And this is a bus that was a makeshift shelter that was just out there already.
It's interesting that the interviewer interrupted Krakauer. I wonder why she did this. It also seems like she might be challenging McCandless, pointing out that he was already provided shelter. More likely though, the interviewer was trying to inform listeners that might not know McCandless' story, with some background information.
I mean, is that something you felt you needed to defend against?
Here, the interviewer challenges Krakauer's decision to defend McCandless. It could have been an attempt to get a soundbite or steer the interview in the direction she wanted.
A written songwriting agreement or band partnership agreement can salvage friendships, and act as a roadmap for everyone. If you don’t have a roadmap, how do you know where you’re going?
I could use this to talk about how the band mates get along. Were they friends before they started making music together?
. Talk to your songwriting partners and/or bandmates to figure out what everyone’s expectations are with regard to copyright splits and ownership/control ahead of time. If possible, get a songwriting or band partnership agreement put together so it’s all clear and in writing;
I could use these ideas to talk about who writes the songs, or is it an equal collaboration? Will they get the same royalties?
ometimes things get a little sticky in the studio; egos take over. An instrumentalist creates a riff that becomes an integral part of the song; a sound engineer starts taking on more of a producer role; maybe your cowbell player thinks his stellar bell placement entitles him to 50% of the royalties. A work for hire agreement makes ownership of the copyright clear from the outset
What is the bands situation as far as publishing and royalties? Have they come up with any plans yet? Will they split credit and royalties equally?
Are you hiring a sound engineer or producer to work on the album?
This could be quoted to find out if the Band is doing it all by themselves, or if they were able to get Warren Huart to help them.
Did you hire a string quartet, or other instruments not normally in your group, just to enhance the recording?
This would be a good question to ask the band. Are they bringing in any outside musical help to make the EP.
Yet all of the motivation or talent in the world cannot hide the reality that not every artist is ready to make this next step
I could use this idea to ask the band if they are ready, and if so, how are they ready to make the move to LA?
it's not a necessity to permanently leave home until you're fully established and have officially reached that next level both musically and financially.
This could be used to talk about why the band felt the need to go to LA, and whether or not they have used Indianapolis to their advantage.
Also be aware that without personal career connections or extremely generous parents, it's more than likely you'll need to find some sort of day job if you don't have an adequate amount of money saved up.
This idea could be paraphrased to ask what the band is doing to ensure financial stability in LA.
be absolutely sure that your new surroundings are right for you and your loved ones. Otherwise, your musical output may suffer as a result, and that's the last thing you want.
This could be used as a transition into talking about why LA is a good fit for the band.
Artists need to be mentally and emotionally prepared to dedicate years of hard work to their craft in their new location before fulfilling their "break-out" potential.
This could be quoted to talk about what the band has done to prepare for LA, and what their plan is.
One can't play down the high cost of living - "Getting a parking ticket sometimes puts your whole career into perspective. You see the meter maid leaving and it's, like, 'My phone is getting cut off this month,'?" Thundercat says - but L.A. seems to have just about everything else going for it, for musicians at every stage of their career.
This could be used to show how the band struggles with the financial aspects of being in L.A.
"It is kind of like a melting pot of what's going on musically," is how Boiler Room L.A. head Sofie Fatouretchi described the city in a 2012 interview with the electronic dance music-focused Magnetic Magazine.
I like this quote describing L.A. as a melting pot. It also goes along with Neer's (band I interviewed) identity, as all the members had very different musical backgrounds, and are bringing those style together with their music.
You'll find exciting talent everywhere, from the Sunset Strip to backyard punk shows in East and South L.A.
This quote could be incorporated into a paragraph showing what L.A.'s music scene is like, and how it's grown over the years.
A 2012 study by The Atlantic senior editor Richard Florida determined our city has more musical acts than any other - both on an absolute and on a per-capita basis.
This statement could be used in my essay to back up how competitive L.A.'s music scene is, as well as how diverse and vast it is.
euphoric.
This word choice conveys the rush Bouvier gets when making huge deals. It is almost an understatement when considering how much money he received in this deal, but the authors use of this word makes sense, as euphoria is an incredibly strong, and rare, emotion.
explode
This verb does a lot to show the reader how vibrant the painting was, and how much it grabbed Bouvier's attention when he saw it in person. It also helps the reader gain a sense of how powerful these paintings, which might seem ridiculous on a screen, can be in person, and why one might want to spend millions on one.
cultivating
This word conjures a sense of great effort and care on Bouvier's behalf, showing the reader how he had to work to get to where he was, in terms of his relationship to this family. It also highlights that all of this is business to Bouvier, and that he always has a motive behind his actions.
dynasty
This word does a lot to describe the level of power and wealth this family must have. The author could have left this part of the sentence out, but he included it to keep with the flow of the article, pointing out the dynastic values attributed to the family.
exultation
This word conveys much stronger feelings than similar words, such as "excitement." This word does a perfect job of explaining Bouvier's feelings, as well as representing it, since these feelings weren't too common, similar to this word. It makes the reader feel what Bouvier felt.
