nikib3577

[nikib3577]

I love kids they’re all like.. “when i grow up i’m gonna be an astronaut and a chef and a doctor and an olympic swimmer” like that self confidence! That drive! That optimism! Where does it go

[nikib3577]

It’s good to know that not everyone is a Taylor Swift “hater”. This essay gives us Taylor as her amazing new self, and I for one look forward to what the future brings.

Rhetorical Analysis of Taylor Swift’s “Look What You Made Me Do”

Music videos are made to build an audience by promoting an artist so their albums and songs will sell while also expanding their devoted fan base.

Take Taylor Swift’s music video for her song “Look What You Made Me Do,” for example. The argument presented in the video is that Taylor Swift was forced to change her reputation because of people who she claims ruined the reputation she had previously made for herself. These people include but are not limited to: Kanye West, Kim Kardashian, and Katy Perry. This song and its video are Swift’s way of saying to all of her “haters” (as she often refers to them) that while they may have killed her reputation, all they have really made her do is find a way to win. Through smart and sneaky visuals within the music video this message is cleverly portrayed.

Swift’s video contains multiple allusions to events in her personal life as well as to content created by people she perceives to be her enemies. She does this in order to make one thing clear: whatever they can do, she can do better. An example of one of these allusions is when Swift is shown crashing a gold car into a pole, just like the car driven by Katy Perry in the music video for her song “Waking Up In Vegas.” The camera shows a close up of Swift in the car, where she has been transformed into a Katy Perry look-alike, holding a Grammy–which she has received ten of, while Katy Perry has not received any.

Kanye West and his wife Kim Kardashian are two more people who also experience the wrath of Swift in this video. Kanye West sang from a tilted stage on his St. Pablo tour. In the video, Swift is shown standing in a cemetery full of tilted headstones, and during the scene she sings: “I don’t like your tilted stage.” Swift is then shown pulling the headstones to make them upright. Straightening the headstones represents Swift’s message to West that she does not like the way he runs his show, and she can do it better. Another reference in the video is to a phone call between West and Swift. West called Swift and asked if he could use her name in one of his songs. Swift gave him permission, but the call was being secretly recorded by Kim Kardashian. After West’s song was released, Swift said she never gave him permission to use her name, which was proven to be false by Kardashian’s recording of the conversation. In the video, a close-up shot shows Swift’s mouth while on the phone, wearing her iconic red lipstick so viewers are able to easily identify her. Some say the phone call started the downfall of Swift’s reputation, which is why Swift speaks into the phone at this point in the video: “The old Taylor can’t come the phone right now…because she’s dead.” This scene combined with its lyrics implies the phone call with Kanye West was the final event that killed Swift’s old reputation.

Kendall Jenner, who is Kim Kardashian’s half-sister, got in on the drama as well. Jenner posted a picture on Instagram in which she was sitting on a couch with her legs crossed while holding a drink and talking on the phone. The caption for the photo read, “tea time.” Jenner’s photo was a reference to everything that had happened with the phone call between Swift and West. In the video, Swift is shown sitting on a throne positioned in the same way that Jenner was on the couch in her Instagram post. Swift is also holding a teacup, which is an allusion to the photo’s caption. With this scene in her video, Swift is showing that Jenner is on her radar, and she’ll be coming after her too.

The throne Swift is shown sitting on in her video is surrounded by snakes. The snakes are used as a visual reference to a hashtag (#taylorswiftisasnake) that was created by her online ill-wishers. In this scene, Swift is showing she has embraced the snake as a symbol of power, despite the internet’s attempt to use the scaly reptile to insult her. The snakes can then be seen pouring Swift a cup of tea. She moves the cup before the tea reaches it, spilling it on the ground; “spilling tea” is internet slang for gossip. The surrounding stage decorations in this scene are an allusion to an ancient Egyptian era, which represents an attempt to encourage viewers to draw comparisons between Swift and Cleopatra, who was a powerful woman and a ruler. Also hidden throughout the scene is the phrase, “Et tu, Brute?” which translates to, “Even you, Brutus?” This is a reference to Shakespeare���s iconic tragedy, Julius Caesar, when Caesar himself used the expression to question his good friend Brutus’ loyalty. Swift uses this allusion to question the loyalty of those she thought were her friends.

