Author Archive for Henry Thai

07
Dec
10

Reactions to the 53rd Annual Grammy Award Hip-Hop Nominations (2011)

Okay, first thing’s first: I apologize for not finishing my predictions for the other remaining hip-hop categories, as I have been very busy with my life. I actually did type all of my predictions, and it’s still on my Word document on my laptop, but I never had the time to actually post it up with reasons and everything. Anyway, these are my reactions to the hip-hop nominations (it’s only reasonable to post them since I [attempted] to predict them).

BEST RAP ALBUM:

1) B.o.B Presents: The Adventures of Bobby Ray by B.o.B

2) Thank Me Later by Drake

3) Recovery by Eminem

4) The Blueprint 3 by Jay-Z

5) How I Got Over by The Roots

Now, the winner will be Recovery, no doubt. It’s also nominated for Album of the Year, so it’ll pretty much eat this category. I’m glad that my predictions were close, though How I Got Over‘s nomination isn’t that much of a surprise. The Academy has actually nominated their albums in this category several times before (4 times total), but I guess I didn’t expect a nomination from them because their Rising Down album wasn’t nominated back in 2009 (there were tough competition, though, but one would expect a dark and political album from The Roots to get nominated, yeah?). Plus, Kid Cudi’s Man on the Moon: The End of Day seemed like a likely choice to me, with it being produced by Kanye and everything. As for the other albums that got nominated, what can I say? Eminem and Jay-Z were automatic nominations, as they’ve almost always been nominated in this category ever since they broke out, and Drake and B.o.B just felt like strong potential nominees based on their positive buzz and sales.

Best Rap/Sung Collaboration:

1) “Nothin’ On You” by B.o.B featuring Bruno Mars

2) “Deuces” by Chris Brown featuring Tyga & Kevin McCall

3) “Love the Way You Lie” by Eminem featuring Rihanna

4) “Empire State of Mind” by Jay-Z featuring Alicia Keys

5) “Wake Up Everybody” by John Legend and The Roots featuring Common & Melanie Fiona

Well, the nominations for this category were kind of interesting. I knew “Love the Way You Lie,” “Nothin’ On You,” and “Empire State of Mind” were gonna get nominated, the latter of which will probably win, but “Power” by Mr. West and Dwele was not nominated. Then, I searched up the album and found out Dwele wasn’t credited for his “Jumpin’ out the window / I’m lettin’ everything go” singing he was originally credited for. And it turns out “Power” was nominated for Best Rap Solo Performance, so I definitely knew the Academy wouldn’t slip Kanye out; I’ll get to this later on. My last prediction was “California Gurls” by Katy Perry and Snoop Dogg, which I’m surprised at it not getting nominated. As much as Snoop’s verse was wack, it was still a huge hit anthem over the summer. I guess the Academy made a smart choice on this one: “Wake Up Everybody” by John Legend, The Roots, Common, and Melanie Fiona seems like an unconventional choice, but it appears they’ve got something right at the least. “Deuces” was a head-scratcher for me. Even “Bottoms Up” by Trey Songz and Nicki Minaj could’ve been a better nomination, in my opinion; that song is dope as hell, plus it was a hit single. Or “Billionaire” by Travie McCoy? Or perhaps Usher’s “Hot Tottie?” Oh, well…

I will continue with my other reactions when I have time… Thanks for reading!

01
Oct
10

Best Rap Performance by a Duo or Group Predictions for the 53rd Grammy Awards (2011)

So no new post for 2 months…. Sorry about that, guys. I’ve been busy. Anyway, as the title suggests, these are my predictions for the Grammy Award for Best Rap Performance by a Duo or Group. Previous winners were “Crack a Bottle” by Eminem, Dr. Dre, and 50 Cent, “Swagga Like Us” by Kanye West, Jay-Z,  Lil Wayne, and T.I., and, uhhh, “Don’t Phunk with My Heart” by the Black-Eyed Peas. You’ll know why I predicted the following songs.

1) “Forever” by Drake featuring  Kanye West, Lil Wayne, and Eminem


This song was basically 2009’s “Swagga Like Us”: four acclaimed rappers on a posse cut… except I wouldn’t bother saying this is vastly better than the aforementioned song. This will undoubtedly win, even though my predicted contenders below are pretty dope! It might have not reached #1 on the Billboard Hot 100 (then again, neither did “Swagga Like Us”), but the sheer star power in this song makes up for it. Drake is sick (one of the few times I actually like him). Kanye isn’t up to par, at least not like now with “Monster” (see below) and “Power,” but his verse is catchy and gets stuck in my head for some reason. Lil Wayne is pretty much the same (average to me). But Eminem is the final piece of this puzzle. He absolutely murders this track.  Plus, didn’t everyone except Kanye perform this song at this year’s Grammys with Travis Barker on drums? If you haven’t seen it yet, preferably the uncensored version you can probably find on YouTube, then you’re missing out, ’cause that was one worthwhile performance. I mean, the Academy just handed them the award right there when they let them perform it. What more is there to it, am I right?

2) “Monster” by Kanye West and Jay-Z featuring Rick Ross, Nicki Minaj, and Bon Iver


As sick as “Forever” is, right now I believe this song should win. I might change my  point-of-view by the time the show airs, but this song is just so… Amazing? Incredible? Off-the-hook?!! The production is slick and head-bumping, Bon Iver’s grainy vocals are a perfect fit, Kanye is catchy as always, Jay-Z has a decent verse himself, and NICKI MINAJ, in every imaginable way, somehow proves she’s the best female rapper today. Her verse gives me shivers, and that’s saying something! Sorry, I forgot to mention Rick Ross because his 4 bars are worthless, but it doesn’t matter. The song as a whole is what hip-hop music is and what it should be. It found its release online on September 21st through Kanye’s “G.O.O.D. Fridays” initiative, just in time for eligibility, and this should, and probably will, be a good contender for this award.

3) “Drop the World” by Lil Wayne featuring Eminem


I originally predicted Lil Wanye and Eminem to be nominated with “No Love” as well, but its single release is next Tuesday (the 5th), therefore making it ineligible. But if it did get released before September 31st, this would’ve been a great year for Lil Wayne and Eminem for this category. I mean, they’re seriously killing it, even though I dislike Lil Wayne. And although this track was off the latter’s horrendous “rock album,” this standout hip-hop track is, as NME puts it, the only highlight of Rebirth. But I think we can all agree it’s only because of Eminem that makes this song so amazing. His verse is one of his best, I’d argue, and he later does it again on “No Love.” (GET ON HIS LEVEL, WEEZY!) Anyway, the song was also performed at the Grammys this year, so why shouldn’t it get nominated?

4) “On to the Next One” by Jay-Z featuring Swizz Beatz


This ain’t even an official group/duo performance by my standards since Mr. Beatz just “raps” the chorus. But it’s a Jay-Z track! The Academy is infatuated with this guy for all hip-hop-related categories, but does he deserve it? Well, if you ask me, I love this track. It’s a total club-banger and has a nice, hypnotic beat. Jay-Z’s verse is decent enough, though not as memorable as, say, “Monster” or anything, but his ability to adapt to modern standards, which is what the song is about, is always unbelievable! But I believe it, because Jay-Z can do anything nowadays. It never ceases to amaze me how well he’s doing when he’s been in the game for nearly 15 years. Where’s Nas? Game? Diddy? 50 Cent?

5) “Right Above It” by Lil  Wayne featuring Drake


I pretty much put this song down here because (1) I couldn’t think of another song to fill this position and (2) it’s Lil Wayne and Drake. I don’t know if the Academy has ever nominated the same people this many times for a single category, but who knows? This song peaked at #6 in the Billboard Hot 100, which isn’t that bad, but, in my opinion, it sucks! The production is actually impressive (go Kane Beatz!), but Weezy’s verses are stupid as hell! Drake is cool, but Weezy is facepalm. But whatever, it could get nominated.

30
Jul
10

Best Rap/Sung Collaboration Predictions for the 53rd Grammy Awards (2011)

Like my Best Rap Album predictions before, here’s a list of what I think will get nominated and will win the Best Rap/Sung Collaboration award. This will probably be the only hip-hop-related award that’ll be presented at the actual ceremony since they have so many categories and such a limited time to give out the awards with the speeches and all, along with the performances, since they did it this year, so be on the lookout for this one on the show. Without further ado, here it is:

1) “Empire State of Mind” by Jay-Z featuring Alicia Keys


With a certification of 3x platinum and 5 weeks on the top of the Billboard Hot 100, this song has everything going for it, plus the mayor of New York himself saying it’s “one of the newest anthems of the Yankees.” But, man, this actually deserves it, in my opinion. Although it sounds like an ode to New York and New York only, which it is, I think it’s much more than that; this is like the ultimate hip-hop anthem. Alicia Keys’ chorus is an earworm in the most amazing way, Jay-Z’s three verses are exuberant, and just the whole damn thing is so enjoyable to listen to. This will be a definite win. But who cares about me? The critics are liking it, too: #1 best single on The Village Voice‘s Pazz & Jop critics’ poll, second best song of 2009 by Rolling Stone, and much more. To put it simply, this will win the award (unless there’s some crazy better single coming out soon by Kanye or something).

2) “Love the Way You Lie” by Eminem featuring Rihanna


Well, it’s the current #1 single in the U.S. as I type this, and it’s by Eminem and Rihanna. Come on! That star power alone will get it nominated. The commercial success makes it even easier on the Academy to throw it in this category for nomination. And that’s it; got nothin’ else to say.

3) “Power” by Kanye West featuring Dwele


Yay! Kanye!!! You know, the first time I heard this song, I could not pinpoint Dwele’s voice or singing, and to this day, I still can’t. Where the hell does he sing? Anyway, you know Kanye needs a nomination, even if it doesn’t do well commercially. “Can’t Tell Me Nothing” had a nomination for Best Rap Song (the award went to “Good Life”), and it didn’t do well, either. “Power” is the first single off his new album, and it’s been well-received, being said as Kanye back to his true hip-hop form. And damn straight it is! It won’t win, but I’ll be happy if it gets nominated.

4) “Nothin’ On You” by B.o.B featuring Bruno Mars


Personally, I would prefer “Billionaire” by Travie McCoy and Bruno Mars to get nominated, but this hit from up-and-coming star B.o.B will surely get nominated. If not this, then “Airplanes” with Haley Williams of Paramore, but “Nothin’ On You” is the bigger hit with its double platinum status. It’s a pretty cool song. Mars’ singing is always delightful (I  hope he becomes the next big thing), but B.o.B’s verses are just decent. Does it deserve it? Maybe… but like I said, I prefer “Billionaire.”

5) “California Gurls” by Katy Perry featuring Snoop Dogg


This is the only song I’d hate to get nominated. Unlike “Umbrella,” which was nominated (and won) with a brief good Jay-Z verse in the beginning, “California Gurls” with its brief verse from Snoop Dogg just doesn’t hold up. It’s a decent listen when you first hear it, but it loses it replay value after that; her previous songs are better. And Snoop, you were wack on this song! Nevertheless, the song was a huge hit in the summer, countering its answer song (“Empire State of Mind”) with 5 weeks on the top of the Billboard Hot 100. The song has also received favorable reviews (obviously not from me), but sorry, Katy, I hope your mediocre answer song to “Empire State of Mind” will NOT get nominated.

