This comical Visa Debit Card commercial presents the message meant to reach the audience in a very unique way. Rather than talking about the purpose of the commercial, the majority of it is spent in the efforts to attract the attention of the viewers. VISA does this by incorporating the infamous yet amusing song Super Freak performed by Rick James. It is compiled of thirteen different scenes of various completely different people all singing and dancing to the tune of Super Freak. This usage of drastically different people highlights the idea that this commercial will pertain to all types of people, going from an athlete to dorky men, a hard worker, highschoolers at prom, a cowboy, and cross country bikers. The viewer is able to conceive that whatever this commercial pertains to will be relatable to themselves, when the narrator announces, “Who isn’t a little freaky.” As the actual message of the commercial begins to unravel towards the last five seconds, it shows a lady using a VISA debit card to purchase the Super Freak song online, portraying the quality of being universally versatile, while also being the safest and securest way to pay online. The scene also emphasizes the word “go” as part of the VISA company’s motto. The word “go” plants an image in the viewers mind to get out and perform an act, enjoy a little bit of life, to spend some money. Such a small two letter verb can have a profound affect on a viewers current mentality and allow them to immediately have the urge to do something with their money. The commercial ends with the punch line “More people go funky with VISA.” This usage of the word “funky” allows an audience of all ages to feel the youthful nature of being freaky.
Sunday, May 3, 2009
super freak
Saturday, February 14, 2009
Every Night
Every night was a night spent by the window.
Gaping at the horizon and aqua chrome dome
The luminous moon stuck awkwardly in the black.
Every night was a night spent by the window.
He could never forget the joy of her heartbeat.
Like Romeo waiting for his Juliet with his red velvet rose.
The tangerine never tasted the same with her gone.
He could never forget the joy of her heartbeat.
She just left in that small yellow taxi
Promising to be back soon.
He waited for the day they would meet in the chapel
But she just left.
Friday, December 5, 2008
Poem
The day was coming to an end, as the dusk settled down into balmy night. The future of five players lied on two pairs of shoulders. Holding the rear down stood the experienced quick hitter. His panicky naïve partner pounced around at the front, sinews contracting dangerously tight. Every pore on that dusty court percolated with salty streams of water. The score was split right down the middle, but the time dawdling away, both sides knew it was time to be settled. The pattering of nervous parents and friends became the only echo to be heard, as the surrounding grew dead silent. And then it began, that last feeble attempt to justify the year’s success. The strung pieces of metal shaved hair of that resplendent yellow orb with each swing, while only four lungs seemed to be functioning. That’s when we heard the repugnant crack of a string, causing every back to flinch with unease. The naïve one had let his unchecked vigor loose, bringing the season down with that descending orb.
Balmy: adj.- pleasantly warm
Panicky: adj.- overexcited
Sinews: noun- a piece of tough fibrous tissue
Percolated: verb- a liquid gradually filtering through a surface
Dawdling: verb- to be slow
Pattering: verb- a repeated light tapping sound
Resplendent: adj.- attractive or impressive by having a rich color
Orb: noun- a spherical globe
Repugnant: adj.- making someone feel physically repelled
Vigor: noun- physical strength
Thursday, November 20, 2008
Laugh and Get Fat
http://animoto.com/play/mD8YSU5XUry2G0nzriPsbg
The phrase, "Laugh and Get Fat" serves to be a lighter and joyful message for those stuck in stress filled and redundant lives. Getting caught up in school or at work, people tend to forget that life is too short. This line sums up two of the most important aspects of a happy life. Laughter not only brings joy but even adds years to one's life. While getting fat may not add years to one's life, it gives the individual the opportunity to go against the mainstream of society and indulge in the good stuff in life.
The phrase, "Laugh and Get Fat" serves to be a lighter and joyful message for those stuck in stress filled and redundant lives. Getting caught up in school or at work, people tend to forget that life is too short. This line sums up two of the most important aspects of a happy life. Laughter not only brings joy but even adds years to one's life. While getting fat may not add years to one's life, it gives the individual the opportunity to go against the mainstream of society and indulge in the good stuff in life.