In continuing her tradition of using details from her personal life to inform her creative work, Swift’s video also includes references to past and broken romantic relationships. After crawling out of her grave at the beginning of the video, we can see the name “Nils Sjoberg” engraved on one of the headstones. Nils Sjoberg is the pen name that Swift used when she co-wrote her ex-boyfriend Calvin Harris’ single, “This Is What You Came For.” Swift included the name on the grave to represent her dead relationship with Harris. In a later scene, “I Heart T.S.” (Taylor Swift) is printed on the crop tops worn by male backup dancers. These shirts are like the tank top that Tom Hiddleston was famously captured wearing when he and Swift were dating. There are eight dancers wearing the shirts, which represents the number of public relationships Swift has had with celebrities.

In addition to stabs taken at her enemies, Swift’s video also includes allusions to old versions of herself that are, in one way or another, defeated by the new version of Taylor Swift. The first shot of the video is of Swift crawling out of the ground, having been transformed into a zombie. As a zombie, she is wearing the same dress worn in her previous music video for her song “Out of The Woods.” In this form, she buries her “real” self in a grave. The camera then shows the version of Swift in the grave wearing the same dress she wore to the Met Ball in 2014. Swift is alluding to these dresses to visually represent the death of the “Old Taylor.” Another scene shows Swift in front of a giant glowing T (for Taylor–which looks like a cross and represents her crucifixion for the things she has done). The newest version of Swift is standing triumphantly on top of a pile of former versions of herself who are clawing and fighting one another to make their way to the top. In the next scene, a building which looks like a boutique that has a “TS” on it explodes, demonstrating that Swift  is not afraid to destroy her brand and start over. The last scene of the video shows previous versions of Swift from former music videos, tours, and award ceremonies standing in front of an airplane. The different versions of Swift are arguing with one another, repeating hurtful things that have been said by Swift’s detractors. This represents Swift’s internalization all of her criticism and feuds. In the final shot, the camera is zoomed in on the newest Taylor Swift standing on the wing of the plane, showing that she is now in charge and taking over as the pilot of her own life.

Swift’s “Look What You Made Me Do” music video is an expert visual interpretation of everything Swift has been through, leading to the killing of the old and the construction of the new. The video shows that Swift does not want to be known as any of the old versions of herself, but instead desires to be known as the new Swift, who does not care what others have to say about her. In other words, do not mess with Taylor Swift because she will fight back.

Swift’s music video is required viewing for anyone who wishes to see this iconic presentation of thrown shade by Swift. The song is great, but without the visualization provided by the video, fans do not get the full picture and story of the changed reputation of Taylor Swift that she desires the world to see. Thanks to this video and song, our views of Taylor Swift are forever changed, letting everyone know that Taylor Swift is not the typical girl next door.

[nikib3577]

A Message from The King: Aloha

With his black pompadour, his unique voice, and his shaky leg, Elvis Presley dominated the music industry from 1956 to 1960, and then again from 1968 until his death in 1977. It’s been over 40 years since his sudden passing, yet Presley still has a massive following. What is it about Elvis that keeps drawing us to him? 1973’s passion-filled Aloha from Hawaii concert summarizes Elvis’ remarkable place in history, and in our hearts.

The lights dim to black, and the band starts to play Also Sprach Zarathustra. The energy from the audience is palpable. Many have traveled from distant places to see this, and now the moment is here. The music crescendos, and suddenly, there he is. Elvis Presley, the King of Rock and Roll. He grabs his guitar, and takes his place behind the microphone stand, beginning the high energy C.C Rider. This is followed by Burning Love, then the mood changes with Something and You Gave Me a Mountain, a gospel song. Throughout the concert Elvis switches from upbeat to slower songs, then back again and performs them all superbly. Covers such as My Way and I’ll Remember You bring familiar songs with a slight twist of Elvis, some may argue they are better than the originals. Classic Elvis songs (also technically covers) Blue Suede Shoes and Hound Dog throw us back to the early days of rock n’ roll, when Presley was a much more controversial figure.

During Elvis’ first performance in 1954, the rhythm of the music and nerves caused his legs to shake, the movement accentuated by his wide-legged pants. The girls went wild. Scotty Moore, Elvis’ guitarist in the early days, stated, "His movement was a natural thing, but he was also very conscious of what got a reaction. He'd do something one time and then he would expand on it real quick." Elvis’ singing style also received much criticism. Country DJs refused to play his music because he sounded “too much like a black artist” (rhythm and blues-y), and R&B DJs said he sounded “too hillbilly”. Presley’s black hair swooped up into a pompadour came from his truck driving days, before he became a famous singer. The length and style of his hair was seen as rebellious during a time the flat top cut was popular. All of these attributes, his movement, his voice, and his appearance, contributed to his superstar status in the late 1950s. In 1973, Elvis still sports his trademark black hair, shaky legs, and individual voice.

