The Pianist Poster

InFocus Films creation of the Pianist poster uses the ethos and pathos that many feel surrounding the events of the holocaust. The average passerby probably would not grasp that this poster represents a movie about the holocaust but, this poster is not directed at the teenagers looking for a big explosion and fast cars. The simplistic style of the poster makes it so every detail must represent something. The delicate hands hanging over the piano suggest a soft and irenic feeling that which is in complete juxtaposition with the events of the holocaust, while the barely visible Star of David arm patch in the top left corner is what really needs to be witnessed until a viewer would understand that this film was about the holocaust, if not being told beforehand.

Though the picture draws in the viewer initially the small print in the center that says: "Music was his passion, Survival was his masterpiece", is what really leaves the viewer feeling compelled to see this movie. That small line is where InFocus Films utilizes pathos and ethos to hopefully get a movie goer in their seats.

Too many music is considered a passion. A passion that to many it doesn't need to be explained or reasoned, because for them it helps control or release their raw emotions. The statement "music is a passion" can almost be agreed upon by all. This line creates a connection with the viewer and suggests that the main character and the viewer might actually share something in common, to where the poster gazer might want to now see the movie. The next line "Survival was his masterpiece" is where the struggle in the movie is previewed and gives the onlooker a possible storyline to create in his head.

InFocus understanding that the passerby that stopped to examine this poster is probably older can also assume that their logic is also more inclined. With the several symbols presented in this poster along with the powerful statement in the center a logical person should be able to develop a close guess to what this film is about, and that's exactly what InFocus wants the viewer to do. With the viewer creating an idea of what this poster is about they already feel more inclined to see it because now they have to know if they are right. This is probably more subconscious but true none the less because it's human nature to feel good and accomplished when you discover your right.

Baby, I'm an Anarchist

http://www.youtube.com/watch?v=yxvGkG8K210&feature=related


Through the best of times,
Through the worst of times,
Through Nixon and through Bush,
Do you remember '36?
We went our seperate ways.
You fought for Stalin.
I fought for freedom.
You believe in authority.
I believe in myself.
I'm a molotov cocktail.
You're Dom Perignon.
Baby, what's that confused look in your eyes?
What I'm trying to say is thatI burn down buildings
While you sit on a shelf inside of them.
You call the cops
On the looters and piethrowers.
They call it class war,
I call it co-conspirators.

'Cause baby, I'm an anarchist,
You're a spineless liberal.
We marched together for the eight-hour day
And held hands in the streets of Seattle,
But when it came time to throw bricks
Through that Starbucks window,
You left me all alone.

You watched in awe at the red,
White, and blue on the fourth of july.
While those fireworks were exploding,
I was burning that f*cker
And stringing my black flag high,
Eating the peanuts
That the parties have tossed you
In the back seat of your father's new Ford.
You believe in the ballot,
Believe in reform.
You have faith in the elephant and jackass,
And to you, solidarity's a four-letter word.
We're all hypocrites,
But you're a patriot.
You thought I was only joking
When I screamed "Kill Whitey!"
At the top of my lungs
At the cops in their cars
And the men in their suits.
No, I won't take your hand
And marry the State.

'Cause baby, I'm an anarchist,
You're a spineless liberal.
We marched together for the eight-hour day
And held hands in the streets of Seattle,
But when it came time to throw bricks
Through that Starbucks window,
You left me all alone.



Against Me! Released “Baby, I’m an Anarchist” in 2002 on the album Reinventing Axel Rose. Front Man Tom Gabel wrote the song and sung it on the album to depict the strained ties between his apostrophe, probably a girlfriend, with liberal views and his own anarchist beliefs. The song utilizes a distorted sound with simple chords and strained vocals to emphasize urgency, while the lyrics are made up of few rhymes but rather metaphors and frequent allusions to historical events to examine the difference between liberals and anarchists. Coupling these aspects along with Tom Gabel's raspy voice and occasional yell makes this piece similar to a fight song, where it’s tempting to sway with anyone around you and do the occasional fist pump. While the musical composition is important to the song the lyrics are critical; making the listener often question themselves regardless of their political ideals because everyone has distrusted the government at one point or another.

