So much procrastination. So little time.

I have deliberated over whether or not to use my freebie this weekend. This really seems like a valuable exercise, and I kind of hate to miss it! I planned to use this today because I was going to be swamped with all the preemptive work I was going to do. But now, not only have I wiled away my preemptive work time, but I am also still not doing my blog post! Senioritis is not the fun, carefree sickness I though it would be.

David Holt: The joyful tradition of Mountain Music

Video URL:

David Holt: The Joyful Tradition of Mountain Music

Summary:

     The joy of Music is a powerful force. It can bring people together, and keep them going through hard times. In this talk, David Holt told several stories from his life and from the Appalachian musical culture that demonstrated this point. 

     Holt’s love of music started on a hot summer day in 1954 in Gatesville Texas. His brother, mother, and him were driving in the car, and the boys were furious with their mom. She didn’t let them get the jar of Ovaltine they wanted at the grocery store, which had a toy attached. Their mom was scolding them, telling them how ungrateful they were and how “money doesn’t grow on trees”. Determined to teach her sons some work ethic, she pulled the car over to one of the cotton fields they had  been driving past. She told the foreman: “I've got these two little boys, never worked a day in their lives.” So she asked the foreman to put them to work picking cotton and filling up a ten foot sack, alongside the hundred black workers in the field. He did as he was asked, and the boys worked all day picking the prickly, painful plants. At first they cried to their mother, who watched with an uncompromising gaze. Trying to ease their discomfort, the foreman snuck up behind them and began to sing an uplifting tune: “good news good news, a chariot’s a comin’”. The field of workers joined in, and the boys stop complaining as they were surrounded by these beautiful songs. This showed how music can make hard work a bit easier, and how it can bring a group of people together, in a unique way.

     About 15 years later, while attending the University of California at Santa Barbara, Holt attended a concert by Ralph Stanley, a famous banjo player. After seeing it in action, Holt fell in love with the African claw-hammer banjo technique. He sought out Stanley after the concert and asked how he could be involved with that kind of music, and Stanley told him to go to Asheville, Clinch Mountain, or anywhere where there is a lot of music. There will be old people still playing that style. So he went, and fell in love with the culture and people. He met people living with no electricity or running water, but who carried on the traditions of Appalachia through their storytelling and music. 

     One such person was Aunt Zip, from Sodom, North Carolina. She was 105 when he met her, and together, they sang a song that she had written. She didn’t have much energy left, so he led her in the call: “Hey Hey” and she would give the response: “Black-eyed Susie”. On her small farm, her grandson was tilling the fields with the mule, and Holt and Aunt Zip sang together. People like this embodied the persistent joy that comes from this music of the mountains. When he came back home, he finished his two degrees in biology and art, and told his parents he wanted to be a banjo player.

     Later on, this same joy from music saved Holt’s life. 15 years ago, he and his wife lost their daughter, Sarah Jane, in a car accident. After this immense loss, Holt was just barely hanging on. He was staring into the abyss, and desperately searching for reasons not to jump in. He started making lists of reasons to stay in this world. He started with the big things: his son, wife, and parents. But after this, only seemingly insignificant details were added to his list. Things like seeing the daffodils bloom in the spring, the touch of a baby’s hand, and finally, the sound of the steel guitar. This was the only instrument that could fully convey the emotion he was feeling. A blues tune on his steel guitar arose from his sadness, and it was the music he immersed himself in that got him through this hard time.

     Holt closed out his talk by talking about the lighthearted things of his life; childhood stories, experiments, and games. He finished his speech by showing the audience a device he had made with the advent of drum triggers. He took a full body suit and sewed in 12 different pressure sensitive drum triggers. He played ancient hambone rhythms on this unique, hilarious looking instrument, slapping his thighs, arms and chest to create an immersive sound. The talk ended with this “thunder-suit” solo, and the audience’s laughter and cheers.

Analysis:

Purpose:

     Although this TED talk wasn’t necessarily meant to do anything more than inform and entertain the audience, for the purpose of this analysis, I will view the tactics used in Holt’s talk as tools to persuade the audience to see the power of music. This was likely an underlying motivation, but it was never explicitly stated.

