Dead On Arrival

Justifying actions by attributing them to fate or performing actions with little foresight, the characters of Sophocles’ Antigone exploit fate as a sanction for poor judgment. While the “power of fate is fully of mystery” (951), Creon and Antigone, among others, reason that “there’s no evading it, no, not with wealth, or war, or walls, or black sea-beaten ships” (952-953).
Creon first manipulates the idea of fate when he rationalizes the lack of a “burial mound” or “funeral rites” (233) for Polyneices. Creon asserts that Polyneices “be left unburied, his body there for birds and dogs to eat, a clear reminder of his shameful fate” (234-236). Here, Creon assumes the predetermination of Polyneices’ death and attempt at social ascension. Creon errs, however, by assuming that his duty or fate lies in punishing Polyneices; he wrongfully presumes that he is anointed to determine the fate of Polyneices’ remains.
Antigone, by contrast, invokes fate as a reason for burying her deceased brother. Were Creon to punish Antigone for insubordination, Antigone would “count that a gain” (522). Cognizant of her inexorable passing, Antigone shrugs death off and believes that “meeting this fate won’t bring any pain” (526-527). Antigone recognizes the universality of death and deludes herself by reasoning that it could strike extemporaneously, as dictated by fate.
Born a “wretched daughter” (972), Antigone concludes that fate “sticks to us” (967). The convoluted circumstance of her birth, “the curse arising from a mother’s marriage bed” (968-969) has shadowed her throughout her life. The inauspicious fate of her parents was ultimately bequeathed to her, illustrating the foreordained nature of fate. “An outcast”, “unmarried an accursed” (973), Antigone admits that “death killed me while still alive” (975). This concession elucidates Antigone’s earlier placid demeanor; Antigone does not fear death for death has consumed her life.
While free will exists in Antigone, fate prevails. Every action, every decision is predetermined by fate; this maxim holds true for the vast majority of tragedies. Lamentably, fate rarely works out in one’s favor as all paths lead to death.

 

Radiohead!

Schematically sound, An Intimate Moment With Radiohead paints a holistic picture of the highs and lows (albeit few) of Radiohead’s recent performance at the Roseland Ballroom. Reviewer Nate Chinen comprehensively describes the set and underscores the distinctions between Radiohead’s newer and older work. Chinen’s thoroughness, comparative approach, and sensory detail heavily contribute to the appeal of the review.
Chinen begins the review with a comedic anecdote of the “logical adjustments” that plagued the set. He illustrates how Thom York, Radiohead’s lead vocalist, reworked these inauspicious hang-ups into imaginative scenarios that would feature a “giant inflatable pig” or a piano that “would rise out of a trap door.” While these comments stray from the actual performance, they help define the atmosphere of the Ballroom, a worthy inclusion on Chinen’s behalf.
Although Chinen includes a few verses from “Lotus Flower”, he proceeds to critique the set’s first song “Bloom”. Chinen refers to “Bloom” as a “reverie propelled by something like refracted samba rhythm.” This description serves as an auditory stimulus, a way of allowing readers to feel the beat of “Bloom” without experiencing it firsthand.
After offering visual cues of the stage and band members, Chinen expounds on “The King of Limbs”, Radiohead’s newest album. He relates how “the band has shifted away again from solid riffs and toward diffuse texture, as it did in 2000, on ‘Kid A’ (Capitol)”. This distinction alerts readers, especially those who have taken interest in Radiohead, to expect a dramatic change in sound from one album to the next; it also serves a supplementary purpose as a snippet of background information on the band’s former sound.
Chinen’s piece encompasses many of the essential ingredients of an effective review; he clearly communicates the setting, proceedings, and feel of the event and encourages readers to give Radiohead a listen.

 

Cole World

After much anticipation, J Cole has finally released his debut album “Cole World: The Sideline Story.” J Cole has been around for several years, releasing mix tapes over the internet and building up his fan base. His debut album kept getting pushed back but it is finally here and some of his fans could not be happier.

Others are not as excited about the album. Jon Caramanica, a critic for the New York Times, believes that J Cole’s album is not as good as it could have been. Mr. Caramanica believes that J Cole’s early work from his mix tapes was better because he was not trying to fit into mainstream hip-hop while his debut album is compromised because of the limitations of mainstream hip hop. Caramanica believes that J Cole is at his best when rapping about personal experiences, such as love and family, but a lot of the album is dedicated to songs about being rich and other things that mainstream rappers rap about. J Cole performed at the Roseland Ballroom and Caramanica notes that the performance was awkward. Cole was at his best when performing songs like “In the Morning” or “Lost Ones” but was listless when performing songs such as “Mr. Nice Watch” and “Who Dat.”

I believe that Mr. Caramanica has a valid point. J Cole’s meaningful songs are much better than his mainstream songs. Many rappers have the same problem. While Mr. Caramanica is not thrilled by Cole’s debut album, I know many people that are. I personally cannot wait to buy J Cole’s album. I have listened to several songs on the album and I have enjoyed them all, wether they were mainstream or not.

Upload your Podcast to our Course Site & Embed it on a Post/Page

I hope that you’re all enjoying creating podcasts.  In order to post your podcast on our course site, you will need to do the following:

  1. Go to your dashboard/backend
  2. From the lefthand menu choose “Media: Add New”
  3. Upload your Podcast to the Media Library (name it something descriptive/appropriate)
  4. Copy the file’s URL (that is generated)
  5. Select your file and choose “Save all changes” (NOT “insert into post”)
  6. Close out media box
  7. “Add New” post (or page, if in the future you want to embed a podcast on a separate page)
  8. Title & “categorize” post appropriately
  9. I encourage you to add some text to your post as well instead of simply posting the podcast and letting it stand for itself.  It would be helpful for you to contextualize it: what is your audience viewing?  What is its purpose?  Why is it important?  (etc.)
  10. Scroll down to the very bottom of the screen and click “Add Media” button (under the “Podcasting” section)
  11. Paste your file’s URL in the Location box
  12. Assign Type to M4V (if you choose M4A, the images will not show up)
  13. Auto-detect the size and duration of the file
  14. Preview and publish!!
  15. If you don’t want the default “MHC” preview image, you can select your own preview image that will appear (to do this, just upload a still image to the site’s Media Library and then paste that URL into the “preview image URL” box)
*As always, please feel free to schedule an appointment to come see me during my office hours (or to e-mail me) with any questions/concerns 🙂