Anarchism has many liberal tendencies, so distain of the political right is often more frequent than the left but Gabel quickly confuses the listener, almost as a test of commitment, by saying “Through the best of times, through the worst of times, through Nixon and through Bush.” Despite the fact that Nixon and Bush were both from the right Gabel uses these two presidents in a satirical manner to emphasize the fact that regardless of who’s in charge an anarchist is still unhappy. If he was to say that “best of times” was someone from the left like Kennedy, then that would be picking sides, and that’s not anarchism. Gabel continues with alluding to 1936 and The Spanish Civil War in which the moderate to radical right tried to overthrow the government but was crushed by Francisco Franco’s Soviet backed leftist party. Franco would later go on to rule the country with a dictatorship and killing any political opposition. This allusion is where Gabel states the break between liberals and anarchists happened, with the gap ever widening. The distance between this gap is recognized through the metaphor of “I’m a Molotov cocktail, and you’re a Don Perigon”, which is a type of fine French wine. The metaphor nods to the fact that anarchists are typically the ones quick to take to the streets and riot while a liberal sits on the sidelines often idol. In the chorus Gabel goes on to show the similarities of the two sides while also showing strong differences of expressing each side’s plight.

'Cause baby, I'm an anarchist, You're a spineless liberal.We marched together for the eight-hour dayAnd held hands in the streets of Seattle, But when it came time to throw bricksThrough that Starbucks window, You left me all alone.

The mention of Starbucks is also an allusion a historical event, the Battle of Seattle which occurred in 1999 when a “black bloc” or a group of anarchist protesters all wearing black smashed out windows of several businesses during the WTO meetings being held in Seattle that year. The act was supposedly anti-capitalistic and pro labor union.

The second verse goes on to use more metaphors like “Eating the peanuts, that the parties have tossed you.” to stab at the fact that anyone willing to follow a political party is a sheep and blind to their true motives. Gabel then in a despicable voice shouts;
“In the back seat of your father's new Ford.You believe in the ballot,Believe in reform.”

Which is how most Americans wish to handle their problems, but this man is an anarchist, so to him these are unacceptable and weak steps towards revolution. Tom Gabel’s carries on to broaden the political scene with three powerful lines that can be applied to virtually anyone with any political beliefs.

And to you, solidarity's a four-letter word.We're all hypocrites,But you're a patriot.You thought I was only jokingWhen I screamed "Kill Whitey!"

To say solidarity is a four-letter word is to say it’s obscene and vulgar, something that should be silenced and not allowed. This metaphor slaps anyone who supports one side of an issue. This line hits the root of anarchism suggesting that fellowship and common responsibility rather than government control over the people is the purest human state. Later shouting “Kill Whitety” shows proof of support for the solidarity agenda because anarchists desire to see the class society disappear. To “Kill Whitety” should not be taken as, to kill the white man, but rather destroy the system where the white man frequently comes out on top. With such radical statements Gabel quickly shields himself from criticism by saying “we’re all hypocrites, but you’re a patriot” by instantly denying anyone room to find fault. Gabel covers his flaws by nodding to the fact that some of his ideals are contradictory, and then he uses “but you’re a patriot” to quiet anyone who would claim their ideals are better, or even correct. The second verse ends Gabel in a voice that sounds disgusted yet amused, singing, “No I won’t take your hand, and marry the state.” once again using metaphor to show disgust in ones ability to follow an overbearing system. Finally when the chorus comes in the for the second time it begins with a heavy Em chord which provides the song a much deeper sound that emphasizes the difference between Gabel’s “baby” and himself. Despite similar goals, their ways of reaching them are much different.

“Baby, I’m an Anarchist” uses almost no rhymes other than a few near rhymes such as “Ford” and “reform” because this song is not about being catchy to the ear but rather a message to the world. The metaphors and allusions to events are rather the most important tools Gabel utilizes, enabling him to not only describe the difference between the liberal left and the radical anarchist but also show proof of his claims and how and each react in times of political strife.

The secret journals of Cheewy

Is there something unattractive about the name Cheewy?
Is there a reason why the damsels we save never notice my mane?
Does all my hair and my teeth make them go “Eeewy”?
Out in space they hate me but back home my lovely locks are my claim to fame.

On the ship it’s generally just me and Hans Solo
Cruising the universe and rescuing babes
When we get them on board we always look better than Apollo
Hans is such a pig, he’s just looking to get laid

This one princess named Laya I will never forget
She was royalty paired with a great big goof
Letting her get away was my biggest regret
One day I’ll marry her and murder Luke

Hans got Laya because he’s a weasel and I’m just to slow
Even when she tells him “I love you” all he can say is “ I know”

Cupcakes would have gone nicely with the coffee

See Pete was a one man show now.
He was the all time muti-tasker.
He sped down the road with his hand cannon in his lap
and a brick in the side seat driving recklessly so the silver ice on the horizon was just completely invisible.
With everything in motion Pete learned that trees don’t move
And seat belts are actually as important as they say they are.

