collection of poems
Cherry stained fingers
I spit out a trail of pits for you to follow
Take a bite
My skin softly breaks against your teeth.
Not too many in a row,
savor it
Untie the knot in my stomach with your tongue.
When we’re done
you’ll have cherry stained fingers.
Yellow (for Darby)
the color you can’t help loving
for her eyes, smile and laugh are of the sun.
She comforts like a golden ooze
that stretches and drips.
the gooey hug sticks.
She glows and shimmers
exuding a love for the messy, dizzy, unloveable.
like soft pastels against skin she rubs off on you.
the sunflower yellow will stain your skin
leaving you with this always-memory of Her.
She is the color you can’t help loving.
Unregular Visitors
Picture her eyes, sunken in with heavy lids,
the kind that are only ever half open.
glossy and blurry is her lens.
Her mouth, unable to lift
into a smile you’d believe was real.
dry and itchy coats her throat
Picture her hands, shaky and abused
She bites the skin around already chewed nails.
stinging and aching
Her knees, just like her feet
worn down from the weight
of the battle stuck in her forehead.
tired and numb.
If reassurances were regular visitors
they would tell her everyday:
Rest your heavy heart my sweet, tired traveler
you are good.
you can be well.
you will be well.
Two Types of People
I can be anyone I want but I could never be you.
You're too many people already
unkind, unwilling, ungrateful.
I could fit into your bones
but my heart would be a squeeze.
I think, I consider, I change.
Your heart may be beating but it’s stiff.
Mine stretches and breathes
sloshing like wet pulp, spilling over.
I wish you love in your life.
The type you feel from lost dizzy talkers
Without love there is no drive to be better.
no epiphanies, no strength, no conscience.
Shell of Skin
I wish I could sneak out
of this sore head and achy bones
Leave this shell of skin.
Every night I would climb
out my second floor window.
I would wave goodbye to the shell of skin
and it would stare back with cloudy eyes
from its slump on my bedroom floor.
I wish I could take it with me
zip it back on and show it
what love from the world at night really felt like.
But it is too tired. too hurt. too stuck.
When I go out,
I lay in the prickly grass
kiss the street lights
cry into the river
and walk upside down in the middle of the street.
So that when my shell of skin is finally ready,
I’ll be the first one to show it real love.
I spit out a trail of pits for you to follow
Take a bite
My skin softly breaks against your teeth.
Not too many in a row,
savor it
Untie the knot in my stomach with your tongue.
When we’re done
you’ll have cherry stained fingers.
Yellow (for Darby)
the color you can’t help loving
for her eyes, smile and laugh are of the sun.
She comforts like a golden ooze
that stretches and drips.
the gooey hug sticks.
She glows and shimmers
exuding a love for the messy, dizzy, unloveable.
like soft pastels against skin she rubs off on you.
the sunflower yellow will stain your skin
leaving you with this always-memory of Her.
She is the color you can’t help loving.
Unregular Visitors
Picture her eyes, sunken in with heavy lids,
the kind that are only ever half open.
glossy and blurry is her lens.
Her mouth, unable to lift
into a smile you’d believe was real.
dry and itchy coats her throat
Picture her hands, shaky and abused
She bites the skin around already chewed nails.
stinging and aching
Her knees, just like her feet
worn down from the weight
of the battle stuck in her forehead.
tired and numb.
If reassurances were regular visitors
they would tell her everyday:
Rest your heavy heart my sweet, tired traveler
you are good.
you can be well.
you will be well.
Two Types of People
I can be anyone I want but I could never be you.
You're too many people already
unkind, unwilling, ungrateful.
I could fit into your bones
but my heart would be a squeeze.
I think, I consider, I change.
Your heart may be beating but it’s stiff.
Mine stretches and breathes
sloshing like wet pulp, spilling over.
I wish you love in your life.
The type you feel from lost dizzy talkers
Without love there is no drive to be better.
no epiphanies, no strength, no conscience.
Shell of Skin
I wish I could sneak out
of this sore head and achy bones
Leave this shell of skin.
Every night I would climb
out my second floor window.
I would wave goodbye to the shell of skin
and it would stare back with cloudy eyes
from its slump on my bedroom floor.
I wish I could take it with me
zip it back on and show it
what love from the world at night really felt like.
But it is too tired. too hurt. too stuck.
When I go out,
I lay in the prickly grass
kiss the street lights
cry into the river
and walk upside down in the middle of the street.
So that when my shell of skin is finally ready,
I’ll be the first one to show it real love.
January 2018
Here's Something to Think About:
Written in 2014
Question: What are some examples of boys or men who show vulnerability, or who are not stereotypically "masculine," and are respected for it?
Response: All of the men who I can think of that aren't completely stereotypically "masculine," who are respected, are artists such as Andy Warhol, David Bowie, Elton John, Kurt Cobain, etc. Looking at these names, we see patterns. All of these people are celebrities; Warhol and Bowie are bi/ambiguous, and Elton John is gay. As for Kurt Cobain, he rejected a lot of 'male roles,' and he cross dresses. The main thing that stands out to me, however, is the fact that they are all famous. It's probably easier to express being non-stereotypically masculine when thousands of people love and support you -apposed to a teenager or child who people look at as "rebels" or strange people because they don't have those thousands of people there to cheer them on. Teens and kids who are thought of as weird for stepping out of social norms most likely live around people who aren't used to seeing males who are not stereotypically masculine.
