back to the starting volume and again works up. Although its not like a complete contrast in the sound there is some. So there is meaning in that because its how you are feeling, down and quite then you get to the chorus when you feel good and like you can do it.
Diamond Dogs

“This ain’t Rock n’ Roll! This is genocide,” yells David Bowie in the beginning of his post-apocalyptic, glam-rock hit “Diamond Dogs.” This song marked the transition of a typical Bowie phase change, from glam-rock to punk, and features adequate voice distortion and some gritty guitar playing. The album was originally intended to be a Styx style, theatrical album, outlining moods portrayed in George Orwell’s "1984." However, the rights were denied, and after modification, the songs found them on the 1974 album, “Diamond Dogs.” The cover song is saturated with dystopian themes with Bowie’s first verse:
As they pulled you out of the oxygen tank
You asked for the latest party
With your silicone hump and your ten inch stump
Dressed like a priest you was
Tod brownings freak you was
The mood of the song is certainly achieved with other lyrics like, “Hunt you to the ground they will, mannequins with kill appeal,” and “Come out of the garden, baby, You’ll catch your death in the fog.” What is Bowie's intended reaction? The song certainly coincides with the political fervor of the day as hippies, yippies and other rebel rousers as they began to pour out of the pool of discontent. However, Bowie’s disturbing apocalyptic imagery in Diamond Dogs isn’t painted as negative, but takes a more positive approach like Bowie’s sister song on the same album “Rebel, Rebel:” A tribute to a hot tramp who’s mother can’t tell if she/he’s a boy or a girl. Instead there is an embracement of the oddity, the nasty and a sleazy attitude that says, “Abandon the creeping meatball. This world sucks: let’s have fun." Most likely the song was just a product of nonsense breaded in an acid trip, but who said rhetoric had to be intentional?
Dreaming With a Broken Heart
Sunday, January 31, 2010
The Climb.. don't judge me.
Writtin in first person, this song implements logos, ethos, and pathos simply through its topic. The song is about life: its ups and downs, its trials and consequences, and its rewards and finishing goals. It talks about experiences that are detailed enough for everyone to understand, and general enough for everyone to relate to. I a specifically potent rhetorical technique used in this song is its emotional appeal. With perserverance a main subject implied in the words it talks about faith, an uphill battle, chances, and struggles. All of these are not necessarily meant to be percieved literally, rather, they concern emotions.
At the end of the song the music becomes more climatic as it crescendos. Another important thing it does is shifts narrative points of view and directs the lyrics straight at the listener. Drawing its audience into the music, the lyrics read "It's all about the climb, keep the faith, keep your faith."
P.S. Yes, I love this song. Don't judge me for being a Miley Cyrus fan... haha :)
Memory
The music is also very descriptive. It starts in low soft tones, as if barely breaching the subject. It waits for you to come aboard and it gently adds more instruments in as you are pulled farther into it. It builds then drifts backs, then in the last stanza it builds and you can feel the ferocity with which she feels. You are completely swept up in the emotion she is feeling, and you can't help feeling that way either.
The Minnow and the Trout
A Fine Frenzy utilises a juxtaposition of objects that are seemingly at odds with one another, such as "trout" and "minnow", "elephant" and "rats", and the like. One group will speak to the other, pleading for assistance and tolerance, impressing the listener with the idea of cooperation in the face of differences. The idea is strengthened with the knowledge that the seemingly "stronger" party is also capable of initiating the bond, eliminating the assumption that such friendships are only a manner of the "weaker" party to gain an advantage; an eagle, a predatory bird, tells a dove "I'll fallen from my nest so high above/ Help me fly/ I am too afraid to try". A minnow beseeches a trout after it was "lost, and found/ Myself swimming in your mouth", evoking the listener's sympathy and raising the question of whether there is no way for the two to work together to achieve some sort of compromise. These small allegories thus are largely successful in presenting the overall theme of the song: unity, and overcoming differences.