BLACK

Pete went from pumping rose quartz to coolwater.
By the time the cruiser showed up with racing rubies on top the street was flooded with red velvet, mighty mauve, mushed peach parfait and diesel fuel.

The police reported back to the station, “Gayle we’re gonna need a ambulance quick, but some coffee quicker.”

Unwittingly Gayle went to the scene of her love.
She arrived and ran past the cops dropping the coffee and adding to the mess on the street.
Gayle lied over Pete with her tangerine hair and mermaid’s chest
It was the closest they would ever get again, one heartbeat to a failing one.

In a strained yet cool voice Pete asked, “What’s wrong Gayle?”

With a whimper all she could push out was, “They think I’m only a waitress”

vocab poem

We’re so convoluted I’m thinking most turn away with a grit in their mouth that makes them petulant. You and I crawled those vacant streets in a muse that philosophers wish they could coalesce their minds into. Remember when we filled the gutters with putrid ideas and the intellects still ate them with mirth? Why do they act so rapacious towards our heads? Our choices were so impetuous and iniquitous Charles Manson could probably see them from his cell. We were such swindlers.

Convoluted-adv- complicated

Petulant-noun- crabby/moody

Muse-verb- dream

Coalesce- verb- the blend/join

Putrid- adj- rotten

Mirth-noun- great joy

Rapacious- adj- to plunder

Impetuous- adv- acting without thinking

Iniquitous- adj- unjust

Swindlers- noun- con artists

Music Essay

http://www.youtube.com/watch?v=dW3-sex3_Vs - DIFFERNT
http://www.youtube.com/watch?v=PITNYQtZWFE- Slow Down Ghandi
http://www.youtube.com/watch?v=xV3kVSCMiFY- Hey Bobby (Example of Spoken Word poetry)
http://www.youtube.com/watch?v=UdzFhBtxW0A - Makeshift Patriot



Being white, vegetarian, and a straight edge (no drugs, no alcohol) Sage Francis seems like an unlikely character for revitalizing an underground hip-hop movement yet his poetic, metaphorical style has made him a staple in underground rap.

Sage Francis has been rapping since he was eight years old, often hiding in his closet from his mom rapping into an old tape recorder. He was heavily influence by Run DMC yet his mother never took him to a show because she thought it would poison him. Sage would have a silent nerdy persona through his youth due to the fear of having his rap music taken away by his mother, but when he entered college he quickly took on the underground rap scene by storm.

In 1996 Sage recorded his first demo-tape with little success but would later team up with the band Art-Official-Intelligence and put out 12” recorded under the name Non-Prophets. Sage style was different, he was a master of poetry who often did spoken word and talked about himself in an introspective way that criticized himself and his surroundings. He did not focus on the drugs or the guns that other rappers were tied up with. With his special niche he would gain respect and be dubbed the creator of “emo rap” which he still refutes. Sage would gain popularity through winning the Super bowl MC Battle in Boston and winning the Scribble Jam in Cincinnati, which is considered the highest honor in underground hip-hop. Sage’s popularity was rather limited though due to his DYI style that had an undertone of the punk movement, but when Sage Francis released “Makeshift Patriot” on October 11th 2001 one month after the attacks on the world trade center Sage had entered a whole new realm of rap. He gained some media attention for dropping such controversial lines like

"Who's gonna to make that call to increase an unknown death toll?
It's the one we rally behind He's got a megaphone...and he's promising to make heads roll.
We cheer him on, but asbestos is affecting our breath control.
The lesser we know...the more they fabricate...the easier it is to sell souls"

(Man talking) -"There is a new price on freedom, so buy into it while supplies last. Changes need to be made; No more curbside baggage, Seven pm curfew, Racial profiling will continue with less bitching. We've unified over who to kill, so until I find more relevant scripture to quote, Remember, our god is bigger, stronger, smarter, and much wealthier. So wave those flags with pride, especially the white part."

This one song opened Sage up for a new voice that would make him one of the loudest rappers in the underground scene by shifting criticism from himself onto others and then back on himself. He was described as a “truthist” who had no problem stating the facts regardless of their nature. As Marrisa Brown of All Music guide calls him- “The merciless battle rapper and renowned spoken word poet was now the most outspoken artist in a sea of tight-lipped, scared-$hitless citizens.”