Written in 2014
Question: What are some examples of boys or men who show vulnerability, or who are not stereotypically "masculine," and are respected for it?
Response: All of the men who I can think of that aren't completely stereotypically "masculine," who are respected, are artists such as Andy Warhol, David Bowie, Elton John, Kurt Cobain, etc. Looking at these names, we see patterns. All of these people are celebrities; Warhol and Bowie are bi/ambiguous, and Elton John is gay. As for Kurt Cobain, he rejected a lot of 'male roles,' and he cross dresses. The main thing that stands out to me, however, is the fact that they are all famous. It's probably easier to express being non-stereotypically masculine when thousands of people love and support you -apposed to a teenager or child who people look at as "rebels" or strange people because they don't have those thousands of people there to cheer them on. Teens and kids who are thought of as weird for stepping out of social norms most likely live around people who aren't used to seeing males who are not stereotypically masculine.
long beach 2016
Every year, my family goes to Lincoln City beach over the summer for a couple of days. However, last year, we changed up our tradition and went to Long Beach, Washington over spring break as our beach trip. I didn’t know what to expect from the beach house we rented because I hadn’t gotten a chance to look at photos of the place online beforehand. My mom just told me that it was simple and not too exciting.
Driving there was interesting because it was like we were going nowhere. The road seemed endless. It changed from highway to a narrow windy road that made the car swerve in a left to right pattern through tall, dense trees. Then, back to an open semi-busy highway. Old diners with flickering neon “open” signs sat empty on the side of the road. It really did appear to be an infinite cycle until, finally, a “Welcome to Long Beach!” billboard came in view.
We drove and drove until we turned into a gravel driveway. Compared to other beach houses I have gone to, this one looked really big and was separated from the others in the area. There was a big field behind the house, and in the front, our closest family friends’ cars were parked.
I found myself bounding up the stairs to the front door and rattling the doorknob only to find that it was locked. I knocked on the door and called for my mom to hurry up. We all went inside together. The mud room had that sandy scent with earthy tones, and a cool breeze came into it from the other rooms. We went into an open room that appeared to be the kitchen, dining room, and livingroom put together. I took a deep breath in and the smell was a mix of sand and cleaning spray. Ahead of me was the kitchen with an island table. It was very plain and actually a little ugly; there were white painted cabinets and appliances, with a yellowy-brown wood trim around everything. There was also a big table to the left by a window that pretty much covered the whole beach-facing wall, and a few couches further on. The hallway forked off into bedrooms, then there was a staircase going down. The bottom floor, which was at ground level, had two bedrooms, an open livingroom like area, a ping pong table, and another kitchen.
The house was odd, but I loved it instantly. My sister, Ivy, and I unpacked our things in one of the downstairs bedrooms while the adults claimed their sleeping territories upstairs. Mariah, a family friend, and my mom had already started to lay out a puzzle on the big table. Ted and Tony (more family friends) cut up apples and unwrapped cheeses and jams to be snacked on. I set up my portable record player and put on Love. All of this was our tradition. The six of us hanging out, eating endless amounts of quince jam and crackers, listening to old songs, puzzling, and going to the beach. We did that night.
The only light outside was from our house behind us, the glow of houses further away, and the moon. We followed a long path to the beach straight from our house, it was kind of a long walk but we didn’t mind. Ted made a joke about “The Creepler” hiding in the tall grass around us! You see, in the grass and weeds, there were tree stumps scattered about that had the resemblance of people. The Creepler remains an inside joke to this day.
Mariah, Ivy and I sang songs from West Side Story on the beach. The three of us running, and jumping over old fire pits left on the pale-lit sand. It was cold, and wind rushed by our feet. We all walked far out to where the ocean almost met us, and looked out at the contrast of calmness, to the crashing waves far away on the horizon. It was beautiful.
The rest of our stay was leisurely and fun. We ended up driving Go-Karts in town, for me, the first adrenalized time, and we also played games at the arcade and ate lots of taffy. However, most of the time we were in the house. Tons of crab, mussels, and clams were eaten which fulfilled our happiness even more. At least three puzzles were completed.
Even though the place was plain and may have seemed boring at first, we managed to turn it into a place of cozy and happy memories. Many families have probably been to this specific Long Beach house, but I will always think of it as ours.
Driving there was interesting because it was like we were going nowhere. The road seemed endless. It changed from highway to a narrow windy road that made the car swerve in a left to right pattern through tall, dense trees. Then, back to an open semi-busy highway. Old diners with flickering neon “open” signs sat empty on the side of the road. It really did appear to be an infinite cycle until, finally, a “Welcome to Long Beach!” billboard came in view.
We drove and drove until we turned into a gravel driveway. Compared to other beach houses I have gone to, this one looked really big and was separated from the others in the area. There was a big field behind the house, and in the front, our closest family friends’ cars were parked.