Ethos:

     David Holt is a four time Grammy-winning musician, who plays ten acoustic instruments and hosts radio and television shows on early American folk tales and music. These amazing credentials give Holt more than enough authority to talk about the subject of mountain music. However, these are not explicitly stated in his talk, so Holt finds other ways to establish credibility. He does this primarily by demonstrating the music connected to his stories throughout his speech. He treats the audience to several songs, playing the steel guitar, harmonica, banjo, and singing beautifully. By interjecting real snippets of the Mountain Music he is talking about, he establishes his expertise on the subject of Appalachian music. His personal examples and stories also display his proximity to and in-depth understanding of the effect of music on people. You can talk about the beauty and influence of music until the cows come home, but if you don’t have a lick of musical ability, it’ll be far more difficult to establish authority on the subject.

Logos:

     The main purpose of these stories was to show how music can get people through hard times and bring people together. Consequently, an emotional appeal will be used the most often to prove this point. However, throughout his speech, Holt uses a few logical approaches to further his argument. This is found mostly in the use of specific examples. As in any argument, it is important to back up theoretical ideas with specific real world examples. Holt does this by displaying the positive power of music by telling tales of the effect of music on his childhood, in his adult life, and in the lives of Appalachian people. However, the majority of the examples were experienced by him personally, a professional musician, and therefore interpreted through a pro-music lens. Holt’s argument might've been enhanced by a brief historical exploration of the effect of music on the culture of Appalachia, or the biological effects of exposure to music.

Pathos:

     Music is inherently emotional, triggering the release of neurotransmitters like dopamine throughout the brain, which causes an visceral emotional response. Therefore, an emotional appeal was the most common appeal used by Holt in his stories. He played music throughout the talk to display the emotional effect of music. But he also used emotional examples  to convince the audience of music’s positive effects. From humorous stories of his childhood to the sadness he experienced following the death of his daughter, Holt shows the influence of music on the wide range of human emotion.

My Connection: 

     I chose this talk because I have always enjoyed bluegrass music. This interest in the music of the Appalachian mountains started at my grandparent’s house. Every Friday night that we stay at their house in Warrensville, NC, we go down to Phipps Store to listen to some of the best local pickers. Not nose pickers, but pickers of the mandolin, banjo, dulcimer, etc. We sit in the small crowd listening to the impromptu jam sessions, and watching people clogging to the beat. The culture found in these old, rolling mountains is fascinating, and has given birth to one of the most  popular America genres of music, bluegrass. Originally played on makeshift fiddles and banjos, this music has offered people living in the mountains an escape and creative outlet for centuries. I love Holt’s professional mission: to preserve this musical tradition; it was an influential chapter in America’s musical history, and it deserves recognition and appreciation.

"Come, you spirits-- Netflix me here"

Watched by Lady Macbeth:

House of Cards:

Claire Underwood, played by Robin Wright. "Out damned spot!" (Macbeth)

In this political masterpiece, the South Carolina senator Frank Underwood maneuvers his way through the top American bureaucracy: Congress. With each ethically questionable decision he makes, he gains more and more power. His wife, Carrie Underwood is an equally influential person in the D.C. area. She supports him every choice he makes, pushing him to make the most of his position to gain more influence. Though he would never admit it, most of Frank’s decisions are influenced by his wife's encouragement and convincing arguments. Lady Macbeth has truly enjoyed watching Carrie playing a powerful role in American politics, while at the same time maintaining conventional gender roles, working through her husband's image. By her own admittance, she is often guilty of shouting: "Thoust goest girl!" at Claire Underwood's influential and clever words. She has a way of planting vaulting ambition in the heart of her husband. This ambition will increase his power, and consequently, her influence and status. Lady Macbeth loves it, and has gotten a few ideas for her own marriage from this show.

Madmen:

Peggy Olson, played by Elizabeth Moss, and Joan Holloway, played by Kristina Hendricks

In the bustling, cut-throat world of 1950's advertising, Madmen follows the journey of creative genius Don Draper. The agency he works in is filled with alcohol, tobacco, and sexism. The women working there are constantly subjected to shameless objectification by the male copywriters of the office. Most woman work as secretaries and phone operators; there is very little mobility for women. There are two powerful exceptions, however. Peggy and Joan defy the gender roles of the office in their respective positions, and they struggle with being viewed as masculine because of this. Watching their journey through a sea of power-hungry men is inspirational for Lady Macbeth. She is able to see the progression of feminine influence in the office, and she empathizes with the conflicts of these two characters especially. When Peggy is accused of being masculine, she cringes: she's been there before. But when Peggy and Joan triumph over the stigmas against women, she rejoices. A powerful, influential woman like herself has a chance to increase in status as a result of her own actions.  