By being true to hip-hop roots that utilizes simple bass lines and rythmatic delivery Sage Francis came about with his own voice that would essentially make a new genre. By talking about his flaws and political wrongs Sage started to mass an audience that was often much different than the ordinary hip-hop listener. When Francis became the first hip-hop artist to sign with the prestigious punk label Epitaph in 2004 he instantly reached a new audience that had not considered rap before. When his song Sun vs. Moon appearing on the computation album Punk-O-Rama 10 the punk community suddenly realized a bridge was being formed between rap and punk. Sun vs. Moon was confusing attack on religion by stating at one point that God is a bitch, and then coming back at the end of the song saying God can make your day brighter. Regardless of the confusing message Sage offered an insight that the punk community was unaccustomed to. Generally Sage Francis was talking about everything a punk band would talk about like political activism and questioning authority but he did it over beats instead of power chords. There was initial distrust because his genre roots but with songs like “Different” but Sage was sure to clear it up.

"I may be getting too big for my britchesbut I paid my dues when the cost was climbing
If I burn too many bridges I'll never get off of this awful island
As long as I've been rhyming, they only started listening
Because for a while they didn't like how I wouldn't smoke the pot that I was pissin' in
Plus I had no dead homies to honor while pouring out the liquor I don't drink
You can flash your shiny objects in front of my eyes and I won't blink
Ohhhh Soooo Different"


I personally think that the connection Sage Francis can make to the punk community is based on his ability to switch the topic to political wrongs and possibly his secret love for metal music. Sage occasionally puts out songs under his metal alter ego Xual Zan. He has little trust in authority which might explain his advocacy group called knowmore.org which provides consumers with information about big businesses abuse and political contributions they make. The websites slogan is “Know more Democrats, Know more Republicans” which is an obvious play on words by Sage.

Sage Francis is a well voiced artist that has an array of messages. Despite his not so secret stalker crush on Natalie Portman that is border line misogynistic I personally feel Sages promotion of a morality is something saints would have a hard time upholding. I say this because the typical Sage Francis song covers topics like breaking crack pipes, avoiding meat, questioning war, protecting minorities, and questioning his manhood/ sexuality (in his song Escape Artist he joking questions his sexual orientation). With such a plethora of messages it has become hard for others to imitate him successfully. Sage does have a few other similar artists like Slug and Atmosphere that will cover the negative sides of themselves and also talk about political wrongs but none of them embrace the straight edge style Sage has. This idea of clean living is rather foreign to the rap community so Sage Francis has become the outsider of the already displaced genre of underground hip-hop.


Overall I would call Sage Francis the black sheep of rap music. The simple fact that he is white makes him rather rare but team that up with a straight edge lifestyle and an unbelievable ability to poeticly psychoanalyze himself and the mainstream public makes him “D for Different, In a Different Way”. Most individuals who are accustom to the gangsta rap that is full of complex bass lines and synthetic voices might not appreciate Sage Francis but those who are more interested in his poetic appeal might find him as a breath of fresh air. I personally do not have much draw to the glam and “bitches and hoes” mentality of popular rap music so when I heard the more simplistic spoken word style of Sage Francis he quickly caught my attention.

I would not call Sage the band-aid the world needs but rather the band-aid the punk community needs. When the power chords and screams of NOFX and Operation Ivy have worn you out a shift towards Sages style becomes quick and painless. The same raw emotion is still there but it’s just presented in a whole new way. Despite whether or not the mainstream public appreciates his message or his old school delivery there is a no doubt that the man is loud and ready to be heard, and when he gets your attention he’ll take advantage of every second he has by packing it full of metaphors and play on words.







Sources: http://www.starpulse.com/Music/Francis,_Sage/Biography/
http://www.epitaph.com/artists/artist/138/

Follow your threads

The message of the video is to realize that you are not the only person in the world and you are part of a massive spider web that moves when you move. I felt the phrase "follow you threads" would be appropriate for this little propaganda piece because it not only suggests that you should see where your clothes are coming from but also see how you are effecting other people that you might not actually be in touch with, i.e the sweat shop laborer or the cash crop farmer in Asia. American sympathy for others is comparable to other nations but it seems that caring isn't enough, we must educate and examine how we contribute to such situations. The other little message that this slide show squeezes in is that despite our concern for others our narcissistic views of ourselves can harm and even kill.