Towards the end of Aloha from Hawaii, Elvis delivers his version of An American Trilogy. Beginning softly with “Dixie”, Presley sounds almost prayerful. As we progress, the song builds into the “Battle Hymn of the Republic” segment, then backs away into “All My Trials” before exploding into Battle Hymn of the Republic again. The passion exhibited is awe-inspiring. There are several moments where Elvis turns his back entirely to the audience, the intimacy shown between the band and the performer sets our hearts on fire. The power Elvis gives to this performance is preserved solely for the gospel songs, and shows us a different side from the charismatic man we see during Suspicious Minds. During Suspicious Minds Elvis teases the audience with low side lunges, his movements are accentuated by the drums. He switches one line of lyric for “I hope this suit don’t tear up, baby!”, giving us his boyish grin. Presley is the master of getting reactions from his audience. He throws scarves and kisses the ladies of the crowd. Even his gem studded belt and cape are thrown into the audience. Elvis wears a white jumpsuit, studded with red, gold, and blue semi-precious stones shaped as eagles, that cost $65,000 to make. His belt is secured by a massive buckle, decorated with the same eagle. This iconic costume will be the one people remember, and wear for many Halloweens to come. Elvis is tanned and fit, in better shape than we’ve seen in the year prior. He’s on top of the world again, making the next 4 years that much more tragic.

The song You Gave Me A Mountain speaks of trying times, of a divorce, and of losing a child. These lines are sung with genuine heartache, as Elvis’ divorce has recently been announced. This concert marks the beginning of the end. During the next 4 years, struggles with weight and drugs become more apparent. On August 16, 1977 the King of Rock and Roll loses his battle.

Aloha from Hawaii shows us the whole of Elvis. From songs and movements from his early days, to the struggles of his last. And in between Presley shows us exactly how he got his legendary status. His uncomparable voice, unequaled charisma, and unbridled passion rightly bestow him the unequivocal title “King of Rock and Roll”.

[nikib3577]

I’ll Remember You

Most people may not think of a concert as a rhetorical situation. But in order to have so many people feel the same way, and react in the same way exercises massive amounts of persuasion. Take, for example, Elvis Presley’s 1973 Aloha from Hawaii concert. This incredible event was broadcast live to the whole world, and more than 1 billion people watched. Unfortunately, we can’t experience the original concert, but recordings can still give us a sense of rhetorical strategies an event such as this brings.  

The concert was a reminder, both then and now, that Elvis Presley was an incredible entertainer. Aloha from Hawaii is designed to highlight Elvis’s showmanship: from his American Eagle jumpsuit, to his ability to sing a myriad of genres, to his rapport with his audience and the appreciation he has for his band, the concert presents Elvis’ style of entertainment through the years. All of this loaded into an hour long concert that took place in Honolulu, Hawaii in 1973.

The concert begins in total darkness. The TCB band crescendos into Also Sprach Zarathustra. The crowd cheers in anticipation. Some of these people have waited years to see Elvis in concert, and they’re made to wait just a bit longer. Tension builds, the song crescendos to the climax, then we’re launched into the fast paced intro of C.C. Rider. And there he is. Elvis appears from backstage illuminated by a spotlight. He makes his way up and down the length of the stage, greeting his loyal fans. He successfully asserts himself as someone worth waiting for. Long-time friend Charlie Hodge hands Elvis his guitar, and Elvis springs into C.C. Rider. The entire concert goes from high energy, to slow and sweet, then back - keeping the audience entertained without tiring them out. We are bathed in the beauty of the gospel song You Gave Me a Mountain early on, Elvis giving us a glimpse of his roots as a southern Christian boy who sang at church every Sunday. This smooths out his “rough edge”, and helps him connect with more reserved audience members. Classics such as Blue Suede Shoes and Hound Dog throw us back to the early days of rock and roll, whose beats - along with Elvis’ “lewd” movements - were the stuff of controversy. It’s almost laughable when you compare it to the “things kids are doing these days”. Elvis’ incredible vocal range gives him access to a spectrum of genres, and he performs them all with charisma and passion.

The intense connection between Elvis and the TCB band also plays a role. There are several moments throughout this concert where Elvis “becomes a part of the audience”, and is lost in the magic that is the TCB band. They take up the entire length of the stage, the Joe Guercio Orchestra sits in the back, Glen Hardin is at the piano on the left, Charlie Hodge plays rhythm guitar, Ronnie Tutt on drums, James Burton on lead guitar, and Jerry Schiff on bass guitar. A massive band, with no director. We also have J.D. Sumner and the Stamps quartet, the Sweet Inspirations, and Kathy Westmoreland to sing backup. The quality of the music is awesome, to have this many parts moving in unison with no direction is hard to believe. So when Elvis turns his back to the audience, and just watches in awe, we know exactly how to feel.