Frozen:

Elsa, voiced by Indina Menzel

Lady Macbeth hates snow, but she loves this movie. Frozen is the story of Elsa, a powerful queen who must hide her true identity. Finally, when her powers are revealed, she runs off into the mountains of the Netherlands, to fully realize her potential. She sings "Let it Go", an anthem broadcasting release of her fantastical powers. However, this expression of power eventually hurts her younger sister. She is struck by a release of ice from Elsa, an unintended side-effect of her personal liberation. Elsa then deals with the immense guilt of this event; she must redeem herself of her sister's sickness. Lady Macbeth deals with a similar guilt. She fully understands Elsa's expression of power through her actions and the consequent guilt when things go too far. She loves the redemption Elsa receives at the end, and she hopes that she too can be free from guilt. Maybe the snow can wash away her stains as well.

  

The Hunger Games

Katniss Everdeen, played by Jeniffer Lawrence

Based off of the extremely popular series by Suzanne Collins, this movie follows the life of Katniss, a girl from district 12. She volunteers to be a part of the “Hunger Games” a government organized game that forces 24 young people to fight to the death like teenage gladiators, and only one emerges as a victor. Throughout the games, we see Katniss struggle with fear, murder, and consequent guilt. Katniss works with her significant other, Peeta to win the games. In the end, they are the only two “tributes” left. Instead of killing each other, they both choose to commit suicide together. This act of devotion stops the games, and they are both victors. Lady Macbeth loves the love story of this movie; she can’t get enough of the Katniss, Peeta dynamic. But she especially sympathizes with their situation. They are both working together to kill off their opponents, one by one. The guilt of their deaths slowly builds, but they simply can’t go back until they are unopposed. In the end, they choose to end their misery in death.  

Mawiage Is What Bwings Us Togeva Today

Big things are happening today, a question is being asked. It's cray over at the McClure household, so I'm gonna take a FREEBIE!

P.S.
The question starts with "Will you" and ends with "Marry me"
My Sister is involved so is her boyfriend.

Limited Visibility

89 Huicholes, 2006,  By Santiago Sierra. 84 black and white portraits.

Initial Response:

                Limited Visibility is an exhibit that emphasizes the effect and meaning behind intentional erasure and omission. The manifestation of these absences varies in each work, and the purpose behind the omission has different intended effects on the viewer. The Curator’s statement explained this exhibit’s impact: “Seer, seen, and unseen come together here to evoke the haunted sensation of searching and looking.” With the curator’s introduction as a guideline for my thoughts, I was able to search for the omission of each piece, and ponder the significance of absence.

                Each work’s omission gave me unique feelings. 97 Housemaids, by Daniela Ortiz, showed pictures collected from Facebook that centered on upper-class Peruvian families. The maids and workers were cut out or in the background. Though not intentional, the pictures depicted a heart-wrenching truth about the relationships between different social classes. Other works were less straightforward and required personal interpretation. A site-specific piece, Unfolded Architecture by Pablo Rasgado, showed a square of deconstruction. The omission of the sheetrock and plywood didn’t have a clear message, but it stirred in me a feeling of loss and impermanence. But perhaps the destruction of the old is necessary for the advent of the new. Other pieces had absent ideas, like the missing labor in Allora & Calzadilla’s sandpaper composition. This could represent a seeming disregard for the months of work the sandpaper was used for. Each piece had a unique message and a clear theme. “Limited Visibility” was a straightforward, but at times challenging concept. As an art novice, I was excited and surprised by the ideas I gleaned from things that were missing.

Visual Analysis:

                The piece that I have chosen to analyze is a collection of 84 black and white photographs by Santiago Sierra. It is called 89 Huicholes, and was made in 2006. Santiago is an artist from Spain, and many of his works express some sort of message for social change. In this piece, Santiago has compiled 84 portraits of members of the Huicholes tribe. These photographs, however, defy the conventional portrait form. The members of the tribe all have their backs to us. We can see the occasional neck, headdress, and hair, but their faces are hidden. Most portraits emphasize the face as the defining feature to be depicted, but Santiago views the back, or omission of the face as a significant representation of the individuals. These portraits are all similar, most with only one subject, but a few with an unseen mother and child. They are all depicted in black and white. This lack of color works to draw the attention to minute differences between each picture. Without distracting colors, the viewer is not overwhelmed by the display, and is able to analyze each individual. Each picture is in portrait orientation, and they are organized into 5 rows. The four top rows each have 17 pictures, but the bottom most row has only 16; there is an empty space in the bottom right corner. This is another example of purposeful omission, in line with the theme of the exhibit.