He went to work. Between 2003 and 2007, Bouvier had sold the Russian six art works. Between 2008 and 2013, he sold him twenty-eight. He summoned every hunch, every contested inheritance, every paid informant, every whispered tax problem gathered from two decades operating inside an art market that had never paid him much attention. “If nobody knows you, you take all the information,” he told me. “It is to be like an octopus.”
This shows that Bouvier is willing to do whatever it takes to get ahead.He takes risks and grabs onto opportunities in order to succeed.
Bouvier never used to wear suits, but now he bore the trappings of an international businessman, wearing tailor-made shirts with his initials, “Y.E.B.,” and numerals on the cuffs showing the year and the season each shirt was made.
This gives insight to Bouvier's motivation and dedication to his career. It helps develop his character and shows how he has changed since he started this profession.
Bouvier works constantly, and he becomes restless unless there is something new to occupy him. “Relaxing is the same as working,” he says.
This ties back to what was previously stated about his extreme personality and turbulence. These characteristics helped him get to where he is in his career. He always has to be working.
“It is not an old man in Russia drinking vodka,” Bouvier said. He set out to make as much money as possible. “For me, I will be clear,” he told me. “If I buy for two and I can sell for eleven, I will sell for eleven.”
This shows that he is quick to do what he thinks is the best decision in regards to profit, which tells a lot about him.
To Rybolovlev, Bouvier personified the idea of a colorless Swiss professional. “I would not call him a great personality,” Rybolovlev told me. “But he was calm, discreet, and intelligent.”
This development helps the reader understand what Bouvier is like. It helps make the story more realistic.
He realized they all had needs of their own. When he took over the running of Natural Le Coultre from his father, at the age of thirty-four, Bouvier sold off the company’s general moving business and specialized in art. Unlike other shippers, however, he never considered stopping at logistics.
This makes the reader wonder, "is Bouvier the shipper that 'opened his eyes?'"
That is the very nature of his job.” Everything works fine, as long as people stay within their allotted roles. Seydoux said, “You can’t win somebody’s trust by saying you are blind and then open your eyes.
This works as a transition, as it goes from talking about the people that transport the art, to the expected qualities of those people. The way it is worded makes the reader suspicious, and want to figure out who "opened their eyes. "
Treasures came and they did not leave. A generation ago, these goods were cars, wine, and gold. More recently, they have been works of art.
This is a transition from narrative to exposition, as it goes from talking about how priceless goods are stored at Freeport, to what items are stored there.
by kids who play Beyblades,
This is suspicious as it singles out a specific group of people without providing evidence.
Often associated with killer cyclones in the U.S. Midwest
This is suspicious because the mid-west does not have cyclones.
Research conducted by award-winning U.S. scientist Nathan Zohner concluded that roughly 86 percent of the population supports a ban on dihydrogen monoxide. Although his results are preliminary, Zohner believes people need to pay closer attention to the information presented to them regarding Dihydrogen Monoxide. He adds that if more people knew the truth about DHMO then studies like the one he conducted would not be necessary.
This paragraph lacks citations to give credit to Zohner, and does not use quotes. They also identify him as an "award winning U.S. scientist," instead of listing any credentials.
es, you should be concerned about DHMO! Although the U.S. Government and the Centers for Disease Control (CDC) do not classify Dihydrogen Monoxide as a toxic or carcinogenic substance
This is suspicious because they do not provide any quotes or citations to back up this statement.
If the criteria are good ones, then a critical thinker can discriminate mere opinions and false beliefs from true facts and verifiable knowledge. Critical thinkers can determine false or unverifiable claims, and can tell you why. Just because someone else writes something or says something does not mean it is true or has merit.
critical thinking is important in an academic environment, as it helps with the learning process, and forming you're own ideas. It can also help you figure out when things are true or false, which is helpful when writing a paper.
Even if you are trying to avoid plagiarism and you do acknowledge your sources, you have to be careful what you quote or paraphrase and acknowledge.
It is important to know where your quotations and paraphrasings are sourced from. Some articles may seem credited, but they too might be plagiarized.