There are still two months to go till the eligibility period ends, so there’s a lot more potential for Rap/Sung songs out there to dethrone some of my predictions. I strongly believe, however, that these are the songs that will get nominated from the songs we’ve heard so far. I guess we’ll have to wait and see!

19
Jul
10

Analysis: Assessing the Theme of “Anthem” (1938)

“The Individuality in Collectivism”

During the early 1790s, the Anti-Federalists of America stressed the importance of ratifying the Bill of Rights to protect man’s basic rights. Emphasizing the need for individual rights, they feared that without them, the national government would have too much power. Similarly, when Ayn Rand published her second literary work, Anthem, nearly a hundred fifty year later, she accentuated the belief of individualism over collectivism. As she had grown up in Soviet Russia, Rand witnessed many of the country’s crude socialistic rule with an iron fist, which were radically different from America’s democracy in that the people had individualistic rights the government did not control, for which she favored. Her experiences influenced many of the collectivistic principles in Anthem. Equality 7-2521, the protagonist, lives in a society where people use only plural pronouns and collectivists maintain order. Unlike others, though, he was born different, being smarter, taller, and less obedient. He works as a Street Sweeper by day, but by night, he sneaks into a secret tunnel to advance on his invention of electricity and the light bulb. When finished, he demonstrates it to the World Council of Scholars, but they reject and disregard his creation. This leads to him escaping from the dystopian society with Liberty 5-3000, his lover, and building a new one for the future of mankind. Like the Anti-Federalists of the time, Rand contrasted the idea of individualism with collectivism, which she found to be the disintegration of society. As such, there are many reasons to see why Equality’s want for individualism differentiates from his initial submission to collectivism.

Originally, Equality believed like all of his brothers did: all were equal and no one was more important than the person next to them. As he describes, “[w]e strive to be like all our brother men, for all men must be alike” (p. 20). Because of his superior intelligence and bigger stature, his society condemns and blames him of being cursed, which he admits, though he is always curious about the Science of Things. Equality believes what the Council tells him and is ignorant to the fact that all things around him are not all perfect, kind of like Boxer from George Orwell’s Animal Farm. For example, when he’s assigned to work as a Street Sweeper by the Council of Vocations, he easily and willingly accepts the job without any altercations. However, he doesn’t consistently follow their rules, sneaking out every night to a hidden tunnel and discovering great wonders when he is really supposed to be watching a three-hour play. Being both disobedient and submissive to the society’s guidelines simultaneously, it is clear that there is beginning to be a distinct line between individualism and collectivism in Equality’s conflicting ideas. He regularly stares at Liberty 5-3000 and gives her a name (the Golden One), despite the society calling it a sin to distinguish people and disapproving of opposite sexes thinking of each other. So as his life progresses, his mind begins to open up, and he becomes more individualistic, priding his creation of the light bulb and satisfying his own self-interest. Therefore, this leads to a new belief he treasures, which will later change his life.

Equality believes in a more egotistical outlook by the end of the novel. Away from the society that forced him to become equal to others, he realizes that he is much more than that and escapes from the “prison” of collectivism and altruism. When finding out about the word “I,” Equality harnesses the vast knowledge of the world around him, discovering that the “miracle of me is mine to own, and keep, and mine to guard, and mine to use, and mine to kneel before!” (p. 95) He began experiencing these instincts of desire and transgression when he found out about the tunnel, which galvanized his mind into curiosity. Creating the light bulb further made him aware of his unique talent and knowledge, for which he prides, since no other had discovered such an awesome power, save the people of the Unmentionable Times. During this time, he’s also interested in his facial appearance, which he has never seen, possibly because of his accomplishment of being able to create electricity. Unlike earlier, he doesn’t fear or care about the consequences he would deserve, for he is persistent in his hard work and goals. After running away into the Uncharted Forest, he felt happier and freer than ever, liberated from the world that kept him from living the life he wanted. Therein lies his epiphany, when he concludes that his glass box was not built for his bothers but for its own sake.

Collectivism is the idea that the sum of the people who make up the society is worth more than its parts. It holds that communal efforts are more important than individual ones. After all, there is no “I” in team, right? But what makes this social outlook the degradation of Equality’s society? Everyone was equal, no one was better than another, and everything was peaceful, yet the society was experiencing a gradual decline. Equality, at first, didn’t realize this, but his mind was always curious about the wonders of the world. This continuing desire of knowledge eventually led to his revelation as an individualist. Ayn Rand always opposed collectivism, favoring the accomplishments of an individual over the community. She portrayed the theme of the need for individuality clearly and concisely, first presenting Equality as a collectivist but then as an individualist, which shows the clear line that divides the two. Because let’s face it: teamwork is important, but it’s the individuals that really count. The society as a whole might’ve flourished, but what is the point when the individuals that make up the society aren’t flourishing?

17
Jul
10

Analysis: “Great Expectations” (1861) [Part III]

This is pretty much an analysis of the last third of the book. If you wanna see the first two thirds, see Parts I and II.

Section I: Characterization

Upon learning that Magwitch is his benefactor, Pip is worried for his safety and, in a way, pities him for his ungentlemanly behavior. His affection toward him is both sympathetic and repugnant, as “Words cannot tell what a sense I had, at the time, of the dreadful mystery that he was to me” (p. 358). At one point, “Every hour so increased my abhorrence of him,” (p. 358) and he doesn’t want any more of his money, but near his death, Pip remains loyal to him throughout his futile escape out of the country to his imprisonment. On the other hand, his perception of Joe is that of forgiving, though he is also happy for the man for learning how to write and marrying Biddy, for who he wants but cannot have. In this particular section, he becomes a closer friend to Herbert, anonymously offering him more money to keep his business going, and the latter has helped him try to send Magwitch away. Pip places trust in Miss Havisham to keep giving money to Herbert and is generous towards her, forgiving her for her mistakes and saving her from a fire. His relationship with Estella is once again struggling because she does not love him as much as he loves her. He has “loved [Estella] ever since I first saw you in this house,” (p. 384) though he knows Miss Havisham has tortured him ever since he became her servant/pawn, but she reacts coldly. What hurts him even more is the fact she married Bentley Drummle, for which he tries to push away from his mind, being that he passionately hates him. Nevertheless, in the end, he reunites with her after eleven years, after Drummle and Miss Havisham have died, and as they hold hands, he apperceives to never be separated from her again.

For most of the novel, Estella has been a cold-hearted, harsh woman, adopted by Miss Havisham to wreck the lives of men. Her personality never really changes, as “there are sentiments, fancies — I don’t know how to call them — which I am not able to comprehend” (p. 384). The man she marries is Bentley Drummle, but she does not care for him either, reacting indifferently when admitting she would marry him in front of Pip. However, once married, Drummle apparently “used her with great cruelty,” (p. 514) and her life fell apart. Furthermore, her early life also affected her future, as she was raised by two poor parents: Magwitch and Molly. However, at the age of three, she was raised by the wealthy Miss Havisham, taught to be cold, which led to her choosing bad choices down the road. By the end, she realizes what she had become and changes her outlook in life. Estella trusted her inner consciousness “when suffering has been stronger than all other teaching, and has taught me to understand what your heart used to be” (p. 516). She has become kinder and more friendly and wants to start her life anew on the grounds of Satis House. So, in a way, she sympathizes what Pip has gone through in his life, as Pip has done for her.

After Compeyson left her on her wedding day, Miss Havisham’s primary goal in life was to get revenge on men. Like Estella, she is a static character for the first three-fourths or so of the novel as a cold woman. She encloses herself in Satis House, away from all light, save her candle light, and wears her wedding dress every day, as she is inclines to never forget her torment. As a result, she adopts Estella to “save her from misery like my own” (p 424), but as she matured to be more beautiful, Havisham’s cruelness assimilated into Estella. Her quest to find the ideal boy for Estella to break men’s hearts turned out to be Pip, for who would later change her life. When Pip comes over to Satis House to express his love for Estella, and the latter replies unaffectionately, Miss Havisham held her heart and, after the argument, “seemed all resolved into a ghastly stare of pity and remorse” (p 387). This implies the start of her redemption of her mistakes, as she feels penitence for Pip. Miss Havisham would later call Pip back, only to finalize Pip’s request to give money to Herbert. However, when Pip forgives her, she drops to her knees and cries uncontrollably, feeling condemned for her iniquitous wrongdoings. Afterwards, her dress catches on fire and she is badly burned with her last words being, “Take the pencil and write under my name, ‘I forgive her,'” (p. 429) indicating her sentiments and apologies towards Pip.

Section II: Plot

As Pip is bewildered that Abel Magwitch (Provis) was his secret benefactor and that he intends to stay in London, the former no longer wants to receive money from him but promises to help him from getting caught (i.e. disguising him) nevertheless. After five days with him, Herbert finally returns home, and Pip explains to him about Magwitch, and they both agree to send him away where he won’t get caught. At this point, Pip wants to know Magwitch’s history, and the latter reveals that the convict he fought with early in the novel is Compeyson, Miss Havisham’s half-brother’s accomplice. Pip later goes back to Miss Havisham and Estella for the last time and tells the latter his passionate love for her, though she cruelly responds, saying she is going to marry Bentley Drummle. Going back home, he finds out that Compeyson is hunting for Magwitch, so Wemmick has hidden him at Clara’s home, and there, he confabulates with Herbert on their plans to send Magwitch away. Meanwhile, his debts are rising, and he goes over to Mr. Jaggers’ house for dinner where he concludes that Molly, the housekeeper, is Estella’s mother. He later returns to Miss Havisham, who begs him for forgiveness for Estella breaking his heart, and when he starts to leave, the old woman is set on fire and Pip saves her, consequently getting burned himself. Back home, Herbert divulges more information about Magwitch’s lover, which confirms that Molly and Magwitch are Estella’s parents. Pip receives a letter some days later, warning to tell of Magwitch’s identity if he did not meet him at the marshes. Pip eventually does this and, once there, is threatened by Orlick, who wants to kill him for coming between him and Biddy, but Trabb’s boy and Herbert arrives just on time and saves him. When the morning arrives, Pip and Herbert, along with Startop, start their plan on sending Magwitch away and row downriver to a German steamer until a police boat stops them. On it is also Compeyson, for which Magwitch gets into a brutal fight with, murdering him, getting arrested, and being mortally injured in the process. While imprisoned, Magwitch dies at the hands of Pip, and the latter follows suit on being ill, but Joe helps him recover, telling him that Miss Havisham has died and paying his debts. So as the years pass by, Joe and Biddy marry, Pip is working hard, and, at the end, he meets Estella at Satis House, holding hands with her.

