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”