Love and Rob Essays

The love of affection is a term that I feel I have had in my life and was easily portrayed as a need. My parents are the people in who brought me into this world. They have shown me their ways of becoming a person- by me making my own decisions, and most importantly having a walk with Christ. They may have been a pain to me through discipline, but they always have shown me their love through affection.

As William waits, the members of the band Stillwater arrive late to the show. Recognizing them, he introduces himself as a journalist and asks for an interview. They refuse, yelling, “The enemy! A rock writer.” It’s no accident that this nickname sticks. The band members—particularly Russell Hammond, the guitarist—are the ENEMIES of William’s adventure. Far from traditional, out-and-out villains, these antagonists take more “curiously fluid, ambiguous forms.” (Campbell 97) They are the SHAPESHIFTERS that Lester Bangs has warned him against, the “fake friends” that will “ruin rock and roll.” It’s not until William flatters them with his detailed knowledge of their music that they offer up a fickle form of friendship, bringing

What is the ultimate form of a tragic love? For Wong, it is neither denial nor acceptance, but an eternal state of longing and waiting. Among Wong Kar Wei’s internationally acclaimed productions, Days of Being Wilde (1990), In the Mood for Love (2000), and 2046 (2004) are loosely counted as a trilogy of love. In the end chapter of his trilogy 2046, Wong continues to focus on Chou-Mu-Yun, a sentimental yet callous writer and womanizer. Revolving around the affairs of Chou, 2046 presents to its audience three pathways that love could possibly offer: to unite in happiness, to move on after the denial from the loved one, and to linger upon the unanswered love in perpetuity. Chou is undoubtedly chosen to be the bearer of the last pathway. As the

Christopher Bruce based the production on the “sexual war” he witnessed growing up in the 1960’s. His intention was to celebrate the music of The Rolling Stones and use the qualities of the songs to reflect this. The production is set in the 1960’s when the rights of males and females began to equalise.

In The Cove music is a very large factor in portraying the emotions and feelings of the dolphins. It makes the audience reconsider and their opinions on certain situations that the dolphins are living in. The song Smile by Judy Garland plays throughout the interview of Ric O’ Barry, in which he says, “A dolphin’s smile is nature’s greatest deception.” The song choice ties in very well with the interview and the footage being played at the time as well. Its cleverness makes the audience acknowledge this scene more and therefor having a greater effect on their opinions. In Blackfish it shows the reveal of the Killer Whale, Tilikum and with that a feeling quite opposite that of The Cove. Instead of building up empathy with sad music it tries to worry the viewers by adding a dreaded ticking sound, symbolising a bomb about to go off. It plays for a while, on top every Tilikum introduction. This is music is a very good way of foreshadowing danger or a bad ending. As you can see, both The Cove and Blackfish use music to generate certain emotions and reflect on the footage being shown or situation described. However in The Cove it tries to create empathy by cleverly tying in music, footage and quotes while in Blackfish it uses very slow, subtle transitions with a combination of ticking music to emphasise worry or horror in the audience but also foreshadow what the documentary is

Cowperthwaite wastes no time in establishing an emotional connection between viewers and the subject matter. Cowperthwaite uses pathos in the form of an actual 911 emergency phone call related to SeaWorld incidents, interviews given by former SeaWorld trainers, and video clips of killer whales behaving in nature and in captivity. Within the first few seconds of the documentary, viewers are exposed to not one but two horrifying 911 emergency phone calls. In one of these phone calls, a man calls and communicates to the

Gay musicians felt this John song was a message to Brian Epstein, featuring a Dylan influenced folk rock sound. It is...