Section III: Vocabulary

1) Prolixadjective – 1. extended to great, unneccessary, or tedious length; long and wordy: As there was full an hour and a half between me and daylight, I dozed again; now waking up uneasily, with prolix conversations about nothing in my ears. . . (P. 348)

2) Extenuatedverb – 1. to represent (a fault, offense, etc.) as less serious: The road would be none the smoother for it, the end would be none the better for it, he would not be helped, nor I extenuated. (P. 374)

3) Incursionnoun – 1. a hostile entrance into or invasion of a place or territory, esp. a sudden one; raid: How long we might have remained in this ridiculous position it is impossible to say, but for the incursion of three thriving farmers — laid on by the waiter, I think — who came into the coffee-room unbuttoning their great-coats and rubbing their hands, and before whom, as they charged at the fire, we were obliged to give away. (P. 379)

4) Posternnoun – 1. a back door or gate: The little servant happening to be entering the fortress with two hot rolls, I passed through the postern and crossed the drawbridge, in her company, and so without announcement into the presence of Wemmick as he was making tea for himself and the Aged. (P. 390)

5) Superannuatedadjective – 1. retired because of age or infirmity: . . . along a series of wooden frames set in the ground, that looked like superannuated haymaking-rakes which had grown old and lost most of their teeth. (P. 397)

6) Goutnoun – 1. an acute, recurrent disease characterized by painful inflammation of the joints, chiefly those in the feet in hands, and esp. in the great toe, and by an excess of uric acid in the blood: ‘Yes,’ returned Herbert, ‘and you may suppose how mild it makes his gout.’ (P. 398)

7) Wharfnoun – 1. a structure built on the shore of or projecting into a harbor, stream, etc., so that vessels may be moored alongside to load or unload or to lie at rest; quay; pier: I had again left my boat at the wharf below Bridge. . . (P. 411)

8) Decanternoun – 1. a vessel, usually an ornamental glass bottle, for holding and serving wine, brandy, or the like: ‘So, here’s to Mrs. Bentley Drummle,’ said Mr. Jaggers, taking a decanter of choicer wine from his dumb-waiter, and filing for each of us and for himself, ‘and may the question of supremacy be settled to the lady’s satisfaction!’ (P. 414)

9) Bramblesnoun – 1. a prickly shrub or bush: Now, Mr. Jaggers showed that she had struggled through a great lot of brambles which were not as high as her face. . . (P. 418)

10) Commiserationnoun – 1. to feel or express sorrow or sympathy for; emphasize with; pity: It has inspired me with great commiseration, and I hope I understand it and its influences. (P. 425)

Section IV: Symbol

Joe Gargery represents the symbolic value of good and wisdom in the novel. His unconditional love for Pip sets the standard of what decency he has after succumbing to the influence of Estella and Miss Havisham. Even when Pip is embarrassed from and cold to him, Joe is still sympathetic and kind to him. His generous personality helps Pip persevere through his struggles, as it reveals what good is left in him. Joe saves Pip from his illness as well, so he is sort of like the latter’s guardian angel when nobody was there to help him. The character also shows that money doesn’t buy happiness because Joe is happy left alone in his house instead of in London, which he is unhappy of. He tends to stay away from trouble, like the verbal fight between Orlick and Mrs. Joe, but does what he has to do to protect his loved ones. Joe is also the embodiment of honesty, as Pip found that “There was some hope in this piece of wisdom, and it rather encouraged me,” (p. 74) when Joe advised him to never lie. This drives Pip to become a better person and would later influence his actions in his future. What makes him one of Dickens’ great good characters is the fact that he’s benevolent to all of his loved ones, even though he was raised with a harsh childhood, uneducated, and is poor.

Section V: Epiphany

One epiphany Pip experiences is when he learns Magwitch was his benefactor instead of Miss Havisham. This causes him to realize that social class is not a significant factor in one’s overall life because even Magwitch, who was once poor, was able to work his way to the top while living a difficult, unsatisfactory life. Another is that money does not amount to happiness, as Pip realizes when he returns home after his recovery from his illness. He sees that Joe is very happy the way he is, as uneducated and unwealthy, but still managing to earn a living and marrying Biddy. However, his life’s efforts in trying to achieve the high standard actually denied him of a happy life he always thought a wealthy gentleman would have. When Orlick kidnaps Pip, the latter’s “mind, with inconceivable rapidity, followed out all the consequences of such a death,” (p. 452) as he envisages all that would happen after he dies. He recognizes the effects of his actions on other people’s lives and that all of his goals are shattered. In the end, Pip goes back to hard-working and turns out to be happy living along with Herbert and his wife, more so than when he was wealthy. He also reunites with Estella, sees in her that she has truly changed, and learns that people can change. Subsuquently, Pip comes to accept his present life and lets go of the past as he moves on to better things in the outlook of his future.

Miss Havisham experiences her epiphany when Pip visits her house and a feud between him and Estella arises. At the time, Pip admits his passionate love for her and Estella retorts coldly, so Miss Havisham feels sympathy for him, having experienced a heartbreak once in her life before. Although she initially wanted to save Estella from misery, the latter’s beauty gnawed away any hope of saving her and instead made Miss Havisham a cruel, heartless woman set out on revenge. But when Pip came along, she realized that her quest for revenge caused Pip’s heart to be broken reminiscent to that of her own. Miss Havisham “dropped to her knees. . . with her folded hands raised to me in the manner in which. . . they must often have been raised to heaven from her mother’s side” (p. 423). This shows that she wants Pip to forgive her, which he does, but she knows that the past and what she has done cannot be mended. The theme of the destructive nature of revenge is additionally implied, as Miss Havisham’s revenge has harmed more people than she intended. Many people have suffered because of her acts, but she doesn’t realize it until the end. However, her actions are redeemed when she forgives Pip, even offering to do anything for him. In her final words, Miss Havisham tells Pip to write “I forgive her” in a last act to compensate her wrongdoings in the past.

Section VI: Irony

When Pip met Magwitch in the marshes, he found that he was a ungentalemanly convict who would kill him if he didn’t bring him food and a file. Later on in life, Pip receives huge amounts of money in his “great expectations.” The ironic result here is that his benefactor is Magwitch and not Miss Havisham, the person he expected it to be. Magwitch felt touched dearly by Pip’s kindness in the marshes that he set out to work hard just to make Pip a gentleman. The effect is that Pip’s becoming of a gentleman has done next to nothing beneficial to him, except realizing truths and experiencing epiphanies. He didn’t need to work hard, so all he’s done is help Herbert and wait for Miss Havisham ro reveal that she’s his benefactor. However, when Magwitch reveals his identity, Pip’s great expectations are no longer great expectations, as he comes to grasp the idea that Miss Havisham was never the one and that she never meant Estella to be with him. Furthermore, it is ironic how this once impoverished, unwell-mannered man was able to become rich while being a former convict, no less. Magwitch returned to Pip after many years and has made a profound impact on him, as the latter has done to the former. Pip even admits to admiring him more that Joe, so that’s another ironic twist between the two since he likes the person who wanted to kill him as a child.

Realizing that Pip has helped no one since his great expectations, he sets out to aid at least one individual in his life. As a secret benefactor, much like Magwitch, Pip sends money to Herbert Pocket to help him in his merchant business and marry Clara. However, when Magwitch tells Pip that he is his benefactor, the latter no longer wants to receive money from him and goes into debt. After Magwitch dies, he was supposed to be arrested for not paying his debts, but a fatal illness resulted in the postponement of his seizure. Then, Joe comes over and helps him recover and pays all of his debts when he’s recuperated from his illness. Beforehand, though, Herbert offered Pip to join him in his business, but he said that he would think about it. So to earn a living and get money, Pip accepted the offer and joined him in merchantry. The irony was that Pip, who initially gave Herbert money to start his business, later worked with Herbert in his business. He turned out to be in debt and had to work, which was what Herbert had to do before Pip gave him money. So their social positions were switched, and Herbert had the greater expectations than Pip, as he succeeded in his business and married.

Section VII: Universality

The novel possesses a universal appeal because people can easily relate to the characters in situations. Back in the Victorian era, people indulged in character-driven novels that focused more on the history and personality of the characters than the plot. Charles Dickens had also already established himself as a really popular author with A Tale of Two Cities and David Copperfield, and the use of serials became common at the time. Today, even though most novels are plot driven, Great Expectations‘ themes of social class, redemption, innocence, etc., are associable to the hardships people face in life everyday. Each character in the novel are diverse in their own way, so different people can identify with them, from Pip who aspires to become a gentleman to Miss Havisham who wants to wreck people’s lives. Joe is the man who works hard in order to provide for his poor family, so that can appeal to all of the hardworking people all around the world. Herbert works hard, too, but works to have enough money to marry his girlfriend and get a business, which could appeal to those who desire to work in the profession they want and get the girl they want. The situations and conflicts the characters encounter are relatable as well, like a kid being forced to do something for bad people. Not only that, but the intricate plot is very satisfying in terms of quality with the cliffhangers on almost every chapter and parallel storylines going along as the plot progresses. The novel ends in an ambiguous note as to whether Pip will marry Estella or not, leaving the audience to decide what they want, while he depicts his newfound optimism regarding the future.

Section VIII: Theme

Among the various important themes in the novel, one is the relationship of money to happiness. This theme is conveyed in different parts at different times in the novel, the earliest being when Pip meets Miss Havisham. Pip was described by Estella as a coarse common boy, which motivates him to strive to become a gentleman. So when he received money from Magwich, his life took a turning point and his great expectations fell short of what he thought it would be. He spent the money ceaselessly on drinks and useless commodities with Herbert and his debts rose like never before. Although he expected to get Estella and become an “uncommon” gentleman, his great expectations barely made him happy. Pip wasn’t able to get Estella and didn’t have an intended career, simply hanging around the streets of London and getting to know secrets. Nothing particular really makes him happy, though, except when he saw the expression on Herbert’s face when he received news about getting money from an anonymous benefactor. However, when he wasn’t wealthy anymore and began to work, he lived happily with Herbert. Another example is Miss Havisham, who, although very wealthy, isn’t living a happy life and instead spends money on Estella to make her more beautiful.

17
Jul
10

Best Rap Album Predictions for the 53rd Grammy Awards (2011)

UPDATE: Damn, I guess Kanye’s untitled fifth album, previously known as Good Ass Job, has been pushed back to October 12th, thus out of the competition for this award. I really wanted to see another Eminem vs. Kanye showdown to see who the Academy would give it to, but I guess the latter will have to wait till 2012.

Update #2: Well, what do ya know? T.I.’s King Uncaged has been pushed back as well, apparently so he can focus more on the promotion of his film Takers. Guess I’ll have to find another replacement.

“But wait, there are tons of more rap albums that are gonna be released by September 31st! How can you already be predicting what’ll be getting nominated?”

Well, the National Academy of Recording Arts and Sciences is notorious for nominating and giving the Best Rap Album award based on how much the album sells instead of the quality of the album itself. So it’s pretty easy to predict this kind of stuff. At times, the Academy actually does give it to the album that deserves the award, but in most cases, the rest of the nominations are jokes, as they pay no attention to superior independent albums. By the way, before I present my list, I’d like to note that the eligibility period is September 1, 2009 to September 30, 2010. So here it is (listed by probability of winning):

1) Recovery by Eminem


With Kanye out of the running, this easily has a very strong chance at winning. All Eminem albums have been nominated (except for Infinite), even when he was at his most  mediocre (Encore). He unsurprisingly won the award last year for Relapse when Mos Def’s The Ecstatic and Q-Tip’s The Renaissance were equally strong competitors, and either of them should’ve won instead in my book. They’ve released so many classics, and they’re time is due. Back on topic, Recovery sold 741,000 copies in its first week and will easily go double platinum by the end of the year; its got two very strong singles so far; and he’s Eminem. So that’s an automatic nomination, no doubt.