I found myself bounding up the stairs to the front door and rattling the doorknob only to find that it was locked. I knocked on the door and called for my mom to hurry up. We all went inside together. The mud room had that sandy scent with earthy tones, and a cool breeze came into it from the other rooms. We went into an open room that appeared to be the kitchen, dining room, and livingroom put together. I took a deep breath in and the smell was a mix of sand and cleaning spray. Ahead of me was the kitchen with an island table. It was very plain and actually a little ugly; there were white painted cabinets and appliances, with a yellowy-brown wood trim around everything. There was also a big table to the left by a window that pretty much covered the whole beach-facing wall, and a few couches further on. The hallway forked off into bedrooms, then there was a staircase going down. The bottom floor, which was at ground level, had two bedrooms, an open livingroom like area, a ping pong table, and another kitchen.
The house was odd, but I loved it instantly. My sister, Ivy, and I unpacked our things in one of the downstairs bedrooms while the adults claimed their sleeping territories upstairs. Mariah, a family friend, and my mom had already started to lay out a puzzle on the big table. Ted and Tony (more family friends) cut up apples and unwrapped cheeses and jams to be snacked on. I set up my portable record player and put on Love. All of this was our tradition. The six of us hanging out, eating endless amounts of quince jam and crackers, listening to old songs, puzzling, and going to the beach. We did that night.
The only light outside was from our house behind us, the glow of houses further away, and the moon. We followed a long path to the beach straight from our house, it was kind of a long walk but we didn’t mind. Ted made a joke about “The Creepler” hiding in the tall grass around us! You see, in the grass and weeds, there were tree stumps scattered about that had the resemblance of people. The Creepler remains an inside joke to this day.
Mariah, Ivy and I sang songs from West Side Story on the beach. The three of us running, and jumping over old fire pits left on the pale-lit sand. It was cold, and wind rushed by our feet. We all walked far out to where the ocean almost met us, and looked out at the contrast of calmness, to the crashing waves far away on the horizon. It was beautiful.
The rest of our stay was leisurely and fun. We ended up driving Go-Karts in town, for me, the first adrenalized time, and we also played games at the arcade and ate lots of taffy. However, most of the time we were in the house. Tons of crab, mussels, and clams were eaten which fulfilled our happiness even more. At least three puzzles were completed.
Even though the place was plain and may have seemed boring at first, we managed to turn it into a place of cozy and happy memories. Many families have probably been to this specific Long Beach house, but I will always think of it as ours.
EXPANDING ON “CONSUMING KIDS”
THE COMMERCIALIZATION OF CHILDREN BY RUBY HUNTER 1/5/15
In the documentary Consuming Kids, one of the main themes is responsibility. The film asks: who is ultimately responsible for the commercialization of children? Are the parents or the advertisers in the wrong? Or is the commercialization of children actually wrong at all?
There are differing opinions to who is responsible for this type of marketing. The advertiser’s point of view is that it’s the parent’s responsibility because they are the ones in charge of their children.
Some parents believe that the advertisers are responsible because it’s hard for children to know if they’re being advertised to, or that parents aren’t always going to be with their children to limit their ad-viewing 24/7. Studies also show that children ages 0 to 7 literally don't know when the program ends and the advertisement starts. Therefore, it is up to advertisers, and the parents have no control over the commercialization of their children.
I, as a consumer, and my mom, as a parent who has dealt with the effects of advertising on my sister and me, we believe that it is the parent’s responsibility. We think this because when children use the nag factor when they want something, it is the parents who ultimately make the decision to say yes or no to buying a toy seen in a commercial. Since a child’s parent or guardian is in charge of them until they turn 18, they are obviously responsible for their child. That makes it up to the parents to decide when to turn off the T.V., what type of programing their child is exposed to, and when it’s time to leave the store and say no when their child has a meltdown over not getting the Nerf gun that they want. It’s the parents job to decide what media material is age appropriate for their child.
Yes, advertisers study children and get to know down to the last shape and color of what they are drawn to, but that is their job. They are trained to get children to notice the toys being sold, to remember them, and to want more. Does that really put them in the wrong?
With that last thought, is the commercialization of children really so bad? If advertisers are just doing what they do to bring home the money each day, and the parents are responsible for shutting off screens and unplugging their child and just saying “no”, I don't believe that it’s wrong.
Although in our society it may be difficult to take away all advertising from children, consumers (parents in this case) need to use their own buying power to drive what type of products and advertising become successful. If parents would stop reacting to their child’s “gimmies” etc., advertisers wouldn't sell their products. Eventually this could open the door to a new way of advertising that is more positive.
There are differing opinions to who is responsible for this type of marketing. The advertiser’s point of view is that it’s the parent’s responsibility because they are the ones in charge of their children.
Some parents believe that the advertisers are responsible because it’s hard for children to know if they’re being advertised to, or that parents aren’t always going to be with their children to limit their ad-viewing 24/7. Studies also show that children ages 0 to 7 literally don't know when the program ends and the advertisement starts. Therefore, it is up to advertisers, and the parents have no control over the commercialization of their children.