At first glance, these writings have the trappings of scholarly work. Until you start to read carefully and evaluate the claims being made (which are largely nonsense)
This shows how crucial it is to understand what you're writing about. By taking the time to process what you've read, not only will you get better at knowing when certain papers are fake, but you'll also become a better critical thinker and get a better grade.
If you go to Catholic church in most parts of the world, the mass is going to feel like the mass. There is still a sense of unity," he says. "We’re starting to enter the world where these private companies have some of that magic to them, the notion of feeling at home across time zones in any country."
I like that the author provides for the other side of the argument, allowing the reader to make a decision.
The homogeneity induced by this division can become stifling, to that point that opting out appears the better option. Rochelle Short was an Airbnb Superhost in Seattle (the designation requires many guests, high response rates, and perfect reviews). She started on the platform in 2013 and became a kind of guru for hosts through her blog, Letting People In. But she stopped hosting this year, as Airbnb itself has in a way become gentrified. "I think the demographic started to change," Short says. In 2013, Airbnb felt like a true social experiment, "pioneering new territory, attracting people who were open-minded, easy-going, don’t worry if there’s a fleck on the mirror in the bathroom." By 2016, she explains, it "became the vanilla tourist who wanted the Super 8 motel experience. I don’t like these travelers as much as the earlier days."
I like how the author uses this persons experience, almost like a short story, to convey the problems with the homogenization of style.
"aesthetic gentrification… divides the new world map in the light of a softer post-Cold War prejudice: the fashionable and the unfashionable world." In other words, we are experiencing an isolationism of style versus one of politics or physical geography, though it still falls along economic lines. You either belong to the AirSpace class or you don’t.
I like how the author incorporates this quote and then explains it in their own words. It also helps push their argument and theory about why the new airspace style is so popular among airbnb users.
"a certain ability to transmit and receive and then apply layers of affection and longing and doubt," as George W.S. Trow wrote in his paranoiac masterpiece of media criticism, "Within the Context of No Context," originally published in The New Yorker in 1980.
I like how the author uses outside evidence to support their arguments about airspace.
I met Bruno Haid in a cafe that Igor Schwarzmann could have been describing
I like how the author relates this to the opening paragraph.
Different celestial sources emit their own sorts of gravitational waves, which means that LIGO and its successors could end up hearing something like a cosmic orchestra. “The binary neutron stars are like the piccolos,” Reitze said. Isolated spinning pulsars, he added, might make a monochromatic “ding” like a triangle, and black holes would fill in the string section, running from double bass on up, depending on their mass. LIGO, he said, will only ever be able to detect violins and violas; waves from supermassive black holes, like the one at the center of the Milky Way, will have to await future detectors, with different sensitivities.
I think this paragraph is very interesting. I like how the author decided to use these quotes, as it compares the unknown to something familiar.
Advanced LIGO’s first observing run came to an end on January 12th. Effler and the rest of the commissioning team have since begun another round of improvements. The observatory is inching toward its maximum sensitivity; within two or three years, it may well register events on a daily basis, capturing more data in the process. It will come online again by late summer, listening even more closely to a celestial soundtrack that we have barely imagined. “We are opening up a window on the universe so radically different from all previous windows that we are pretty ignorant about what’s going to come through,” Thorne said. “There are just bound to be big surprises.”
I like how informative this article is - I learned a lot about gravitational wave detection - and I like how the author made it read like a story, incorporating quotes and telling of the various discoveries in the order with which they occurred and with excitement in the chosen quotes.
“Could somebody have somehow faked a signal in our detector that we didn’t know about?”
I like how the author incorporates quotes. It keeps me interested in reading, and adds a sense of personality to the writing.
When the rumors started, I was like, Come on!” she said. “They only just got it locked!”
Like Guber discussed in "Inside Story," the Author is incorporating these quotes in a way that share the scientists excitement and energy with the reader.
At lunchtime, Collinsworth, Reynolds, and I go back to the training room. "I love it here," Collinsworth says dreamily. "It's like a community."
I like this closing sentence. It is kind of dark because Collinsworth is a free man, and he doesn't have to go through what the prisoners go through, but at the same time, it is a sort of community.
Why are you here?!" I am careful to never lie, instead backing out with generalities like, "I came here for work," or "You never know where life will take you," and no one pries further.
I think it's interesting that he chooses to never lie, perhaps because it could mess with the outcome of the news piece and take truth away from it.
Once a guard himself, he made $3.4 million in 2015, nearly 19 times the salary of the director of the Federal Bureau of Prisons. "You may be brand new to CCA
It's nice that the author puts facts in the writing, helping to show what the prison industry is like, and his views on it.