In the 1970s, several performers wore jumpsuits on stage. But the only one people seem to remember, is Elvis Presley. And which jumpsuit is the one people wear for Halloween? The American Eagle. For good reason. It cost $65,000 to make in 1973, and to make the same suit today it would be 4 times that amount. Weighing about 75 pounds, it’s a wonder Elvis was able to move so well. The various eagles were created with semi-precious stones. The red and blue eagles on a white suit show how proud Elvis is to be American, and he’s not afraid for the rest of the world to know. A massive belt and matching cape completed the suit, but the cape was too heavy, and therefore only worn for the ending song Can’t Help Falling in Love, before it was tossed into the audience. The belt was also given to another lucky member of the audience a little earlier, just after An American Trilogy. These items were worth much, and Elvis gave them without hesitation. Presley was well known for his charity, and knew he could make a difference in people’s lives. The Aloha Concert raised $75,000, and all of this was given to the Kiu Lee Cancer Fund. Elvis blessed lives not only with his music, but with the riches that music brought.

Elvis was also known for wearing silk scarves during his performances, it was no different in Aloha from Hawaii. Charlie Hodge was the dedicated scarf-adorner, putting one around Elvis’ neck to keep the flow of the concert going. Sometimes scarves were worn for several songs, then flung into the crowd. Other times Elvis would get one after another, wiping the sweat from his brow with one, from his chest with another, always making it great fun for the screaming fans. Many times Elvis would bend down and grant kisses to the ladies who swarmed the sides of the stage. Elvis received many Hawaiian leis in return, and ended up having to take some off in order to accept more. Not only does Elvis give gifts to his audience, they return the favor. During Fever, the audience is teased by Elvis’ movements, which are timed exactly to accents in the song. Suspicious Minds gives us some low lunges, and humor with the line, “ I hope this suit don’t tear up, baby!” instead of the original lyrics. The screams from the audience show they are enjoying themselves. A great performer knows how to read an audience, and Elvis is a master.

The camera shots used to record this performance make us feel we are truly a part of the original audience, and sometimes even closer. A great example of this is during An American Trilogy. We start off with Elvis facing James Burton, the lead guitarist, and away from the audience. The camera hugs in close, only Elvis and Burton are seen. As Burton begins the opening line, the camera moves to focus on him, Presley’s back is to us. When Elvis begins singing, he moves back to the center of the stage. He passes off the second part to JD and the Stamps, and watches them intently, the microphone at his hip. He gives these incredible performers their moment in the spotlight, acknowledging he wouldn’t be able to do this without them. As the Stamps sing the second verse, the camera is once again behind Elvis, giving us his perception. The Sweet Inspirations, who sit in front of the Stamps, sway slowly to the music. When it’s Elvis’ turn to sing again, he finally turns to the audience, yet his eyes are closed. This moment feels personal, and Elvis is sharing his soul with us. The shot fades to a farther away position, we are now able to see the whole band with Elvis illuminated by spotlights. Though his eyes are still closed, there is power in his body language, and his iconic shaky leg matches the slow acceleration of the snare drum. Closing in on Presley again, he accentuates parts of the song with arm movement. It feels as though the music controls him, instead of the other way around. As the intensity builds in the song, Elvis finally opens his eyes, and looks directly into the camera, and we feel as if he were staring at us. He closes his eyes again as he begins the “All My Trials” section, his voice lulling the baby he sings about. During the line “You know you’re daddy’s bound to die.” his shoulder drops, it seems as if it’s a foreshadow to his death, only 4 years in the future. This entire section feels as if he’s praying, the close camera shots make us reverent, make us feel every word. As we move to the instrumental section, the intensity builds, and Elvis once again turns away from the audience, who is silent, giving us an even more intimate feeling. Singing the climax, Elvis faces the audience, the camera is behind the drummer, and we see that there is in fact an audience present, even though we felt it was just us privy to this passionate performance. Throughout the entire song, shots will fade to different instruments, but there is always a faded image of Elvis over top. Even when he’s not singing, you can’t take your eyes off him.

Aloha from Hawaii makes the argument that Elvis Presley was a great entertainer. He knew how to interact with his audience, even if they weren’t physically in the same room. The passion and charisma he holds makes every performance unique, and he shows us his soft side, along with the hunk side. Elvis’ entire story tells us how a great performer is made, and Aloha from Hawaii wraps up the decades long script, and shows us the whole package in an hour long concert. This makes Aloha from Hawaii an incredible thing to experience, even 40 years after Elvis’ death.