I, as a consumer, and my mom, as a parent who has dealt with the effects of advertising on my sister and me, we believe that it is the parent’s responsibility. We think this because when children use the nag factor when they want something, it is the parents who ultimately make the decision to say yes or no to buying a toy seen in a commercial. Since a child’s parent or guardian is in charge of them until they turn 18, they are obviously responsible for their child. That makes it up to the parents to decide when to turn off the T.V., what type of programing their child is exposed to, and when it’s time to leave the store and say no when their child has a meltdown over not getting the Nerf gun that they want. It’s the parents job to decide what media material is age appropriate for their child.
Yes, advertisers study children and get to know down to the last shape and color of what they are drawn to, but that is their job. They are trained to get children to notice the toys being sold, to remember them, and to want more. Does that really put them in the wrong?
With that last thought, is the commercialization of children really so bad? If advertisers are just doing what they do to bring home the money each day, and the parents are responsible for shutting off screens and unplugging their child and just saying “no”, I don't believe that it’s wrong.
Although in our society it may be difficult to take away all advertising from children, consumers (parents in this case) need to use their own buying power to drive what type of products and advertising become successful. If parents would stop reacting to their child’s “gimmies” etc., advertisers wouldn't sell their products. Eventually this could open the door to a new way of advertising that is more positive.
Music of World War I
by Ruby Hunter in May, 2014 for a school project
Many events occurred in the world from 1914 to 1919, and in that that time, the most eminent and world-wide was The Great War or WWI. Although the United States were only involved from 1917 to 1919, the full war included the Allies (the United Kingdom, France, and the Russian Empire) and the Central Powers of Germany and Austria-Hungary.
I love music, and one question that always crosses my mind is how does music affect certain people and different occurrences in history? When I was thinking of a topic for this paper, I was listening to one of my favorite radio programs called Divaville on KMHD, and a song came on, though I don't remember what it was exactly, that sounded older than most of the music that they play. I looked up the song and discovered that it was from during WWI. I kept listening, and noticed that the song was very patriotic and uplifting.
Ever since I listened to that song, I have been searching for the answers to new questions like these: How did music help the Allies ‘win’ World War I? What was or were some artists and/or composers that first inspired people? Did composers continue to songwright during the war? Why was there an attempted ban on German music? This paper will reflect those answers.
I think this is a very important topic because without the help of composers and stars like George M. Cohan, we wouldn’t have had as much enthusiasm to win (or to have hope that our side could get through the war). When we think of World War I, we think of men diving in and out of trenches and shooting at the war front. However, one part of the war that some neglect to remember is all of the family, friends, and supporters at home helping and giving hope to their soldiers. Other ways music might help at this time would be to entertain listeners to get their minds off of the war, or the opposite; it could be used to record what happened so history wouldn’t be repeated in the future.
At this time, music was very important mostly for the purpose of bringing spirit and patriotism to people who heard it. Patriotism, in the United States particularly, is genuinely important because without it our country would ultimately fall apart. The way I look at it, whenever the U.S. is involved with a war, everyone pitches in to do whatever they can to help our side, even if all they can do is spread a little hope through song. From believing this, I can’t help but think that other countries did the same.
Many questions have been asked about World War I, but the ones that don't have to do directly with the war, but how events and and certain actions affect it, tend to be the most interesting. A boggling idea to think about is that composers during WWI who took place in the war had time to write songs, when in fact, several composers did.
For example, English composer Ivor Gurney Estate wrote a piece called “By a Bierside” in an unused war trench in 1916. Also, Scottish composer Cecil Coles composed the orchestral suite “Behind the Lines” while serving in the trenches. The second movement shows a military funeral procession. Coles sent his manuscripts home (while serving) to his mentor; composer Gustav Holst. Around the time of Christmas, Holst received a manuscript from Coles. It was splashed with blood stains and muddy water. One year later, Coles was killed at the young age of 29. It is incredible that composers like Coles and Gurney Estate could write while at war front. Those who composed in the trenches left us with a legacy of music that heartbreakingly reflects it’s time and meaning.
Composers had to be careful as well not only because songwriting could have been a distraction, but also because of what happened to English composer Ralph Vaughan Williams. Before war broke out, Vaughan Williams was writing one of the most famous songs at its time, “The Lark Ascending,” in a notebook on the side of the road. A little boy confused him for a spy writing code and got Vaughan Williams arrested. Later, the song was finished. It ironically shows the loss of innocence (since he was innocent, and wasn’t a spy but a composer, but got arrested anyways).
Along with the false accusations of songwriting, some music was almost banned altogether. In Chicago, conductor Frederick Stock was forced to step down from his job with the Chicago Symphony Orchestra until he finished his naturalization papers. Orchestras had their music replaced from German composer Richard Wagner’s to French composer Hector Berlioz’s. There was an attempt ban on other German composers like Brahms, Beethoven and Bach too because the U.S. was against Germany at the time.