Winn Correctional Center lies in the middle of the Kisatchie National Forest, 600,000 acres of Southern yellow pines crosshatched with dirt roads. As I drive through the thick forest, the prison emerges from the fog. You might mistake the dull expanse of cement buildings and corrugated metal sheds for an oddly placed factory were it not for the office-park-style sign displaying CCA's corporate logo, with the head of a bald eagle inside the "A."
This adds a lot to the article by giving a detailed and creative report of the location, helping to recreate the events of the story for the reader.
Do you like to hunt and fish?" "I like fishing." "Well, there is plenty of fishing, and people around here like to hunt squirrels. You ever squirrel hunt?" "No." "Well, I think you'll like Louisiana. I know it's not a lot of money, but they say you can go from a CO to a warden in just seven years
I think the choice of including this dialogue is a good way to show what people are like, and make it read like a story.
The fact that Henderson when talking to Mrs Peters tells her that ‘a sheriff’s wife is married to the law’ may also be important as by introducing this line to the story Glaspell may also be suggesting (again at the time the story was published) that many women were not free to think for themselves or be independent of their husbands.
This could be interesting as it shows how men acted superior to women and disregarded their identities.
It is also possible that by introducing the canary’s cage to the story Glaspell is also suggesting that after marrying Wright, Minnie likewise has also been caged (or trapped) within her marriage.
I could draw from this idea to represent the way women were oppressed.
What is also interesting about the story is the inequality that appears to exist between Mrs Hale, Mrs Peters and all three men in the story.
I could use contrasting or opposite words to represent inequality.
Something that is more noticeable at the end of the story when rather than showing their husbands the dead canary, which would provide Henderson with the motive he is looking for (as to why Minnie killed Wright), they hide the canary ensuring or strengthening Minnie’s chances of being found not guilty of killing Wright.
I could incorporate the canary to symbolize Minnie Foster.
connection, inequality, independence, control and oppression.
I will use these points as the overall theme in the song.
Do dig in and develop the groove and feel. This can really set the mood of a song and inspire all kinds of interesting melodic and lyrical ideas. Also, a good groove is the very first thing the average listener will notice when they hear your song.
Have a chord progression and melody that embody the themes of the song.
Do honor your melody and build your song around it. Remember, people will learn your melody long before they learn your lyric, so having a good one is not to be taken lightly.
It is important to have a strong melody. Similar to a strong thesis statement, a strong melody will keep the listener around.
Don’t forget to give the song real emotional content. It’s possible to be so focused on the hook and setting it up that you forget to be sincere.
Don't forget to keep it natural feeling. Don't force concepts but also keep structure.
Don’t be too vague. Because you haven’t started with an actual lyrical hook, you’ll need to remember to bring your overall concept to a very sharp point by summarizing it with a phrase or hook line.
If it's too vague, the listener won't understand the concept.
Do capture the feeling and emotion of your concept.
This is important to get the ideas of true crime accross to the listener.
What is at risk politically, economically, financially?
It is important to discuss why the issue matters.
REREAD for accuracy and fairness before you file: bullet proof the story.
It's important to reread and check that all of your information is factual.
Who are the parties in conflict and why?
It is important to give the backstories of the involved parties to give context to the story.
Quotes should be used to source a story or news analysis or to add color. They should help to move the story along.
It is important to use quotes to add depth to your writing and create a more realistic representation of the events and those involved.
Who? What? When? Where? Why? Typical trunk story intro for breaking news including market reports
This is important to remember when writing journalism because it familiarizes your audience with the events you're discussing.
: We view the construction and the development of suspense and surprise and other aspects of entertainment as basically optimally and economizing on a scarce resource, which is the ability to change someone’s beliefs.
This relates to true crime stories because they use suspense and surprise techniques to draw in the audience.
So although TV was, it was a new medium, it actually had the effect of reducing the political information people were getting. And so consistent with all the other evidence, if you, if you crowd out a lot of political information, people have less news, less information about the political process then they vote less, and are less engaged
I think it's interesting that all other forms of media increased public concern of current events while the introduction of the television decreased concern.
She, along with a lot of other people, got hooked on the podcast Serial last year, which reexamined an old murder case. ABRAMSON: You know, I was just reminded of, you know, the days when Charles Dickens used to publish his novels in serial form. And, there would be people standing, Londoners standing on the docks waiting for the latest chapters of The Old Curiosity Shop to be delivered because they were dying to know, like, is little Nell going to be all right? You know that, that’s part of the way we humans are wired. We love stories.
I think thins article relates to true crime a lot in the sense that true crime stories, similar to news, pull an audience in and share a story that not only informs but entertains the listener/viewer.