Thursday, October 30, 2008
Dramatic Monologue
What was I thinking?
Giving him a chance?
I should’ve known better-
For a man that, no.
For a fiend that cowardly,
Nothing more should’ve been expected.
Oh Anne, what happened to you.
She was so innocent.
So naïve.
How could she do this to me.
And even then to come back-
And try to pick this searing dagger from my back
Placed there by her own self
No wait. What am I saying?
She is my blood, my responsibility.
What now.
I have no one left.
Jack, how can you be there at his side
Why would you pull the Stanton name-
The name you’ve grown up with
For so long- So low.
Their motives seemed so pure.
They needed me.
No. They used me.
The world must know.
I have nothing left of my dignity.
Self worth? No none.
No all that’s left is this.
This pig cannot be let lose.
I must clean this filth up.
Thursday, October 2, 2008
Found - Where
Where can you find it?
The flame of truth of being you seek
Those yellow irises of his eyes?
The white columns two stories high?
Across the long red carpet?
Or out on the dusty black oak desk?
No, none of these, but in the antique,
Sitting in her rocker.
Who hold it in her
From fifteen, twenty, thirty years back.
That is where you will discover
The deep communion of life.
Monday, September 22, 2008
Long Days Journey Into Night Internal Conflicts
Long Days Journey Into Night
In Eugene O’Neil’s Long Days Journey Into Night, a typical dysfunctional family is exemplified through the failing relationships that are held between the family members. Various issues including substance abuse, alcoholism or even a prolonged dwelling in one’s past lead to many internal conflicts. There are many of these conflict between two characters among the Tyrone family that cause the family unit as a whole to repeatedly tear each other down and force the deterioration of a loving family to a group of feuding relations.
One of the most prominent relationships that is characterized by a constant sense of conflict is the father to son bond between James Tyrone and Jamie Tyrone. Throughout the entire play the two characters bicker at each other as they are in a constant battle between the lifestyles of the past and lifestyles of the present. In many instances James Tyrone is depicted as a disappointed father as he talks of the failures of Jamie as he wastes his life away. Coming from a hard-working Irish immigrant background, James sets the standard too high for the lazy son of his. The father scolds his son for not being a successful actor because of a lackluster work ethic like his own, while the son harasses back on the subject of the father’s stinginess. Jamie accuses his father of never committing real emotions to the well being of their family. Blaming him for their mother’s haunting addicted shadow, and even the eventual death Edmund will face due to cheap treatment. A reoccurring concept in the play is the house with all the lights switched off. This illustrates the stinginess of James, but can also symbolize the attitude he holds with a family against him. It can show how he “shuts off” his family from the social class they belong in by holding them down by his morals. This conflict is not allowed to leave the family as James resist any idea of resolving this issue by forcing his morals onto the unwilling minds of his two sons (Fleche).
Jamie is not the only family member that cannot bear James, as his wife Mary Tyrone alternates through the story between a loving wife to a frustrated wife, as the wife to husband conflict arises. Initially the readers are shown the marriage that caused this handicapped family was only based on the high status of James Tyrone’s acting career. But the chief issue that surfaces in the play is when Mary is portrayed to live in a regretful frame of mind that she finds by repeatedly turning to the past. The main problem that rises is the blame Mary places on James for the death of her son Eugene. This accidental death sets Mary in a never-ending downward spiral of remorsefulness, that leads to another ill relationship with her son Edmund as his life is a living reminder of the regret she feels for marrying James and having a third child she must be responsible for. Once again rather than resolving this conflict Mary turns to an addiction of drugs that further presses her family into an endless hole of disgust. O’Neil allows Mary to play to roles as a loving mother and wife but at the same time an ashamed mother and a disloyal wife with her morphine use.
The play utilizes these two major internal conflicts in the attempt to demonstrate the extent to which the Tyrone family slowly worsens throughout the long night. Each of the four main characters realize throughout this night the limited amount of trust and faith they can place in their own family because they find themselves in a constant atmosphere of disagreements and quarrels. These two characteristics force the characters to alienate themselves from each other rather than the normal familial ties of unity, due to the parents dwelling in their past and the sons attempts to burst into the new ideals of society.