In the United States, one of the most famous singers and composers during WWI was George M. Cohan. He was Irish-American and very patriotic. Though he claimed that his birthday was on the Fourth of July, really he was born on July 3, 1878 in Providence, Rhode Island. Cohan was known for his skills in: (comedic) acting, singing, dancing, songwriting, and producing. His career started when he was ten years old. At this time in Cohan’s life, his family (sister, father, mother, and himself) started a family act known as The Four Cohans. They were nomadic and poor, but became popular from their musical group. When Cohan turned eleven, he started to write material for the family act on his own as he became a terrific dancer and actor.
In Cohan’s adult years, his top hit tune was during World War I in the United States, and it was called “Over There.” Twenty-five years after 1917, President Franklin Roosevelt awarded George Cohan the Congressional Medal of Honor for the patriotic spirit expressed in this war song. His other most well known songs at the time were “I’m a Yankee Doodle Dandy” and “Grand Old Flag.” The song “I’m a Yankee Doodle Dandy” was mainly about wartime spirit shown in the lyrics: “I’m a Yankee Doodle Dandy, / A Yankee Doodle, do or die; / A real live nephew of my Uncle Sam’s / Born on the Fourth of July.”
Other than Cohan and other key items bringing hope to the United States, so did everyday people. They helped to bring hope by adding to war efforts to keep their country fighting, and to show that they hadn’t given their soldiers up. All of the music written during World War I in the U.S. that had to do with the war had a great impact because it supplied what true thoughts were about the war. Whether song lyrics (or moods/tunes) were about bringing soldiers home, funeral processions, or how much we love America, should always use them as a reminder. The reminder is that without these songs, we could have repeated history by now because the songs were like a lyrical journal of what happened. Also, we probably wouldn’t have had enough spirit and hope to go on with war and win World War I.
by Ruby Hunter in May, 2014 for a school project
Many events occurred in the world from 1914 to 1919, and in that that time, the most eminent and world-wide was The Great War or WWI. Although the United States were only involved from 1917 to 1919, the full war included the Allies (the United Kingdom, France, and the Russian Empire) and the Central Powers of Germany and Austria-Hungary.
I love music, and one question that always crosses my mind is how does music affect certain people and different occurrences in history? When I was thinking of a topic for this paper, I was listening to one of my favorite radio programs called Divaville on KMHD, and a song came on, though I don't remember what it was exactly, that sounded older than most of the music that they play. I looked up the song and discovered that it was from during WWI. I kept listening, and noticed that the song was very patriotic and uplifting.
Ever since I listened to that song, I have been searching for the answers to new questions like these: How did music help the Allies ‘win’ World War I? What was or were some artists and/or composers that first inspired people? Did composers continue to songwright during the war? Why was there an attempted ban on German music? This paper will reflect those answers.
I think this is a very important topic because without the help of composers and stars like George M. Cohan, we wouldn’t have had as much enthusiasm to win (or to have hope that our side could get through the war). When we think of World War I, we think of men diving in and out of trenches and shooting at the war front. However, one part of the war that some neglect to remember is all of the family, friends, and supporters at home helping and giving hope to their soldiers. Other ways music might help at this time would be to entertain listeners to get their minds off of the war, or the opposite; it could be used to record what happened so history wouldn’t be repeated in the future.
At this time, music was very important mostly for the purpose of bringing spirit and patriotism to people who heard it. Patriotism, in the United States particularly, is genuinely important because without it our country would ultimately fall apart. The way I look at it, whenever the U.S. is involved with a war, everyone pitches in to do whatever they can to help our side, even if all they can do is spread a little hope through song. From believing this, I can’t help but think that other countries did the same.
Many questions have been asked about World War I, but the ones that don't have to do directly with the war, but how events and and certain actions affect it, tend to be the most interesting. A boggling idea to think about is that composers during WWI who took place in the war had time to write songs, when in fact, several composers did.
For example, English composer Ivor Gurney Estate wrote a piece called “By a Bierside” in an unused war trench in 1916. Also, Scottish composer Cecil Coles composed the orchestral suite “Behind the Lines” while serving in the trenches. The second movement shows a military funeral procession. Coles sent his manuscripts home (while serving) to his mentor; composer Gustav Holst. Around the time of Christmas, Holst received a manuscript from Coles. It was splashed with blood stains and muddy water. One year later, Coles was killed at the young age of 29. It is incredible that composers like Coles and Gurney Estate could write while at war front. Those who composed in the trenches left us with a legacy of music that heartbreakingly reflects it’s time and meaning.
Composers had to be careful as well not only because songwriting could have been a distraction, but also because of what happened to English composer Ralph Vaughan Williams. Before war broke out, Vaughan Williams was writing one of the most famous songs at its time, “The Lark Ascending,” in a notebook on the side of the road. A little boy confused him for a spy writing code and got Vaughan Williams arrested. Later, the song was finished. It ironically shows the loss of innocence (since he was innocent, and wasn’t a spy but a composer, but got arrested anyways).
Along with the false accusations of songwriting, some music was almost banned altogether. In Chicago, conductor Frederick Stock was forced to step down from his job with the Chicago Symphony Orchestra until he finished his naturalization papers. Orchestras had their music replaced from German composer Richard Wagner’s to French composer Hector Berlioz’s. There was an attempt ban on other German composers like Brahms, Beethoven and Bach too because the U.S. was against Germany at the time.
