Analysis of "Actually SpaceX, We Shouldn't Go to the Moon" by Claire McNear
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Analysis of "No, Really: Root for Twenty One Pilots at the Grammys" by Rob Harvilla
2016 has been widely acknowledged as a great year for music, and this year's Grammys are expected to be an award show worth watching. Some artists, like Adele, are expected to win a lot; others not so much. Harvilla skilfully intertwines humor, characterizing language, and demonstrated credibility to eloquently argue why everyone needs to root for Twenty One Pilots at this year's Grammys. A humorous article grabs everyone's attention. Witty and sarcastic, Harvilla forces the audience to read the entire article - and enjoy it. Harvilla concludes the first paragraph with his claim that "If you’re into the Grammys for the shock value, for the chaos, for the universe-trolling delirium, these fellas are your new best friends". The interactive nature of the article encourages the audience to listen Harvilla's argument. His humor intrigues an audience from all genres and makes all ask "what's this guy going on about. The opening line to the piece "Beyoncé should win everything, but won’t; Adele will win everything, but shouldn’t. Thus concludes your radically condensed 2017 Grammys preview" introduces an idea that interests all music lovers - under the assumption those that listen to Beyonce and Adele will also be familiar with Twenty One Pilots. Harvilla cleverly injects Twenty One Pilots lyrics throughout his piece: "They are polarizing fellas" (referring to their song 'Polarize'). He follows this statement with: "to be sure, fearless and bonkers and gleefully Problematic, their strident Midwestern uncoolness fueling a rap-rock hybrid that desecrates traditional notions of “rap” and “rock” in equal, gargantuan measure". Harvilla's choice of descriptive words to characterize the group, like "fearless and bonkers" and a band that "desecrates traditional notions", would make any Twenty One Pilots fan prideful. After fluidly analyzing Twenty One Pilots music and comparing their style to other Grammy nominees, Harvilla convinces the audience of his eligibility to speak on the topic. The in depth discussion of the artistic development in the 'Ride' and 'Stressed Out' music videos demonstrate Harvilla's expertise. Inserted facts identify Harvilla as an experienced follower in the field: "their fourth album, 2015’s Blurryface, debuted at no. 1 on Billboard’s album chart and lurks in the top 20 to this day. This past summer, joining a cohort that includes Elvis Presley, the Beatles, and nobody else in the rock category, they snuck two songs — “Ride” and the dreamy Suicide Squad–soundtrack jam “Heathens” — into the Hot 100’s top five simultaneously." The combination of appeals strengthen his eligibility and allow Harvilla to venture into such a disputed topic. Harvilla's unique voice contributed to the attractiveness of the article. Humor held the audience's attention, while descriptive language allowed him to indisputably express his opinion on Twenty One Pilots. Harvilla earns credibility throughout the article to gain the audience's respect. Overall, "No, Really: Root for Twenty One Pilots at the Grammys" effectively entertains the audience and argues for a band in a way that does not feel argumentative. |
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