2) Thank Me Later by Drake


The newest young talent that was being mentored by Lil Wayne just sold 447,000 copies in its first week! And he was adored by the Academy back in January when they were nominating his “Best I Ever Had” song in every eligible rap category it was able to get nominated in (so did Kid Cudi’s song, but I’ll talk about that later), and he was said to be the next great rap star of the decade. (No doubt, he’ll win Best New Artist, too.) Thank Me Later got pretty decent reviews (how it received better reviews than Recovery is beyond me), but I personally think it sounds repetitive and that he’s just mediocre. Needless to say, my opinion doesn’t matter. Just expect that album to be nominated.

3) The Blueprint 3 by Jay-Z


Uhhh, all of his albums have been nominated since Vol. 2… Hard Knock Life won him his first and only Best Rap Album back in ’99. (The Dynasty: Roc La Familia didn’t get nominated, but that was more of a collaborative album by the Roc-A-Fella roster.) Hell, even his worst album (Kingdom Come) got nominated. But why should that matter when it sold so well? The Blueprint 3 is pretty much the same, and it had that crazy single “Empire State of Mind,” except this time, I think it deserves to get nominated. It’s an awesome album, not his best, but very well above average.

4) B.o.B Presents: The Adventures of Bobby Ray by B.o.B


It’s kind of ironic how, when Kanye was ineligible for this category, Kid Cudi will probably take his place, and now that T.I. is out, he’ll probably be replaced by a rapper on his own Grand Hustle Records. Anyway, this will probably have a better chance of winning than the one below based on the strength of its singles and much positive buzz about his nomination in the Best New Artist category, too (I still think Drake will win). “Nothin’ on You,” “Airplanes,” and “The Magic” have been big hits (even Eminem co-signed the guy), but when you’re up against those three rappers above, and you’re only a rookie, you probably won’t win. (I guess you can say Drake is sort of a rookie as well since Thank Me Later is his first studio album, but there’s just so much hype around him being the next big thing (plus, he’s part of Young Money)).

5) Man on the Moon: The End of Day by Kid Cudi

Well, with Kanye out, I’d expect this to take its place… on the bottom of the list. His “Day ‘N’ Nite” song was also nominated in every eligible rap category it was able to get nominated in, just like Drake, but the album as a whole is just a little unconventional for the Academy’s taste. I mean, sure it’s endorsed by Kanye West, but it didn’t sell as well as expected (the only real hit was “Day ‘N’ Nite”). Therefore, its chance of winning: nada.

Hol’ up! I’m not done yet! Here are the Best Rap Album nominations and winner that, I believe, should be:

1) Only Built 4 Cuban Linx… Pt. II by Raekwon

The best [hip-hop] album sequel of all time should get a nomination, perhaps even win it. This is classic Wu-Tang sound at its best, but it only sold 68,000 copies in its first week, so no nomination here, guys.

2) Sir Lucious Left Foot: The Son of Chico Dynasty by Big Boi

I actually considered the Academy having this nominated. But then I thought back to the ’07 Grammys and Pharrell’s In My Mind got nominated. Then, I was, like, “WTF?” It got extremely mediocre reviews and only sold 142,000 copies in its first week compared to OutKast’s Idlewild, which got mostly positive reviews and sold 196,000 copies in its first week. And I thought, “Why wouldn’t the Academy nominate this when it sold decently, especially after their huge Speakerboxxx/The Love Below win?” Probably because Pharrell was, like, one-half of the biggest producing duo at the time and was releasing his debut album. So the Academy is not completely infatuated with them, and Big Boi’s debut sold far less than Idlewild, so don’t expect a nomination.

3) How I Got Over by The Roots

The Roots always deserve nominations for Best Rap Album. Period. All of their albums are exceptional, but they can never seem to make the best rap album of a year. Nevertheless, like I said, they always deserve a nomination.

4) Distant Relatives by Nas & Damian Marley

Nas and Damian Marley crafted something way too unconventional here: a fusion of reggae and hip-hop. The Academy doesn’t give credit to this kind of stuff, so why start now?

5) Revolutions Per Minute by Reflection Eternal

Talib Kweli and Hi-Tek are a couple of nobodys to the general public, plus it’s an independent release. It’s a fine-ass album, but those two points are the things unfortunately stopping it from getting nominated.

Of course, that’s not it. Lupe Fiasco’s long-delayed Lasers is supposed to be released sometime this year, but his label keeps pushing it back for some reason! Then, there’s Dr. Dre longer-delayed Detox; he’s always saying he’ll release it one year, but then it gets pushed back another year, and back, and back. Where the hell is that “Under Pressure” single, huh? Those two albums, especially the latter, will probably get a nomination (perhaps in the place of King Uncaged) if they’re released before September 31st. Also, according to RZA, GZA’s Liquid Swords 2 is said to be released this fall; judging from OB4CL II, this is supposed to be in the same vein as that, and if it is, it probably won’t get nominated, but deservingly does (or maybe it’ll be released sometime on October or November). And then there’s Ice Cube’s I Am the West. If Cube’s got his game back, he’ll probably get props on my “Best Rap Album nominations that should be” list.

Okay, bye!

16
Jul
10

Analysis: “To Kill a Mockingbird” (1960)

Harper Lee’s classic To Kill a Mockingbird was released 50 years ago this week (July 11), so I was, like, “What better way to post this than on the book’s 50th anniversary?”

Section 1: Characterization

Atticus Finch is the father of Jem and Scout and the brother of John (Jack) and Alexandra. Since “[i]t was customary for the men in the family to remain on Simon’s homestead” (p. 4), he was the first in the family, along with his brother, to move out of Finch’s Landing, moving to Montgomery to study law. Afterwards, he went back to Maycomb, which is some twenty miles away from Finch’s Landing, and practiced economy for his first five years there. later helping his brother’s education. As the novel’s hero and “glimmer of hope,” he is much older than the other dads, which Jem and Scout are embarrassed about, and is wiser. Although he loves his children, Atticus rarely spends time with them, reading the newspaper when he returns home and even not taking Scout to her first day of school. In his early days, he was known as Ol’ One-Shot for his accurate firearm skills, which Scout and Jem are amazed about since they finally have something about their father to boast about. However, Atticus thinks they get the wrong idea, especially Jem, and when he trashes Mrs. Dubose’s yard, the former forces him to read for her. This is used to show Jem what “real courage is, instead of getting the idea that courage is a man with a gun in his hand” (p 112). Atticicus exemplifies the good moral of the people in Maycomb, believing in what is right, even when he is in the minority. He is a fair lawyer who looks at things from other people’s point-of-views and considers them reasonably, as shown in the courtroom case of Tom Robinson. By the end, he reconnects with his children, being closer to them, instead of just the father who returns home and reads.

Scout Finch is the protagonist of the novel and the daughter of Atticus. When she was two, her mother died of a heart attack, but she does not miss her, so she was raised by Atticus and Calpurnia. Early on in the novel, Scout is like any other young girl, except she is an adventurous, mischievous tomboy. Oblivious to the evils of the world, she is taught good morals early on by Atticus when he tells her a trick to “climb into his skin and walk around in it” (p. 30) to get along with people. Scout is unusual compared to other young girls, though, for being exposed to such mature subject matters and figuratively growing up so quickly at such a young age. Atticus lets her listen to a conversation between him and Uncle Jack about Tom Robinson’s rape trial when she was only seven to reveal to her about the evils of the world. This is the one of the first instances in which Scout begins to experience loss of innocence. Scout is also taught the “mockingbird” theme by Miss Maudie, who says that it’s a sin to kill a mockingbird because they don’t do anything wrong. In the trial, she is exposed to the immorality of the jurymen unanimously voting Tom, who was innocent, guilty. Her relationship with her brother is loving, though they sometimes get into fist fights, but she is very defensive of him, even attacking a person when Jem, Dill, and she followed Atticus to jail. By the end, she transitions to near adulthood, learning many different, important themes over the course of three years while looking back at the them in retrospect.

Miss Maudie Atkinson is a neighbor that lives across the street from the Finches in Maycomb. Nearly the same age as Uncle Jack, they grew up together at Finch’s Landing, and the latter has a strong affection for her. Her father was Dr. Frank Buford, who was engrossed with plants, which might’ve contributed to her obsession of azaleas and plants. A firm believer in doing what is right, she didn’t attend the hearing of Tom Robinson, feeling that watching “a poor devil on trial for his life” is “like a Roman carnival” (p. 159). She treats Scout, Jem, and Dill as if they are any other person instead of immature kids running around, making them the best cake in the neighborhood. When her house burned down, her reaction was unworrying and ungrieving, showing her bravery to Scout and Jem. She was actually quite satisfied and was only concerned with “all the danger and commotion it caused” (p. 73). Miss Maudie also taught Scout the moral lesson of killing a mockingbird is a sin, that killing someone as innocent as a mockingbird is wrong. She strongly thinks that you shouldn’t take the Bible literally and talks back to “foot-washers” with scriptures from the book. Much like Atticus, she has good morals and a sense of sympathy as well.

Calpurnia is the black cook of the Finch household who grew up from Finch’s Landing and moved to Maycomb with Atticus and his wife after they married. She is sort of the mother of the house since she took care of the children whenever Atticus went to work. Teaching Scout how to read and write, she is considered part of the family by Atticus, who never lets her go despite Aunt Alexandra’s insistence. Like Atticus, she has good morals and believes in doing the right thing. When Scout dismisses Walter Cunngham as a typical Cunngingham instead of a guest, Calpurnia remarks, “[y]o’ folks might be better’n the Cunnighams but it don’t count for nothin’ the way you’re disgracin’ them. . .” (p. 24). This shows that Calpurnia is a disciplinary woman, which makes Scout describe her as having a tyrannical presence. She became part of the family since Jem was born, Scout always had argument with her, though she always lost, mostly because Atticus always sides with her. Scout doesn’t like having argument with her, though, as shown in one instance when Scout submits to Jem’s insistence to spit out the gum she found to avoid a fight with Calpurnia. Calpurnia also took Scout and Jem to a colored church where she talked “in tones I had never heard her use” (p. 119) because it’d seem out-of-place if she didn’t. As a result, Calpurnia is like a bridge between Scout and Jem and the black community.

Section 2: Themes

In the midst of this strange assembly, Atticus stood trying to make Jem mind him. “I ain’t going,” was his steady answer to Atticus’s threats, requests, and finally, “Please, Jem, take them home.” (p. 153)

The theme of loss of innocence/growing up is shown when Jem stands up to Atticus’s demands to go home. He realizes the danger of the situation very clearly and doesn’t back up, wanting to help his father from the threatening men. Of course, Jem and Scout doesn’t understand Atticus or the danger, merely following on the coat tails of Jem. He, however, knows what’s going on, and instead of following his father’s order, he firmly says “no,” unlike what usual children would do for their parents. So, in a way, this represents Jem’s transition to manhood and his loss of innocence. Similarly, Scout experiences a kind of loss of innocence after this particular incident. When they went home, as Scout was about to sleep, “the memory of Atticus calmly folding his newspaper and pushing back his hat became Atticus standing in the middle of an empty street, pushing up his glasses” (p. 156). She cries afterwards, fully understanding the situation, and Jem soothes her by telling that a nine-year-old girl aren’t that brave enough to do what she did. The theme also ties in with the theme of courage since it shows Jem standing up to his father after numerous demands. The foreshadowing displayed is of Tom Robinson and his significance in the later chapters of the novel.

“I wanted you to see something about her—I wanted you to see what real courage is, instead of getting the idea that courage is a man with a gun in his hand.” (p. 112).