In the United States, one of the most famous singers and composers during WWI was George M. Cohan. He was Irish-American and very patriotic. Though he claimed that his birthday was on the Fourth of July, really he was born on July 3, 1878 in Providence, Rhode Island. Cohan was known for his skills in: (comedic) acting, singing, dancing, songwriting, and producing. His career started when he was ten years old. At this time in Cohan’s life, his family (sister, father, mother, and himself) started a family act known as The Four Cohans. They were nomadic and poor, but became popular from their musical group. When Cohan turned eleven, he started to write material for the family act on his own as he became a terrific dancer and actor.
In Cohan’s adult years, his top hit tune was during World War I in the United States, and it was called “Over There.” Twenty-five years after 1917, President Franklin Roosevelt awarded George Cohan the Congressional Medal of Honor for the patriotic spirit expressed in this war song. His other most well known songs at the time were “I’m a Yankee Doodle Dandy” and “Grand Old Flag.” The song “I’m a Yankee Doodle Dandy” was mainly about wartime spirit shown in the lyrics: “I’m a Yankee Doodle Dandy, / A Yankee Doodle, do or die; / A real live nephew of my Uncle Sam’s / Born on the Fourth of July.”
Other than Cohan and other key items bringing hope to the United States, so did everyday people. They helped to bring hope by adding to war efforts to keep their country fighting, and to show that they hadn’t given their soldiers up. All of the music written during World War I in the U.S. that had to do with the war had a great impact because it supplied what true thoughts were about the war. Whether song lyrics (or moods/tunes) were about bringing soldiers home, funeral processions, or how much we love America, should always use them as a reminder. The reminder is that without these songs, we could have repeated history by now because the songs were like a lyrical journal of what happened. Also, we probably wouldn’t have had enough spirit and hope to go on with war and win World War I.
Stealth Advertising by Ruby Hunter 11/6/14
In the documentary (from 2000) The Merchants of Cool, one of the main points talked about is something called ‘stealth advertising.’ This way of advertising is when a company pays a “cool” person (or someone that everyone wants to base their style off of), and has them go to a party and talk to random people casually. After they have talked for a little while, they start to introduce the product that the company paid them to talk up into the conversation (without the random person knowing that they are advertising). The reason this works is because the person who is being secretly advertised to just thinks that this cool person is using this cool product, and is just casually talking about how cool it is (just like when your friend tells you about an awesome video game they have been playing). Then they think “wow! I should get that product so I can be as cool as them!” The Merchants of Cool makes us ask ourselves questions like; are “stealth” techniques in advertising ethical? If a marketer offered you money to go on chat-rooms or to parties and put a word or two in for a product, would you? And also, how important is it to know if your are being advertised to or not?
Is stealth advertising (also known as “under the radar marketing”) okay? I say yes. I can see how people would think that stealth advertising is bad. In a way, by advertising like this, someone could think that it they are being cheated or tricked. On the other hand, this way of advertising could be good because you don't know that you are being advertised to, so you aren’t as defensive, and you don't think “that stupid company is trying to squeeze the money out of me! I must resist!” It’s not the same as seeing a commercial on tv. It’s also not in your face, like most advertisements. Instead of giving a lecture about how a company’s product will change your life for the better, and by pressuring you to act now!!!!! when buying something. Undercover marketing is just a little, quick suggestion of checking out a product because it’s cool. Plus, with undercover marketing, you won’t have Billy Mays yelling in your face about Oxi Clean or something.
Also, in some cases, advertisers hide the main message so well that some people don't even know what they are buying! As an example shown in The Merchants of Cool, in 2000, Sprite advertised by mixing their product with hip-hop and pure cool. They threw a huge dance party in New York City (with Sprite as the refreshment), but made the teens who were there believe that instead of selling soda, Sprite was making a statement and selling a hip-hop lifestyle to them instead. “They all of a sudden put their arm around that kid who was drinking Sprite and said ‘we understand you, we recognize you, we want to be part of your life’ and not just ‘please drink our product.’ They almost weren’t even selling the product, they were selling the fact that they understood the culture.” - The Merchants of Cool
Would I be a stealth advertiser for some company if they payed me? Sure! Why not? Some people would say no if a business asked them to secretly advertise to a stranger because they would count it as unethical or not fair, but I think it is clever! There is nothing wrong with this way of selling a product. Corporations will always be shoving ads into our lives, we might as well get used to it. And I don’t believe that it is very important for us to know exactly when we are being advertised to because I’m so used to it being an automatic part of my everyday life, that I don't need to be told “this is an advertisement by McDonalds!” It just isn’t that big of a deal in my eyes.
Overall, thinking whether or not under the radar marketing is good depends on opinion. But if you step back and think about the general public, it seems as though no one would really care if someone was advertising to them without their knowledge, because it has most likely happened to them before, and it happens to EVERYONE. It also doesn’t matter if you would accept money from a company or not to advertise secretly, because we do it all the time without a company even asking us! It happens when we talk about an awesome movie we just saw, or suggest a book to a friend or something! Stealth advertising is brilliant, and is the perfect way for advertisers to get a product out without being too overwhelming. There is nothing wrong with that.