Works Cited
Fleche, Anne. "Long Day's Journey into Night: The Seen and the Unseen." Mimetic Disillusion: Eugene O'Neill, Tennessee Williams, and U.S. Dramatic Realism. Tuscaloosa: The University of Alabama Press, 1997. 25-42. Rpt. in Drama Criticism. Ed. Janet Witalec. Vol. 20. Detroit: Gale, 2003. 25-42. Literature Resource Center. Gale. LEE COUNTY LIBRARY SYSTEM. 21 Sept. 2008
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In Eugene O’Neil’s Long Days Journey Into Night, a typical dysfunctional family is exemplified through the failing relationships that are held between the family members. Various issues including substance abuse, alcoholism or even a prolonged dwelling in one’s past lead to many internal conflicts. There are many of these conflict between two characters among the Tyrone family that cause the family unit as a whole to repeatedly tear each other down and force the deterioration of a loving family to a group of feuding relations.
One of the most prominent relationships that is characterized by a constant sense of conflict is the father to son bond between James Tyrone and Jamie Tyrone. Throughout the entire play the two characters bicker at each other as they are in a constant battle between the lifestyles of the past and lifestyles of the present. In many instances James Tyrone is depicted as a disappointed father as he talks of the failures of Jamie as he wastes his life away. Coming from a hard-working Irish immigrant background, James sets the standard too high for the lazy son of his. The father scolds his son for not being a successful actor because of a lackluster work ethic like his own, while the son harasses back on the subject of the father’s stinginess. Jamie accuses his father of never committing real emotions to the well being of their family. Blaming him for their mother’s haunting addicted shadow, and even the eventual death Edmund will face due to cheap treatment. A reoccurring concept in the play is the house with all the lights switched off. This illustrates the stinginess of James, but can also symbolize the attitude he holds with a family against him. It can show how he “shuts off” his family from the social class they belong in by holding them down by his morals. This conflict is not allowed to leave the family as James resist any idea of resolving this issue by forcing his morals onto the unwilling minds of his two sons (Fleche).
Jamie is not the only family member that cannot bear James, as his wife Mary Tyrone alternates through the story between a loving wife to a frustrated wife, as the wife to husband conflict arises. Initially the readers are shown the marriage that caused this handicapped family was only based on the high status of James Tyrone’s acting career. But the chief issue that surfaces in the play is when Mary is portrayed to live in a regretful frame of mind that she finds by repeatedly turning to the past. The main problem that rises is the blame Mary places on James for the death of her son Eugene. This accidental death sets Mary in a never-ending downward spiral of remorsefulness, that leads to another ill relationship with her son Edmund as his life is a living reminder of the regret she feels for marrying James and having a third child she must be responsible for. Once again rather than resolving this conflict Mary turns to an addiction of drugs that further presses her family into an endless hole of disgust. O’Neil allows Mary to play to roles as a loving mother and wife but at the same time an ashamed mother and a disloyal wife with her morphine use.
The play utilizes these two major internal conflicts in the attempt to demonstrate the extent to which the Tyrone family slowly worsens throughout the long night. Each of the four main characters realize throughout this night the limited amount of trust and faith they can place in their own family because they find themselves in a constant atmosphere of disagreements and quarrels. These two characteristics force the characters to alienate themselves from each other rather than the normal familial ties of unity, due to the parents dwelling in their past and the sons attempts to burst into the new ideals of society.
Works Cited
Fleche, Anne. "Long Day's Journey into Night: The Seen and the Unseen." Mimetic Disillusion: Eugene O'Neill, Tennessee Williams, and U.S. Dramatic Realism. Tuscaloosa: The University of Alabama Press, 1997. 25-42. Rpt. in Drama Criticism. Ed. Janet Witalec. Vol. 20. Detroit: Gale, 2003. 25-42. Literature Resource Center. Gale. LEE COUNTY LIBRARY SYSTEM. 21 Sept. 2008
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