The central point of Rob Sheffield’s essay “Rumblefish” is that a person can become a vital part of your life. Even after that person is gone, the memories you have of the person continue to be a part of your life. The relationship of Rob and Renée described in the story was the story of two inseparable individuals. Their friend’s sister even thought they were one person named “Robin Renée” (649). Sheffield wants to remember every detail about Renée. He fears forgetting even the slightest detail about Renée (650). Renée lives through the songs on the mixtape. Sheffield states that “Renée’s not done with me yet” (652). The music and the memories Sheffield has of Renée are still an important part of his. The songs in the narrative help set the

The journey that Richard and Mildred Loving took is important for history and for the future of civil rights in the United States. I recently watched the documentary The Loving Story and enjoyed the footage, pictures, and interviews of everyone involved in the Loving v. Virginia case. The documentary addressed the issue of interracial marriage in Virginia in 1967.

This music is not useful as background music. It cannot be used in the same way the 30 years worth of Miles’ previous music can be used. It demands attentiveness. It is militant and arrogant. It is sometimes more a display of audacity and an assertion of absolute independence then a lovely palette to summon dreams. The dream is over. All the romantic ballads and pleasurable entertainment is history. With this sound he describes a new reality for which he invents a

Gabriela Cowperthwaite’s compelling documentary, Blackfish, tells the story of former SeaWorld trainer, Dawn Brancheau, and her tragic death. The film focuses on exposing the truths about working at SeaWorld, and the inhumane treatment of the Orca’s that live there. It successfully appeals to logos by conducting interviews with former SeaWorld trainers while they explain firsthand the working conditions, training requirements and living conditions of the whales. Interviews, catastrophic death stories, court cases and eyewitness accounts are all used as persuasive devices and logical support. Moreover, pathos heavily influences almost every aspect of the film due to the filmmakers’ music choice and strategically placed footage clips. Blackfish also sheds light on the sequence of events that led up to the

Rhetorics, like pathos and ethos, successfully convey the documentary’s message. John Crowe recalls the capturing of killer whales involving bombs, nets, aircrafts, and chasing them into coves. Those who did not survive were inhumanely sunk using rocks and anchors. Kateena was found shaking, crying, and screaming using long range vocals when her daughter, Kaleena, was relocated to a new park. In addition, the use of former

The off-beat sequences of the electric guitar create a reggae feel for the song endorsing it to be mellow. Throughout the song, the electric guitar does not have any solos but variations of its sequence are repeated throughout the structure of the song. Doing so gives the lead singers’ message more priority. The domination of the classic drum kit creates a ‘head-bobbing’ motion for some when listening to this song, helping it become more popular and an easily enjoyable song.

” Williams’ theory therefore suggests that the terms must necessarily co-exist in order to define each other. The “pervasiveness of consent ” therefore characterises the fifties, against which these Beat texts can be contrasted. Theodore Roszak’s 1969 article ‘The Making of a Counterculture,’ helps define beat ideology as “heightened self-expression and often a rejection of political and authoritative institutions… a negative spirit of the times coupled with a specific lifestyle .” Both On the Road and Howl and their author’s lifestyles of their writers reflect this criterion, in idiomatic and contextual terms, lending to the notion that they are, by the overall nature of their existence, countercultural texts. Roszak’s adolescent counterculture often seems the embodiment of Dean and Sal’s ‘beatitude’ in On the Road “when they pulse to music…value what is raunchy… flare against authority, seek new experience, ” but it is similarly descriptive of the naked, sometime vulgar language Ginsberg employs in Howl “who bit detectives in the neck… let themselves be fucked in the ass.” (13) The Beats admire the vibrancy naturally present among youth, and although this is a style for which their writing has been criticised, it is a move away from the traditionally

Love is a powerful feeling; it makes you do crazy thing. Many people spend years trying to find it, others give up thinking they’ll never find it. Love has been defined as an intensive feeling of a deep romantic or sexual attachment to someone. Of course, Love doesn 't have to romantic and/or sexual. People who are ace, as in asexual, aromantic and agender, can still be in relationships that are satisfying for them without the needs of a romantic relationship. Familial love is also non-romantic-sexual. However, in this paper, we will be talking about romantic-sexual love, what it is, and why I believe it’s so important to understand and experience.