The theme of courage is consistent throughout the novel, and one notable instance is when Atticus tells Jem about his purpose for reading to Mrs. Dubose. In the previous chapter, Jem and Scout are amazed by the way Atticus perfectly held that gun and shot the rabid dog with ease. They’re even more surprised that he was once known as “Ol’ One-Shot” for the best shooter of Maycomb. So when Jem trashes Mrs. Dubose’s yard, he is forced to read to her for a month (Scout just tags along). However, when his time is up, he has to read to her for another week, forced again by Atticus. He concedes to this, not yet apprehending the full reason for doing it. When Mrs. Dubose dies, though, and sends him a candy box, Jem cries and Atticus explains the meaning of him reading to her and why. He wanted to show Jem, as described in the quote above, the significance of courage. This foreshadows Jem’s up and coming loss of innocence as he grows and learns lots of mature themes. The quote demonstrates Atticus’s definition of “courage” and what it really is as well.

“But there is one way in this country in which all men are created equal—there is one human institution that makes a pauper the equal of a Rockefeller, the stupid man the equal of Einstein, and the ignorant man the equal of any college president. That institution, gentlemen, is a court.” (p. 205)

The theme of justice makes up the second part of the novel, particularly in the courtroom chapters. The quote above illustrates one of Atticus’s techniques to convince to audience that Tom Robinson is innocent. In fact, the whole case is to bring Tom to justice, which was Atticus’s job. Bob Ewell accuses Tom of raping Mayella Ewell, and the case is brought to court to ensure justice is served. What Atticus means in the quote is that every court can make a simple mistake like any human being. He maintains that courts are imperfect and can possibly have faults in their systems. Using different appeals to try to persuade the jury that Tom did not rape Mayella, Atticus objects to Bob’s accusations and defends a Negro. The quote does not reveal anything about Atticus other than the fact that he has a sense of what’s morally right. There is no foreshadowing done, as the case was right then and there, and there was no hint on what the jurymen were voting on. Atticus’s use of persuasion represents justice through his moral rightness.

“You never really understand a person until you consider things from his point of view—” (p. 30)

The theme of prejudice is a notable one in the novel, whether it’s racial or ethical prejudice. Atticus says the above quote when Scout doesn’t realize why Miss Caroline was afraid of Walter Cunningham. Atticus tells her that she can’t possibly know the ways of Maycomb all in one day, so it was a misunderstanding. Miss Caroline didn’t know of the Cunngham family, so she judged Walter too soon, and it was just a mistake. The quote represents the theme because Atticus explains the prejudgment of Miss Caroline’s actions. In turn, Scout also prejudged Miss Caroline too quickly for knowing everything about Maycomb. So when Atticus says that you don’t understand a person until you climb into his skin, he means to look at things from other people’s points of view and don’t judge people too quickly. This reveals his compassion for others as well as Scout’s lesson in mature subject matters of growing up in the real world. This might’ve foreshadowed the upcoming court case of Tom Robinson since racial prejudice is widely implied in the second part of the novel also. Tom Robinson, a Negro, is convicted of a crime for something he didn’t do and was voted guilty by the jury.

It was Jem’s turn to cry. His face streaked with angry tears as we made our way through the cheerful crowd. “It ain’t right,” he muttered, all the way to the corner of the square where we found Atticus waiting.

The theme of understanding/compassion for others is used mostly in the second part of the novel. Tom Robinson is put on trial for something he didn’t do, and Jem feels compassion for him, watching the whole trial from beginning to end. The quote demonstrates Jem’s understanding of doing the right thing and wanting Tom to be voted innocent. It reveals Jem’s morality, his stance against the jury, and his loss of innocence. The theme is also implied during the trial when Mayella testified. Atticus questions about her family and home life, which is lonely and pitiful, so the jurymen can feel compassion for her. Even Scout, who was only nine, understood the concept of Atticus’s techniques and felt sorry for Mayella. Ironically, Tom also understood her harsh life and felt sorry for her, as he blatantly testified it. Compassion is seen in the end of the novel as well when Scout takes Boo Radley home. She used to be afraid of him, even mocking him, but is only shy when she actually sees him face-to-face. However, she realized her compassion for his reclused life and let him take her hand to walk him home.

Section 3: Symbol

The mockingbird is used as a symbol of an innocent person who is destroyed by evil. Tom Robinson is a notable mockingbird in the novel. He is an innocent man who was convicted of raping Mayella Ewell when he never did. Despite Atticus’s attempts at convincing the jury he is innocent, it is futile nonetheless. Tom’s story of the events contradict Bob’s and Mayella’s, having Mayella tempting him instead of him raping her. Mayella was apparently afraid of confessing her guilt of tempting him since it’s a taboo in their society and blames him. Bob, who, of course, saw her tempting him, claims he saw him rape and beat her up, even though he’s the one that did the latter. These two are the evils of Tom’s innocence, accusing him for something that shouldn’t have to be brought up in court in the first place. The jurymen may also be partial evils to his innocence. The facts were laid out in front of them, and although they thought long about their decision, they still voted him guilty. Granted that courts aren’t always perfect, as Atticus pointed out, Negroes were seen as an inferior race to white people back then, and that is probably what most, if not all, the jury voted by. So when he “broke into a blind raving charge at the fence and started climbing over” (p. 235), it symbolically represented Tom’s fleeing from the evils of the world.

Jem can be seen as a mockingbird as well. He is used as a mockingbird to represent an innocent young man’s transition to manhood while dealing with harsh problems of the real world at the same time. He is, like any boy of the same age, just beginning to experience the real world. Subsequently, the evils he face is the real world itself. Jem starts to learn important, valuable lessons during the course of the novel and loses his innocence in the process. Examples if him losing his innocence include when he stood up to Atticus, his reaction to the Tom Robinson trial, and when Bob Ewell attacked him in the end. An important one was when Atticus taught him about courage, for which he says “[i]t’s when you know you’re licked before you begin but you begin anyway and you see it through no matter what” (p. 112). Jem is also passionate about the Tom Robinson trial. When Scout asks him about why Miss Gates hated Hitler and black folks, he grows furious and tells her to never talk about it again. Furthermore, Jem once thought there’s only one kind of folks, but as he grew, he dropped that notion and realized why Boo Radley stays in his house. Ergo, it’s like a mockingbird being killed and being reborn with new insight of the world

Section 4: Vocabulary

1) Spittoonnoun – 1. a cuspidor: Atticus’s office in the courthouse contained little more than a hat rack, a spittoon, a checkerboard and an unsullied Code of Alabama. (p. 4).

2) Predilectionnoun – 1. a tendency to think favorably of something in particular; partiality; preference: The Radleys, welcome anywhere in town, kept to themselves, a predilection unforgivable in Maycomb. (p. 9)

3) Vexationnoun – 1. the act of irritating, annoying, provoking, etc.: Entailment was only a part of Mr. Cunningham’s vexation. (p. 21)

4) Diminutiveadjective – 1. small; little; tiny: He was among the most diminutive of men, but when Burris Ewell turned toward, Little Chuck’s right hand went to his pocket. (p. 27)

5) Asinineadjective – 1. foolish, unintelligent, or silly; stupid: Lastly, we were to stay away from that house until we were invited there, we were not to play an asinine game he had seen us playing or make fun of anybody on this street or in this town— (p. 49)

6) Accostedverb – 1. (of animals) presented as side by side: When we were on the sidewalk in front of Miss Maudie’s, Mr. Avery accosted us. (p. 65)

7) Obstreperousadjective – 1. resisting control or restraint in a difficult manner: “It was obstreperous, disorderly and abusive—” (p. 85)

8) Invectivenoun – 1. vehement or violent denunciation, censure, or reproach: “Her use of bathroom invective leaves nothing to the imagination.” (p. 87)

9) Apoplecticadjective – 1. of or pertaining to a sudden, usually marked loss of bodily function due to rupture or occlusion of a blood vessel: Once she heard Jem refer to our father as “Atticus” and her reaction was apoplectic. (p. 100)

10) Cantankerousadjective – 1. disagreeable to deal with; contentious; peevish: “Conscious,” he smiled, “and cantankerous.” (p. 111)

1) Habilimentsnoun – 1. a) clothes or clothing / b) clothes as worn in a particular profession, way of life, etc.: When Calpurnia stayed overnight with us she slept on a folding cot in the kitchen; that morning it was covered with our Sunday habiliments. (p. 117)

2) Impedimentaplural noun – 1. baggage or other things that retard one’s progress, as supplies carried by an army: There was no sign of piano, organ, hymnbooks, church programs—the familiar ecclesiastical impedimenta we saw every Sunday. (p. 120)

3) Ecclesiasticaladj. – 1. of or pertaining to the church or the clergy; churchly; clerical; not secular: Its fantasy was heightened by its red bricks façade and the thick steel bars at its ecclesiastical windows. (p. 150)

4) Uncouthadj. – 1. awkward, clumsy, or unmannerly: Atticus’s moth, even, was half-open, an attitude he had once described as uncouth. (p. 154)

5) Subpoenanoun – 1. the usual writ for the summoning of witnesses or the submission of evidence, as records or documents, before a court or other deliberative body: “Better be careful he doesn’t hand you a subpoena.” (p. 160)

6) Dictumnoun – 1. an authoritative pronouncement; judicial assertion: “You gotta make me first,” I said, remembering Atticus’s blessed dictum.” (p. 173)

7) Ambidextrousadj. – 1. able to use both hands equally well: “About your writing with your left hand, are you ambidextrous, Mr. Ewell?” (p 178)

8) Mollifiedverb – 1. to soften in feeling or temper, as a person; pacify; appease: Mollified, Mayella gave Atticus a final terrified glance and said to Mr. Gilmer. . . (p. 180)

9) Volitionnoun – 1. the act of willing, choosing, or resolving; exercise of willing: He seemed to be a respectable Negro, and a respectable Negro would never go up into somebody’s yard of his own volition. (p. 192)

10) Scuppernongsnoun – 1. muscadine: The kitchen table was loaded with enough food to bury the family: hunks of salt pork, tomatoes, beans, even scuppernongs. (p. 213)

Section 5: Plot

The novel begins with Scout, the protagonist, and Jem arguing about the events prior to the latter breaking his arm with Scout saying the Ewells started it and Jem asserting that Dill visiting them in the summer started it. This leads to Scout explaining the events in a flashback, starting with the summer Dill first visited them when Scout and Jem were six and ten, respectively. Dill was interested in making Arthur “Boo” Radley come out of his house, and Jem took up a bet that he would touch the house, which he eventually did. As the year passed by, Scout noticed a knot-hole in one of two oak trees in front of the Radley house and found gum, for which she chewed, and even though Jem told her to spit it out, they would later find and keep many more prized possessions in the hole everytime they walked home from school. Meanwhile, the latter created a game in the summer with Dill back, in which they imitated the Radleys’ lifestyles. Their games got riskier, however, when Jem wanted to give Boo a note to tell him to come out. When his attempt was futile with Nathan Radley coming out with a shotgun, the threesome ran away, though Jem left his ripped jeans, but he later got it back, finding it to be sewed up. On Christmas, there was a conflict between Scout and Francis, her cousin, which ended up with the former punching him, and Uncle Jack punishing her. The next year, Jem and Scout are fascinated by their father’s “courage” when he shoots a rabid dog without remorse. Mrs. Dubose, however, hates Atticus and insults him right in front of his children, resulting in Jem getting angry and trashing her yard. Consequently, he has to read for her for a month, and when she finally dies, Atticus later reveals to him that the former was there, so he can learn what true “courage” is.