In the documentary (from 2000) The Merchants of Cool, one of the main points talked about is something called ‘stealth advertising.’ This way of advertising is when a company pays a “cool” person (or someone that everyone wants to base their style off of), and has them go to a party and talk to random people casually. After they have talked for a little while, they start to introduce the product that the company paid them to talk up into the conversation (without the random person knowing that they are advertising). The reason this works is because the person who is being secretly advertised to just thinks that this cool person is using this cool product, and is just casually talking about how cool it is (just like when your friend tells you about an awesome video game they have been playing). Then they think “wow! I should get that product so I can be as cool as them!” The Merchants of Cool makes us ask ourselves questions like; are “stealth” techniques in advertising ethical? If a marketer offered you money to go on chat-rooms or to parties and put a word or two in for a product, would you? And also, how important is it to know if your are being advertised to or not?
Is stealth advertising (also known as “under the radar marketing”) okay? I say yes. I can see how people would think that stealth advertising is bad. In a way, by advertising like this, someone could think that it they are being cheated or tricked. On the other hand, this way of advertising could be good because you don't know that you are being advertised to, so you aren’t as defensive, and you don't think “that stupid company is trying to squeeze the money out of me! I must resist!” It’s not the same as seeing a commercial on tv. It’s also not in your face, like most advertisements. Instead of giving a lecture about how a company’s product will change your life for the better, and by pressuring you to act now!!!!! when buying something. Undercover marketing is just a little, quick suggestion of checking out a product because it’s cool. Plus, with undercover marketing, you won’t have Billy Mays yelling in your face about Oxi Clean or something.
Also, in some cases, advertisers hide the main message so well that some people don't even know what they are buying! As an example shown in The Merchants of Cool, in 2000, Sprite advertised by mixing their product with hip-hop and pure cool. They threw a huge dance party in New York City (with Sprite as the refreshment), but made the teens who were there believe that instead of selling soda, Sprite was making a statement and selling a hip-hop lifestyle to them instead. “They all of a sudden put their arm around that kid who was drinking Sprite and said ‘we understand you, we recognize you, we want to be part of your life’ and not just ‘please drink our product.’ They almost weren’t even selling the product, they were selling the fact that they understood the culture.” - The Merchants of Cool
Would I be a stealth advertiser for some company if they payed me? Sure! Why not? Some people would say no if a business asked them to secretly advertise to a stranger because they would count it as unethical or not fair, but I think it is clever! There is nothing wrong with this way of selling a product. Corporations will always be shoving ads into our lives, we might as well get used to it. And I don’t believe that it is very important for us to know exactly when we are being advertised to because I’m so used to it being an automatic part of my everyday life, that I don't need to be told “this is an advertisement by McDonalds!” It just isn’t that big of a deal in my eyes.
Overall, thinking whether or not under the radar marketing is good depends on opinion. But if you step back and think about the general public, it seems as though no one would really care if someone was advertising to them without their knowledge, because it has most likely happened to them before, and it happens to EVERYONE. It also doesn’t matter if you would accept money from a company or not to advertise secretly, because we do it all the time without a company even asking us! It happens when we talk about an awesome movie we just saw, or suggest a book to a friend or something! Stealth advertising is brilliant, and is the perfect way for advertisers to get a product out without being too overwhelming. There is nothing wrong with that.
5/1/13 By Ruby Hunter
What Motion Picture To Watch
Amélie
There are terrific movies made each year all over the world. Just the other day, I watched a fantastic movie called Amélie. It’s a French film about a young woman who decides to change the lives around her for the better, while struggling in her own isolation. Along the way, she falls in love, and changes her own life. The movie is rated R, so it wouldn’t be the best for most children, but even so, it’s an amazing movie. The plot is unique, the music is fantastic, the colors are perfect for the mood of the story and the actors are great for their parts.
To begin with, the colors and ‘sets’ are amazing! Amélie is made and filmed in France, so all of the shots are beautiful, of course. And, in Amélie, they made each scene have green and red in them, so it’s very interesting to see the two colors blend into each shot. Moreover, the film was so excellent that it won several awards in the European Film Awards, including best film. Also, it was named one of the best movies ever made by the New York Times, and various magazines. The movie was nominated best art direction, cinematography, best foreign language film, original screenplay and best sound! That’s five academy awards! Although it didn’t win these, it should have, because this is one of the best movies ever.
Next, Amélie has the most well fit actors for each part. Audrey Tautou plays Amélie; as the main character she is both lovable and shy. Tautou matches the roll of Amélie perfectly! Originally, the roll was meant for the English actress, Emily Watson. However, her French wasn’t strong enough for the part, so Audrey Tautou stepped in to play Amélie instead.