                In a society that highly values image and exposure, this piece is a culture shock. Viewing pictures that purposely omit the face is surprising, and extremely impactful. Even as we perused the exhibit, phones were out, pictures were being snapped and instantly posted. To look in on the starkly contrasting culture of the Huicholes is humbling. One of the last tribes in North America who still practice their pre-Columbian traditions, the Huicholes are constantly fighting against the government and farmers to maintain their religious practices and ancestral land rights. By having their backs to the viewer, this piece invokes a sense of guilt. Perhaps this is the only thing we ever see of the Huicholes, we live in ignorance of their existence. Could these pictures represent the highest level of exposure that their conditions and culture will ever receive?

                Even from behind, we can see that the subject of each portrait has a unique personality and attributes. This is seen in the way they choose to organize their hair, headdresses, and clothes. Their body position may indicate their psychological or physical condition. The viewer is forced to utilize what they are given to form a complete picture of the individual. Santiago describes this: "The person has to create what the person doesn't see". The viewer is not spoon-fed the picture, they instead must actively pursue the image of the individual. Without the face of the subjects being shown, only so much can be assumed about them. Although the viewer is keenly aware of the subject's individuality, they can't truly know the person from the light that has been captured and displayed. This may represent the tragedy of the unnoticed, unseen. There are people around the world that are unique, special, in need of help, but never noticed. They are never given the opportunity to communicate, be seen, and shown. The Huicholes are in this condition, and Santiago displays this in 89 Huicholes. We need to notice those being oppressed and silenced. We should take a break from absorbing the publicized, and instead actively pursue the things not being shown. By seeking out those whose backs are turned, we can have a positive impact on their lives. By changing our mentality, perhaps we can alter the culture to pursue engagement and active pursuit; as opposed to inactively viewing the things we are shown.

                The empty space in the bottom right corner of this work is another purposeful omission by Santiago. This space is perhaps meant to be filled by the people the viewer knows that are ignored. Individuals or cultures that are bypassed and oppressed, or maybe even the viewer him/herself feels that they would fit in this space. The empty space allows the message of the work to go beyond just the Huicholes. This ignored identity is seen around the world; the oppression of the Huicholes is an example of this universal principle. As I viewed this piece, I thought of the people I ignore and dismiss, and even those who I have never met or heard of, and I added them to this gap.

Pride in Advertising

Buik Reatta advertisement, published in Sports Illustrated, June 13th. 1988

Denotation:

                This advertisement from General Motors is promoting a Buick Reatta car. The car itself is bright red, gleaming, and highly glossed. With a black racing stripe down the center, aerodynamic design, and two doors, it seems like a sports car. It stands in stark contrast to the black background it is framed in. Above the car are the words “Go Ahead. You deserve it.” These are prominently displayed in all capital letters, in a bold font at the top of the advertisement. Below the car are the “specs” of the model. These are titled by the name of the car, “Reatta”, written in a sleek, smooth font. The details of the car itself and the short note to the audience of the advertisement are written in bright red letters, matching the car. The details of the car’s attributes are presented in a bulleted list, and are framed by flattering messages to the audience at the beginning and end. Underneath the specks is the company name, Buick, written in bold, red letters as well. Below this is a company slogan and logo, red to match the rest of the ad.

  

Connotation:

                This advertisement appeals to the deadly sin of pride. The first words seen justify self-indulgence: “Go ahead. You deserve it”.  At the top of the ad, they are prominent and bolded; hard to miss. The advertisers use these words to frame the car underneath as a tempting treat to be taken. The car itself is sporty, sleek, and attractive, but largely impractical. The advertisement acknowledges the flash and impracticality of the car, but by elevating the self-concept of the audience, the audience feels validated in buying the Reatta. The font of the car name, “Reatta” is smooth and sleek. This reinforces and emphasizes the sporty nature of the car. The main text of the advertisement works to persuade the audience that they deserve this car. The first line appeals directly to their pride: “Like many people of achievement”. It goes on to tell the audience that they have passed up on many pleasures in life to get to where they are now. “If so, this is your time- and Reatta is your car”. After describing the viewer as a successful, self-sacrificing person, they tell the audience to reward themselves for their excellence. The bulleted list following this outlines the attributes of the car. It describes a Buick that is worthy of a deserving driver. Throughout the text and in the slogan at the end, “American” is carefully placed. A patriotic, high-achieving, and motivated person like yourself deserves this fantastic car.