Jem, who is now twelve years old, and Scout are invited to a “black” church by Calpurnia, and there they find the background of Tom Robinson’s rape case when Reverend Sykes asks, or rather forces, the community into giving money up for Tom’s wife, Helen. Meanwhile, Aunt Alexander has come to Maycomb to stay, though Jem and Scout aren’t much happy about it. One night, Jem and Scout sneak out of the house, along with Dill, who ran away from home, to follow Atticus to jail. They find a group of men confronting Atticus, possibly to lynch Tom Robinson, and realizing that he is in danger, the threesome jump in to defend him (mostly just Jem since the other two didn’t realize what was happening). The next day, the trial begins, and Jem, Scout, and Dill sit in the Negroes’ section of the court. Heck Tate, Bob Ewell, Mayella Ewell, and Tom Robinson each confess their side of the story: Heck Tate says that he saw Mayella injured and that they never called for any medical attention; Bob recounts that he was coming home from the woods when he heard Mayella screaming and saw Tom rape her; Mayella says she invited Tom into her house and he raped her; and Tom says she “tempted” him, but Bob saw them, and he fled. Atticus uses his skillful lawyering tactics to convince the jury Tom is innocent but fails when the twelve jurymen accounted him as guilty. As a result, Tom Robinson gets transferred to another prison, and although Atticus tells his kids that he has a chance of getting pardoned, Tom gets shot numerous times when he tried to escape, dying. When the school year starts again, there is a Halloween party planned, and Scout is playing one of the foods in the play. Jem takes Scout to the school, and on their way home, they get attacked by an unknown figure, which is eventually revealed to be Bob Ewell, who vowed to get revenge on Atticus. However, another person saved them, and when Scout arrives home safely, she finds that Jem has broken his arm and the person who saved them was Arthur Radley. Scout takes him home and never sees him again, later going back home and falling asleep to a book Atticus read to her.

Section 7: Historical Context (Library Research)

The Second Ku Klux Klan was formed in 1915 by William J. Simmons, inspired by the novel The Clansman, its groundbreaking film adaptation The Birth of a Nation, and the lynching of Leo Frank, an American Jew who had allegedly raped and murdered Mary Phagan, which was sensationalized by the media. It was a revival of the first Klan, but their motives and actions were done for entirely different reasons. Instead of merely opposing blacks, it was also anti-Jewish, anti-Communist, anti-Catholic, and anti-immigrant, glorifying the supremacy of white Protestants. For its first five years, the KKK was only isolated in the southern area, primarily around Atlanta, Georgia with a small amount of members. However, after World War I, it expanded due to increasing tensions and the temperance movement, for which the members defied bootleggers. Furthermore, Edward Y. Clarke and Elizabeth Tyler spread the Klan’s reputation by integrating the methods of American business to the organization, resulting in over five million members. Nevertheless, they were arrested, and upset by their defeat, a small group overthrew Simmons, and Dr. Hiram W. Evans became the new leader. The peak of its power rose in 1923 with Klansmen taking power in offices, city councils, and judicial systems, having huge political influence. However, in 1925, D.C. Stephenson, the Grand Dragon (state leader) of Indiana, which was where the focus of the Klan was shifting to, was arrested and convicted for raping Madge Oberholtzer. This, along with World War II, the Great Depression, and KKK politicians being unable to halt unwanted conditions in office, resulted in a dramatic decline of the organization. To this day, though, the Klan exists in individual groups and has a little over five thousand members.

Dictionary of American History. Ed. Stanley I. Kutler. Vol. 4. 3rd ed. New York: Charles Scribner’s Sons, 2003. p551-553.

Andrist, Ralph K., ed. The American Heritage History of the 1920s & 1930s. New York: Bonanza Books, 1987.

Section 6: Timeline

  • Jem and Scout meet Dill, and the latter dares him to touch the Radley house.
  • Jem sneaks out of the house in the middle of the night with Dill and Scout to take a peak into the Radley house, but they end up running away with Jem’s pants caught in the fence.
  • Jem has to read to Mrs. Dubose for a month due to destroying her bushes.
  • Jem stands up to Atticus’s threats, requests, and demands to leave when he, Scout, and Dill sneak out of the house to follow him to jail.
  • Jem, Scout, and Dill view the Tom Robinson trial in the Negroes section of the courtroom.
  • Jem has a conversation with Miss Maudie, who tells him that even though Tom was voted guilty, there are still good people in the town and world.
  • Bob Ewell attacks Jem and Scout on their way home from the Halloween party, successfully breaking Jem’s left arm.

Jem is the older brother of Scout and is a major dynamic character of the novel. The summer when he and Scout met Dill was what he thought started the chain of events that led to him breaking his arm. Dill had dared Jem to touch the Radley house, which might’ve struck an indirect relationship with Boo Radley, who protected him from Bob Ewell in the end. Him trying to peek into the Radley house marked the first note of bravery within Jem.  The death of Mrs. Dubose had significant effect on his life, as Atticus later taught him about why she did what she did and what real courage was. Standing up to Atticus was also a courageous event that took place because he didn’t back down in believing what he thought was right. The Tom Robinson case actually fueled Bob’s fire into hating Atticus, so that’s what made the former attack Jem. The conversation between Jem and Miss Maudie gave him insight into the real world, that bad things just happen to good people. When Bob Ewell attacked him, he broke his arm, showing a symbol of how far evil can go to get things done. By the end, Jem learned many important life lessons by different people who profoundly affected his life.

Section 8: The Trial – Persuasion Techniques

The techniques Atticus uses to persuade the jury that Tom is innocent include the uses of emotional, logical, and ethical appeals, the latter two of which he uses the most. In one instance, Atticus loosens up his tie and takes off his coat to show his casualness and calmness, maybe a sign of ethical mannerism to connect with the audience that he’s not some emotionless, hard-knuckled lawyer who just wants to win the case and go home. Another sign of ethical appeal is when he describes what seems to be acceptable in Maycomb and challenges it, pointing out that we’re all human beings, colored or not. He uses logical appeal when he tells the audience straightforward with open honesty and simply goes, “Here’s the deal, guys. We have no justifiable evidence that Tom raped Mayella. Coupled with that, Tom’s right arm is broken, so he could be innocent for all we know.” He points out flat facts that made the jurymen ponder beyond a reasonable doubt, so they can question Tom’s innocence. Furthermore, he uses emotional appeals to connect with the audience and jury through their subconscience of what they know is the right thing. He brings in the examples of Einstein and Rockefeller to compare them to the court, which men are supposedly all equal. However, he points out that a court can be mistaken as much as any human being in the room. With this, he ends his final statement with the words, “In the name of God, do your duty” (p. 205), bringing in religion to make the jurymen think about what they are going to vote for. The results of his final statements eventually makes the jurymen contemplate very long about their decision, proving that Atticus’ techniques really brought out the willingness of these men to vote whether or not to sentence a guy to death.

Section 9: Reaction Paragraphs

Prejudice is, by definition, prejudgment, which is “making a decision before becoming aware of the relevant facts of a case or event.” If that’s the case, then I probably see prejudice everyday [on the Internet]. Ignorant people are always judging upcoming films based on a director’s track record, a trailer, or even a rating. It’s ridiculous that people say such things when they haven’t the right to since they haven’t seen it. They can be skeptical or anticipated, but to fully judge a film before you’ve seen it is a stupid thing to do. One example I’ve come across is Terminator Salvation, which used to be hated until Jonathan Nolan, the co-writer of The Dark Knight, was on board the film. People often complained of Joseph “McG” Nichol, whose directorial works have just been two Charlie’s Angels films and a mediocre sports drama We Are Marshall, the writers of Catwoman writing the original script, and the possibility of a PG-13 rating. However, as time went on, better news came out of the film (most notably James Cameron’s [the original creator of the franchise] contribution, significant revisions of the script by acclaimed writers, Christian Bale’s commitment to the project, and the trailer), “haters” died down and skepticism turned into optimism. Even then, I still wouldn’t judge the film, which can very possibly be disappointing (I had so much hope for Aliens vs. Predator: Requiem, but it turned out worse than its predecessors), so I’m sticking to my guns until I see the film in May, though I may be a bit biased toward liking the film. That’s why I consider “don’t judge a book by its cover” as one of the most important life lessons I’ve learned.

12 Angry Men is a courtroom drama film about a jury of twelve men who has to make a unanimous decision on whether to vote a kid guilty or not guilty. He was claimed to have murdered his father, and like To Kill a Mockingbird, if the kid is voted guilty, he would be sentenced to death. The majority of the jurymen thought him as guilty; in fact, only one wanted to argue his innocence. That juryman feels that it’s unethical to immediately vote the kid guilty, as the evidence produced and testifications in the courtroom, he thought, were not enough. The witnesses that testified claimed they saw the kid murder his father, though the jurymen argue the accuracy of their evidence. One of the witnesses said she might have worn her glasses when she saw the murder, which challenges the reliability of her story. On the other hand, the second witness was accused of wanting to get attention. Nevertheless, most of the jurymen still argue that because of the boy’s muddle memory of the incident, he is the prime suspect that killed his father. However, the juryman was able to convince a few other jurymen that he was innocent by countering that the boy was anxious at the time and that he couldn’t remember. In the end, he is able to persuade all of the jurymen that the kid was innocent.

Three social classes in school include the jocks, the Asian nerds, and the gang members. The jocks are usually the basketball or football players that are considered “cool” and get all the girls. It may be a stereotype, but if you look real hard, it’s actually true. The Asian nerds is another social class that’s stereotypical since “all Asians are smart.” There are several Asians who aren’t in Pre-AP classes and fail, but people still usually cheat off of them. The gang members are generally the students who look like gang members (baggy pants, prison tattoos, etc.), have probably been in jail, and are failing their classes. Some of them are actually pretty cool (yes, I have friends that are part of gangs), but they just make stupid mistakes. As for myself, I’d probably group myself as part of the Asian nerds. However, I don’t think many people see me that way since I have friends of all different races, even ones that fail. I try not to be hated and befriend people I meet, so I may be perceived as a nice, cool “Asian nerd.”

15
Jul
10

Analysis: “Great Expectations” (1861) [Part II]

Ummm, yeah. So I was looking through more files on my laptop and there’s apparently a Part II and a Part III (which I’ll post up tomorrow) of my Great Expectations analysis. At first, I was kind of confused, but then I remembered that we broke down the massive book into three parts and analyzed it that way in class. Man, it’s so much. Ha!