What I love about the movie is the music. Composed by Yann Tiersen, the soundtrack perfectly highlights the moods and mood changes of the movie. Each song features piano and accordion. But also you can hear harpsichord, banjo, bass guitar, vibraphone and even a bicycle wheel at the end of “La Dispute” (which plays over the opening titles in the motion picture). The music Tiersen wrote for Amélie captures the most romantic and beautiful aspects of French music to make the film more exciting for the audience.
All-in-all, if you had to choose one movie to watch in your life, you should watch Amélie. It’s a fun, charming and unique French movie with eye captivating visuals, wonderful actors and the most breathtakingly beautiful music. Watch Amélie, you won’t regret it.
What Motion Picture To Watch
Amélie
There are terrific movies made each year all over the world. Just the other day, I watched a fantastic movie called Amélie. It’s a French film about a young woman who decides to change the lives around her for the better, while struggling in her own isolation. Along the way, she falls in love, and changes her own life. The movie is rated R, so it wouldn’t be the best for most children, but even so, it’s an amazing movie. The plot is unique, the music is fantastic, the colors are perfect for the mood of the story and the actors are great for their parts.
To begin with, the colors and ‘sets’ are amazing! Amélie is made and filmed in France, so all of the shots are beautiful, of course. And, in Amélie, they made each scene have green and red in them, so it’s very interesting to see the two colors blend into each shot. Moreover, the film was so excellent that it won several awards in the European Film Awards, including best film. Also, it was named one of the best movies ever made by the New York Times, and various magazines. The movie was nominated best art direction, cinematography, best foreign language film, original screenplay and best sound! That’s five academy awards! Although it didn’t win these, it should have, because this is one of the best movies ever.
Next, Amélie has the most well fit actors for each part. Audrey Tautou plays Amélie; as the main character she is both lovable and shy. Tautou matches the roll of Amélie perfectly! Originally, the roll was meant for the English actress, Emily Watson. However, her French wasn’t strong enough for the part, so Audrey Tautou stepped in to play Amélie instead.
What I love about the movie is the music. Composed by Yann Tiersen, the soundtrack perfectly highlights the moods and mood changes of the movie. Each song features piano and accordion. But also you can hear harpsichord, banjo, bass guitar, vibraphone and even a bicycle wheel at the end of “La Dispute” (which plays over the opening titles in the motion picture). The music Tiersen wrote for Amélie captures the most romantic and beautiful aspects of French music to make the film more exciting for the audience.
All-in-all, if you had to choose one movie to watch in your life, you should watch Amélie. It’s a fun, charming and unique French movie with eye captivating visuals, wonderful actors and the most breathtakingly beautiful music. Watch Amélie, you won’t regret it.
Book Review: Since You've Been Gone
by Morgan Matson
Review by Ruby Hunter
Since You’ve Been Gone, by Morgan Matson, is an inspirational novel (realistic fiction) about high schooler Emily Hughes, who has lost her best friend. Well, they didn't break up or anything, Sloane has literally disappeared without explanation. The only evidence that Sloane has left her, is a bucket list that may lead Emily back to her best friend. Throughout the book, Emily realizes that by doing all of the way-out-of-comfort-threshold challenges on the list, she is actually having the best summer of her life. She also sees that Sloane is helping her understand that she can move forward even when the one person that she is most dependent on leaves mysteriously.
This is the first coming of age book I have read, and I was very satisfied with the book! Since You've Been Gone is supposed to show the reader that it is possible to be independent and to do things without help, and that sometimes you are going to be in a situation where you might only have the help of a few friends to accomplish something big. It also teaches us about the cheesy part of most young adult novels, which is romance, and also a big theme that is reflected is the idea of self esteem.
I would highly recommend this book to anyone between the ages of thirteen and up, even though the book is aimed mostly at high school girls. Since You've Been Gone is humorous, inspiring, clever, fun, at a good reading level, relatable, and altogether a great story that will make you smile without realizing that you are.
http://www.morganmatson.com/ Here is a link to the authors website.
by Morgan Matson
Review by Ruby Hunter
Since You’ve Been Gone, by Morgan Matson, is an inspirational novel (realistic fiction) about high schooler Emily Hughes, who has lost her best friend. Well, they didn't break up or anything, Sloane has literally disappeared without explanation. The only evidence that Sloane has left her, is a bucket list that may lead Emily back to her best friend. Throughout the book, Emily realizes that by doing all of the way-out-of-comfort-threshold challenges on the list, she is actually having the best summer of her life. She also sees that Sloane is helping her understand that she can move forward even when the one person that she is most dependent on leaves mysteriously.
This is the first coming of age book I have read, and I was very satisfied with the book! Since You've Been Gone is supposed to show the reader that it is possible to be independent and to do things without help, and that sometimes you are going to be in a situation where you might only have the help of a few friends to accomplish something big. It also teaches us about the cheesy part of most young adult novels, which is romance, and also a big theme that is reflected is the idea of self esteem.
I would highly recommend this book to anyone between the ages of thirteen and up, even though the book is aimed mostly at high school girls. Since You've Been Gone is humorous, inspiring, clever, fun, at a good reading level, relatable, and altogether a great story that will make you smile without realizing that you are.
http://www.morganmatson.com/ Here is a link to the authors website.