The most potent use of pathos, however, lies in the chorus. The phrase "Please, I know that we're different/ [But] we were one cell in the sea in the beginning" appeals strongly to one's need for togetherness; humans are innately social creatures, and A Fine Frenzy works to speak directly to this primal need. The imagery that is utilised, namely that all things in the world come from the same basis and origin, is a powerful one in this sense. The call in "The Minnow and the Trout" is for people to start focusing on similarities instead of differences, and to remember that "...what we're made of was all the same once/[and that] we're not that different after all".
Saturday, January 30, 2010
August Moon
This song in particular is very pathetic. The lyrics are so clear about how she felt when she walked into a room to see someone she thought she loved with another girl. The emotion evoked by her lyrics is purely heart wrenching and causes me to reflect on similar situations I have had. I think that is what is so beautiful about her "writing", her ability to explain how she is feeling/how she felt through music and lyrics while also allowing her listeners to be able to relate/reflect on similar life experiences.
The Call
This song is one that every person can relate to because there has been a time in everyone’s life where they had to leave something they love behind as they move forward with their lives. And Regina knows exactly how to hit everyone in her audience and apply pathos. The words that she uses are general and vague enough that they apply to everyone but yet the way that the words are portrayed give a sense that she is “speaking” exactly what you need to hear to soothe the pain. She acknowledges that there is pain a great loss and pain in the moments when “the call” carries you away off to “war,” but she also shows to the audience that the pain will pass and that even though you may be leaving a lot behind it does not mean that you can’t carry the memories with you. Regina knows the pain that the audience is experiencing, and does not deny the audience from the need to mourn out the pain. She allows for mourning, but then she knows how to comfort and to soothe the intensity of the pain.
Regina is able to apply pathos in a deep and inviting manner. She is able to reach deep with the person, and pull out emotions and pains that people may never knew existed otherwise. She pulls out all the pain of leaving and the pain of a changing life. But then she ribbons all the pain with a deep hope, a shaft to hold onto while you are being attacked by the storms of life. She reassures her audience that that there is “no need to say goodbye” because “you’ll come back/when its over.” You will survive the war.
The whole of the song is an extended metaphor. There is a call and there is a war. The call is your life continuing on its natural route. You cannot stop time and from your life continuing ever onward. The call the pull you feel when it is time to open the next door of your life and you must inevitably open that door, leaving behind a lot of people that you love. The war is the life that is ahead of you. Life is hard but you can get through it and survive and eventually return to those that you left behind.
Haven't Met You Yet
Michael Bublѐ uses ethos to establish his position of authority. Because Michael has been unsuccessful in matters of the heart multiple times, he has come to the conclusion that he just hasn’t met the right girl yet. Those who are listening to the song accept Michael’s authority because he’s been in love before and if it hasn’t worked out for him yet, he must know why.
The songwriter appeals to our emotions by talking about his past relationships. Michael claims, “I’ve broken my heart so many times, I’ve stopped keeping track.” Most of us have been in a few unsuccessful relationships, but he can’t even remember how many failed relationships he’s been in. From that opening line you would expect the rest of the song to be sad, but the rest of the song is surprisingly hopeful. He continues to say how patient he is going to be until she comes along, and how wonderful their lives will be together. His optimism influences others trying to recover from bad relationships because he is certain that “someday I know it’ll all work out.” Michael’s atypical approach to relationships gives all of us hope that if you haven’t had a good relationship yet, you just haven’t met the right person.
Michael uses logos to convince the listener that even if they’ve had numerous bad relationships in the past, someday they’ll meet the right person. After the failure of his past relationships, he has thought about the reason why none of them have worked. His logical conclusion is that he just hasn’t met her yet. Even though there could be many reasons why he hasn’t had a good relationship, he comes to the comforting solution that he just hasn’t met her, shifting the blame from himself to someone else. Even though it isn’t the best logical reasoning, he still convinces the audience to be hopeful that the right one will come along someday.