Section I: Characterization

Upon arriving at London, Pip is initially grateful for his good fortunes, but despises the filthy streets and people in the city. When he meets Herbert, he adapts to the new changes and tries to act more like a gentleman, dressing more handsomely, with Herbert teaching him manners and Mr. Pocket further advancing his education. Regarding his classmates, Pip tends to a more liking towards Startop than Drummle, while he is contempt with the latter, particularly for following Estella. Nevertheless, his affections for Estella is still the same, except he thinks she is more beautiful and is more madly in love with her, ignoring Herbert’s and Wemmick’s advice to stay away from her, waiting hours just to see her, and not believing her when she says she has a cold heart. However, her attitude towards him “gave me pain; but everything in our intercourse gave me pain. Whatever her tone with me happened to be, I could put no trust in it, and build no hope on it; and yet I went on against trust and against hope” (p. 284-285). His feelings toward Joe is irritation, as Pip is bothered by him being too polite, but he would later feel regretful for his cruelness towards him and Biddy. After his sister’s death, he feels the need to want to kill Orlick and is profoundly saddened by her death. At the same time, he tries to restore his relationship with Joe and Biddy, confronting the latter and telling her that he’ll visit more often. On the other hand, Pip is still terrified by the convict, who returns to Pip on a stormy night, and, along with that, is stunned that he is his benefactor, locking the door when he is asleep. His struggles and desires haven’t changed much, as he still wants to marry Estella and doesn’t really have a clear vision of what he wants to be, for he was told that he was “not designed for any profession, and that I should be well enough educated for my destiny if I could ‘hold my own’ with the average of young men in prosperous circumstances” (p. 208).

Section II: Plot

After the events of Part I, Pip is now living under the roof of Herbert Pocket’s — the pale young gentleman — apartment at Barnard’s Hotel. He befriends him as well as the Pocket family, Wemmick, and Mr. Jaggers, albeit he’s quite apprehensive of the latter. Getting to tour around from the streets of London to Wemmick’s Castle to Mr. Jaggers’s house (where he meets Molly, the housekeeper), it’s not until Pip gets a letter from Biddy of Joe’s arriving that the story progresses. Joe comes to tell him of Estella, who came back to Satis House and wants to see him, along with Miss Havisham, which Pip is immediately excited about. Along the way, he has to share a coach with two convicts, one of them being the stranger who gave him money at the pub long ago. When he arrives at Satis House, Pip is stunned to see Orlick as the new porter, but he is later fired by Mr. Jaggers the next day when they both return to London. As for Estella, she is the same, more or less, except Pip thinks she has drastically changed her appearance, as she is more beautiful than ever. Later on, he receives a letter from her, desperate enough to wait long hours to see her, and escorts her to her new home at Richmond. Afterwards, Pip returns home and confesses his feelings of Joe and Biddy to Herbert, and the two record their debts, as they have been spending it more than they needed, until news came that Mrs. Joe Gargery had died. Back at home, he is really sad of her death and tries to rebuild his relationship with Joe and Biddy, but his attempts to the latter are nearly futile. On his twenty-first birthday, Pip fully becomes an adult and receives more money, and with it, anonymously gives half of it to Herbert so he can get his dream job. Nevertheless, Pip regularly visits Estella at Richmond, though her attitude doesn’t change, and the both of them go back to Satis House, where Pip sees a confrontation between Estella and Miss Haivsham in which the former cruelly treats her the same way she treats men. As the years go by, in one particular night, with a heavy storm going about, Pip hears of footsteps and invites a strange man, who is the convict Pip met early in life and who is still running from the law. Pip is surprised and shocked of the convict because he reveals that he is his benefactor, and the latter stays for the night.

Section III: Vocabulary

1) Portmanteaunoun – 1. a case or bag to carry clothing in while traveling, esp. a leather trunk or suitcase that opens in two halves: When he had got his shilling, and had course in time completed the ascent to his box, and had got away (which appeared to relieve his mind), I went to the front office with my little portmanteau in my hand and asked, was Mr. Jaggers home? (P. 172)

2) Bereavementnoun – 1. to deprive and make desolate, esp. by death: I judged him to be a bachelor from the frayed condition of his linen, and he appeared to have sustained a good many bereavements; for he wore at least four mourning rings, besides a brooch representing a lady and a weeping willow at a tomb with an urn on it. (P. 180)

3) Magnanimousadjective – 1. generous in forgiving an insult or injury; free from petty resentfulness or vindictiveness: ‘Well!’ said the pale young gentleman, reaching out his hand good-humouredly; ‘it’s all over now, I hope, and it will be magnanimous in you if you’ll forgive me for having knocked you about so.’ (P. 185)

4) Avariciousadjective – 1. characterized by avarice; greedy; covetous: ‘I don’t take to it, Philip,’ said he, smiling, ‘for it sounds like a moral boy out of the spelling-book, who was so lazy that he fell into a pond, or so fat that he couldn’t see out of his eyes, or so avaricious that he locked up his cake till the mice ate it, or so determined to get a bird’s-nesting that he got himself eaten by bears who lived handy in the neighbourhood.’ (P. 188)

5) Vellumnoun – 1. calfskin, lambskin, kidskin, etc., treated for use as a writing surface: I believe he had been knighted himself for storming the English grammar at the point of the pen, in a desperate address engrossed in vellum, on the occasion of the laying of the first stone of some building or other, and for handing some royal personage either the trowel or the mortar. (P. 200)

6) Billetedverb – 1. to obtain lodging, stay: Mr. Pocket, with the normal perplexity of his face heightened and his hair rumpled, looked at them for some minutes, as if he couldn’t make out how they came to be boarding and lodging in that establishment, and why they hadn’t been billeted by Nature on somebody else. (P. 206)

7) Acquiescedverb – 1. at assent tacitly; submit or comply silently or without protest; agree; consent: I acquiesced, of course, knowing nothing to the contrary. (P. 208)

8) Amenitiesnoun – 1. an agreeable way or manner; courtesy; civility: Without remarking that man-traps were not among the amenities of life, I supposed he was very skillful? (P. 210)

9) Bijounoun – 1. a jewel: They were all displayed in that chamber of the Castle into which I had been first inducted, and which served, not only as the general sitting-room but the kitchen too, if I might judge from a saucepan on the hob, and a brazen bijou over the fireplace designed for the suspension of a roasting-jack. (P. 221)

10) Girdverb – 1. to encircle or bind with a belt or band: It was so with all of us, but with no one more than Drummle: the development of whose inclination to gird in a grudging and suspicious way at the rest, was screwed out of him before the fish was taken off. (P. 226)

Section IV: Victorian Era Research

During the nineteenth century, the theory of evolution forever changed the face of science and how we view the world. But what’s perhaps equally as fascinating as the theory itself is the man who thought of it: Charles Darwin. He was born on February 1809 unto a family who loved science, his grandfather Erasmus Darwin being a well-known scientist that tried to explore the far reaches of evolution himself. Becoming interested in natural history and collecting rocks and insects at an early age, Darwin’s groundbreaking discoveries began on the Galapagos Islands when he found many unique species that were only found  on the islands, which became the basis if his life’s work. He concluded that geographic separation made different species adapt to the new land area after careful examinations from his five-year voyage on the Beagle. Gathering his notes, he created the theory from his various observations and studies in 1838 and first revealed it to Joseph Hooker in 1844. However, it wasn’t until 1859 that he published it due to the heavy criticism of the book Vestiges of Creation on 1844, which challenged the Bible’s account of the creation of Earth, although he had already completed his geological series of books about his observations on the Galapagos Islands and other places thirteen years earlier. So on 1859, his controversial book On the Origin of Species was put in stores and flew off the shelf, all copies being oversubscribed (his follow-up book Descent of Man was published twelve years later). The public debated his theory constantly, the most famous being the 1860 Oxford University evolution debate, with religious people and creationists often disregarding it at the time. However, as of today, the book is seen as the groundwork for biology and evolution, influencing many other scientists in the years to follow, and his legacy still lives on today.

Stefoff, Rebecca. Charles Darwin and the Evolution Revolution. New York: Oxford University Press, Inc., 1996

Section V: Poetic Devices

“It was wretched weather; stormy and wet, stormy and wet; and mud, mud, mud, deep in the streets,” (p. 333) is an example of imagery because it describes the weather in full detail that appeals to the senses. Charles Dickens’ use of imagery helps the reader understand and imagine what it feels like to be in the weather Pip was in. His use of the repetitiveness conveys an effect that aids in the description of the harshness of the weather, also. The paragraph would go on to specify it in even more vivid terms, emphasizing on the destruction the storm has caused. It additionally foreshadows an ominous becoming (later revealed to be the convict), which fits the mood of the chapter. Since the whole chapter takes place in the same night with the storm raging throughout, it creates a dark, threatening mood that sets the tone of the chapter. The convict’s presence helps to maintain the forebodingness of Pip’s future expectations as well as his fear. Similes can also be found in the chapter, like “. . . the coal fires in barges on the river were being carried away before the wind like red-hot splashes in the rain” (p. 334), which gives the reader a sense of how it’s like and what’s going on. All in all, poetic devices significantly contribute to the novel as a whole, as it boosts the quality of the work as well as make it a more enjoyable read.

Section VI: Lasting Impressions

When I awoke, without having parted in my sleep with the perception of my wretchedness, the clocks of the Eastward churches were striking five, the candles were wasted out, the fire was dead, and the wind and rain intensified the thick, black darkness.” (P. 345)

The above quote is important in that it foreshadows Pip’s expectations in the future. It might’ve revealed that Pip’s future is not going to be as light as it was in the beginning of Part II. I don’t think it speaks of any of the possible themes, as it’s just a description of the cold, hard night Pip is experiencing. The reason I liked it is because it’s like the feeling of anticipation of waiting a week or year after a TV episode or movie ends in a cliffhanger. However, I guess you can say almost all of his chapters end in cliffhangers since they were released episodically, but I still thought it was pretty cool. The quote also shows Pip’s apprehensiveness to the convict, whose mysterious return may play a huge part in Part III. I found it comparable to Lost or Heroes, because each show ends each of their episodes with cliffhangers that creates an air of anticipation for the next episode. There’s really no significance in it except that it serves as a transition to the next part. So overall, I think Dickens has nicely foreshadowed the ominous future of Pip and the convict’s reason of being there.

15
Jul
10

Analysis: Assessing the Theme of “The Scarlet Ibis”

Here’s another one of my essays from my English I class during freshman year.

“The Meaning of Life”

“When we do the best that we can, we never know what

miracle is wrought in our life, or in the life of another.”

– Helen Keller (1880 – 1968)

In the year of 1960, James Hurst introduced the world to his tragic short story The Scarlet Ibis about the narrator who tries to help his little, invalid brother Doodle become a “normal” boy. As the novel progresses, the narrator helps him learn how to walk, which their parents are proud of, and prepares him for school by teaching him various skills. By the end, frustrated that their plans of teaching Doodle how to run, swim, and fight didn’t work out, the narrator runs away from Doodle during a lightning storm on their way to their house, leaving him behind. The narrator eventually goes back to check on him and finds him dead. Now, this might not seem like one of the most influential piece of literature of the twentieth century you’ve ever seen at first glance, but at the time, the story broke new grounds with its involving, thematic plot and use of symbolism, quickly becoming critically-acclaimed. However, at its heart lies its underlying message that everyone’s life is not worthless and that everyone’s role in life somehow affects at least another person.

People are sometimes oblivious of the effect, whether it be positive or negative, they have of another’s life. The relevance this has on The Scarlet Ibis is that, as the narrator tells his story, he’s looking back on a past life he had with Doodle and “all this is still so clear to me, now that summer has long since fled and time has had its way” (p. 314). This clearly implies Doodle has had a significant impact on the life of the narrator, enough for the narrator to remember it thoroughly. The same could be said vice-versa, as Doodle wouldn’t have been able to walk, or do nothing, for that matter. Accordingly, even though the narrator’s pride got the best of him, his relationship with Doodle is sort of like a redeeming quality in his life.