Audience:

                Published in a Sports Illustrated magazine in 1988, this ad’s target market was likely middle-aged, upper-middle class, American men. This demographic is often searching for something to do with their extra time and money. Eric Erikson describes this pivotal period in his stages of psychological development. He asserts that during this period, people begin to use their leisure time creatively, and reinvent their roles in society. The advertisers are catering to this psychographic: “You’ve probably postponed some of life’s special pleasures on your way to where you are. If so, this is your time.” They are offering them an appealing way to spend their newly freed up money and time. The audience of this ad is likely familiar with advertisements that appeal to the functionality and practicality of products. They are mature enough to see through many tactics used to disguise products as useful and practical. Consequently, the advertisers are openly presenting the car as a luxury vehicle. Though not necescarilly functional, it is something the viewer deserves.

Charlotte Bronte and Jane Eyre

Jane Eyre Dress Rehearsal- Act 1, Hessle Theatre Company, taken by John Drury

"Such is the imperfect nature of man! Such spots are there on the disc of the clearest planet; and eyes like Miss Scatcherd's can only see those minute defects, and are blind to the full brightness of the orb," (Bronte 62).

               

                By focusing on remedying the imperfect nature of man, the teachers of Lowood at the command of Mr. Brocklehurst spend all their days picking apart the sinful actions of their students. Trying to punish for imperfection, they are forever focused on the bad, however minuscule, and the miss the value of the individual. The central idea Bronte is trying to communicate in this passage is that cruel treatment, even when justified by religion, can be extensively damaging for individuals. The injustsice of Brocklehurst's treatment of the girls is seen in the extremity of their conditions and punishments, the disparity between the girls’ conditions and the conditions of Brocklehurst's wife and daughters, and Brocklehurst's lack of forgiveness.

                "I have a Master to serve whose kingdom is not of this world: my mission is to mortify in these girls the lusts of the flesh; to teach them to clothe themselves with shame-facedness and sobriety," (Bronte 59). Brocklehurst's aim is righteous upon initial inspection. However, the way in which he goes about this involves cruel and vicious tactics. Bronte recounts the awful treatment of the girls in the first few paragraphs. They are given minimal clothes to shield from the cold, barely enough food to survive, and are punished cruelly. These methods are meant to starve the body but feed the soul, but they instead result in the starvation of these girls physically and emotionally, and probably the rejection of any God who would allow such treatment.

                The true hypocrisy of Brocklehurst's mentality is exposed when his wife and daughters are introduced. While Brocklehurst is explaining to Miss Temple the shameful extravagance of the girls braided hair, Brocklehust's family interrupts. Three ladies walk in, wearing expensive curls, embroidered gowns, and rare furs. By introducing this situational irony, Bronte is able to comment on the hypocrisy of Brocklehurst and the horrible disparity between religious idealism and the true actions of many practitioners. The stark contrast between these two conditions reaffirms the horror of the conditions in Lowood.

                Though Brocklehurst claims to follow the tenants of Christianity, his practices are directly opposed to the purpose of Christianity. His lack of forgiveness towards Jane or any of the students shows his ignorance in true Biblical mercy. "For it is by grace you have been saved, through faith-- and this is not from yourselves, it is the gift of God--" (Ephesians 2:8). In the fundamental Christianity by which I have been raised, it is essential that this verse is realised in everyday life. Brocklehurst's attempt to reprimand and fix the girls in order for them to achieve salvation is in direct opposition with this verse. As he strives to right all their wrongs, with no forgiveness, he misses that grace and salvation come from Christ alone.

                Brocklehurst and Lowood's teachers are forever focused on the imperfection of Jane and her peers. Instead of depending on the salvation offered by the grace of God, they strive to earn salvation for the girls by making them live righteously. Bronte points out the horror of Brocklehurst's treatment, which seems to be justified by Christianity. Focusing on the sins of man will forever focus attention on what is wrong, without recognizing and utilizing all the things that are right. 

Works Cited

Bronte, Charlotte. Jane Eyre. London: J. M. Dent & sons Limited, 1908. Print.

Drury, John. "Jane Eyre Dress Rehearsal- Act 1." Hessle Theatre Company. N.p., n.d. Web. 4 Oct. 2014. <http://www.hessletheatre.co.uk/Productions/JaneEyre2011/JaneEyreDressRehearsalAct1.htm>.