Furthermore, it wasn’t until after Doodle died that the narrator realized what effect Doodle had on his life, when he “began to weep, and the tear-blurred vision in red before [him] looked familiar” (p. 323). The fact that people don’t know another’s role in life until after their dead has been evident throughout history. For example, the perpetrators of the Columbine High School massacre, Eric Harris and Dylan Klebold, were practically “nobody’s” until the day of the school shooting, even though there were several early warning signs of their plans. Likewise, Heath Ledger wasn’t really well-known to the mass media until his untimely death in January, which obviously had a considerable impact on The Dark Knight‘s record-breaking box office performance, despite the fact he was nominated for an Academy Award for Best Actor in 2005.

So, as you can see, James Hurst wanted to teach us the value of life, in a way, because we are not worthless, even if we think we are. What would happen if Isaac Newton or Albert Einstein thought their lives were worthless and committed suicide early in their life? It’s not until one experiences life without oneself that (s)he realizes what it would’ve been like if one never existed.

13
Jul
10

The Top 5 Defining Hip-hop Albums of the 1990s

Well, here’s the second installment in my “defining hip-hop albums of a decade” series. The 1990s saw hip-hop music explode into the mainstream with pop rap like MC Hammer’s Please Hammer, Don’t Hurt ‘Em, Vanilla Ice’s To the Extreme, and Sir Mix-a-Lot’s Mack Daddy, to alternative hip-hop’s strong credibility from acts like A Tribe Called Quest, De La Soul, and the Pharcyde, to the West Coast’s dominance thanks to Dr. Dre, Snoop Dogg, 2Pac, and Ice Cube, to the shift to the East Coast with outstanding debuts from Nas, the Wu-Tang Clan, the Notorious B.I.G., and Jay-Z, and to the East Coast-West Coast feud that brought down two of hip-hop’s greatests  to their deaths during their height. Whatever it was, hip-hop music’s youth had finally emerged into worldwide culture through MTV, VH1, etc., arguably making it hip-hop’s most prolific decade, which makes it all the more difficult to list the top five defining albums. Hopefully, you’ll enjoy what you read, as it took me some time to decide what goes where, and you are certainly free to complain and argue. This list wasn’t meant for everyone. With that said, here’s my list.

5) The Chronic (1992) by Dr. Dre


One of the greatest hip-hop producers of all time made the beats for N.W.A’s Straight Outta Compton and the D.O.C.’s No One Can Do It Better. Then, N.W.A broke up, and Dr. Dre totally changed the game with a vastly different sonic landscape that brought the West Coast back to prominence, and single-handedly I might add. Many may claim Cold 187um developed the initial layout of this innovative G-funk sound, but there’s no denying Dr. Dre popularized it and evolved it beyond its roots. I don’t really know how to describe the sound, as I’m not a hip-hop music theory expert, but Steve Huey of AllMusic.com calls it “fat, blunted Parliament-Funkadelic beats, soulful backing vocals, and live instruments in the rolling basslines and whiny synths.” I guess that’s what it is, but I found it to have that laid-back, smooth production, the kind where you want to crack open a bag of weed and smoke it, even though you don’t do this stuff (at least not me). Whether that makes sense or not, that’s just me, but it’s distinct and sort of addicting. The production alone warrants it to be on this list. However, the lyricism and burst of impact on the hip-hop scene makes it more stimulating. His protégé Snoop Doggy Dogg (yes, that was what he was known as at the time) crafted some of the album’s biggest hits, notably “Nuthin’ but a ‘G’ Thang,” and his trademark smooth delivery introduced audiences to the next big thing. Many West Coast rappers appear as well, including a young Daz Dillinger, Nate Dogg, RBX, and Lady of Rage, all bringing their best. The constructive lyrics, mostly about violence and the inner city life (basically stuff that has been tirelessly and inferiorly overdone in the past few years) were controversial for some reason, even though this is the guy that was part of a controversial group that released two controversial albums, so surprise! It’s not like nobody expected it! A diss toward former N.W.A member Eazy-E is also present, and it’s nasty. Overall, Dr. Dre set the building blocks of the beginning of this artistry. G-funk started dominating at this time and has been dominating ever since, in the form of its influence on modern producers like Kanye West.

Speaking of Snoop, I would like to add his debut album Doggystyle as an extension of this ranking, if you will. Dr. Dre also produced this album, but it didn’t sound like any rip-off of The Chronic. Many compare these two to be the hip-hop music equivalent to Kill Bill Vol. 1/2. They’re pretty much equal in terms of music quality, one and the same, and I believe Doggystyle deserves credit as well.

4) The Low End Theory (1991) by A Tribe Called Quest


All right, let me just lay it down quick: this it the epitome of alternative hip-hop. While they weren’t the first of their kind, they paved the way for acts like De La Soul, Jungle Brothers, and Black Sheep, all of which are coincidentally part of the Native Tongues collective. Their music strayed away from the West Coast gangsta image popular at the time, and this album couldn’t have not only done it better, but more boldly gripping. The unconventional production from Ali Shaheed Muhammad and Q-Tip (one of hip-hop’s most underrated rappers), as well one from Pete Rock, was different from any hardcore production of the East Coast or gangta rap/G-funk of the West Coast, and it didn’t have that multi-layered wall of noise of the Bomb Squad. At a time when hip-hop was all about shooting gangs and sex with women, A Tribe Called Quest’s mature rhymes and simple (minimalistic) sampling was a breath of fresh air for everyone. Their jazziness from highlight tracks “Check the Rhime” and “Jazz (We’ve  Got)” did to jazz and rap what Run-D.M.C. did to rock and rap. It was the perfect marriage between the two genres that only a few could emulate. From then on, alternative hip-hop was never the same without them.

3) Ready to Die (1994) by The Notorious B.I.G.


The Notorious B.I.G.’s debut album came in the heels of the so-called “East Coast artistic renaissance,” and it couldn’t have been released at a better time. This was when Diddy and the Hitmen were at their prime, and when New York began to take the throne from the West Coast. Although lyrics about crack dealing, guns, and similar topics were pervasive in the West Coast, Biggie described them in brilliant narratives that set him apart from them. His flow was loose and chilled, yet his lyricism was packed with complexity and multi-syllabic rhymes, rapping with ease. The monumental hits “Juicy” and “Big Poppa” take their place as hip-hop’s greatest songs, but tracks like “Gimme the Loot” and “Suicidal Thoughts” offer insightful honesty into the faulty environment of Biggie’s life and its meanings in his songs. The semi-autobiographical nature of this album and the loose concept of his life from birth to death presented are quite incisive, like the album has a voice of its own above the crowds of numerous others released in the era. Its impact is undeniable, as today’s greatest from Jay-Z to Eminem take their nods from Biggie and this album. Unfortunately, his life was cut too short, and Bad Boy later fell off. It would’ve been amazing to hear the three-disc Life After Death concept he planned before his death.

2) Illmatic (1994) by Nas


Before Biggie released his debut, Nas released his debut. There’s not much I can say about this album that I already haven’t said about Ready to Die since they’re stylistically similar. Nas was seen as the second coming of Rakim (Canibus was supposed to be the third), and he definitely brought in several innovations that set a precedent in hip-hop. First, the internal rhymes that Rakim pioneered were used extensively and were combined with multi-syllabic rhymes to create complex rhyme schemes that wowed everyone. Second, the gritty hardcore production was handled by a multitude of producers instead of the usual MC/DJ combo. And third, his vivid description of Queensbridge with the use of metaphors and realistic imagery captured the essence of his life. On a more regional note, Queensbridge finally caught the attention of the hip-hop community that was more focused on Brooklyn. Mobb Deep and Capone-N-Noreaga later followed in his footsteps with arguably equal albums. His album became the influence for numerous aspiring rappers, including the Game, Clipse, and even underground artists like Talib Kweli, and his songs have been sampled on masterpieces like Jay-Z’s “Dead Presidents.” Even though it didn’t become a big hit, no one could argue the album’s definitive stamp on hip-hop.

1) Enter the Wu-Tang (36 Chambers) (1993) by the Wu-Tang Clan


I know many will argue about this. I actually had difficulties in ranking Ready to Die, Illmatic, and this album in the right order because all of them pretty much had the same impact at the same time. But I’m putting this at numero uno because of its diverse cast of rappers’ sheer talent and RZA’s revolutionary hardcore hip hop production that pushed the boundaries of what Boogie Down Productions and Kool G Rap introduced earlier in the ‘80s. RZA, GZA, Ghostface Killah, Rakeown, Inspectah Deck, U-God, Ol’ Diry Bastard, Method Man, and Masta Killa (what a mouthful!) all ripped the shit outta hip-hop, and I don’t mean that in a bad way. Starting on “Bring da Ruckus,” you immediately identify that unpolished, rough production with complimenting dialogue from old Chinese kung fu movies. Then, RZA’s chorus kicks in with that “Bring da motherfuckin’ ruckus,” and four verses come in from four different rappers. They all have different flows and different styles in their lyricism, yet it’s amazing how pertinacious they’re verses work together, as if they’re glued together if that makes any sense. And that’s just the beginning, let alone just four rappers. “Protect Ya Neck” has seven rappers spitting sick battle rhymes that blow the water in today’s modern times. Now, imagine that uncanny stupendousness that somehow works and multiply it by twelve, and Enter the Wu-Tang is what you get. RZA’s pervasive gritty, course sampling cued all hardcore hip-hop producers to take notes from him. His distinct borrowed dialogue from Chinese kung fu movies was for the Wu-Tang Clan and the Wu-Tang Clan only; it couldn’t have worked any better with other rapper(s). The album as a whole has got to be without a doubt one of the greatest produced albums of all time. Doggystyle was actually released two weeks later to mad craze and overshadowed this album’s moderate success, but in the long run, Enter the Wu-Tang lasting impact and legacy was much more defining than any hip-hop album of the decade.

Like The Chronic, I’d like to give nods to all Wu-Tang-affiliated albums released after Enter the Wu-Tang and up to 1997 as extensions of this ranking. That includes Gravediggaz’ 6 Feet Deep, Method Man’s Tical, Ol’ Dirty Bastard’s Return to the 36 Chambers: The Dirty Version, Raekwon’s Only Built 4 Cuban Linx…, GZA’s Liquid Swords, Ghostface Killah’s Ironman, and the Wu-Tang Clan’s sophomore album Wu-Tang Forever. Yep, that’s right. Seven albums. Why, you may ask? Because this was the Wu-Tang era. Everything they released at this time was masterpiece level, and each had their individual successes that contributed to RZA’s “five-year plan” that established Wu dominance. That just cannot be overlooked.

As usual, here are my honorable mentions:

AmeriKKKa’s Most Wanted (1990) by Ice Cube

Supa Dupa Fly (1997) by Missy Elliott

The Miseducation of Lauryn Hill (1998) by Lauryn Hill

“Wait a minute… Where the fuck is 2Pac?”

Hahaha! I know people will argue that at least one of 2Pac’s albums should be placed on the honorable mentions, if not the actual list. After all, 2Pac is the defining hip-hop artist of all time. His work is taught at universities and his music still influences modern rappers today. But I believe his overall career and legacy is bigger than the individual albums that made it up. Me Against the World and All Eyez on Me are exceptional albums, but I don’t think they were more defining than the ones listed above.