SMELL

Apple Inc. emerged out of a demand by people fed up with error-prone PC operating systems. Since then, the two brands of computers have fought over customers, leading Apple to brainstorm a rather creative idea for advertising. Apple first introduced the “Get a Mac” ads in 2006 starring John Hodgman and Justin Long. Although the company has more than 50 ads, all share the same format: the two actors introduce themselves (Mac in casual clothes and PC in a more formal suit) in front of a white screen, with the same simple jingle playing for the 30 second duration. The two are often compared so as to highlight Mac’s attributes and PC’s flaws, in order to attempt to convince the viewer to “get a Mac”.  In  “Out of the Box,” the ad explores how Macs come ready to use, whereas PCs take a long time to set up and get working.

The sender of not only “Out of the Box,” but all Mac ads is obviously Apple Incorporated, a rapidly-growing, multibillion dollar company, who’s recent success is due largely to its ever popular iPhone, iPod, iTunes, and Macintosh computers. From the beginning, it is apparent that this ad is Mac-pro, as the Mac is portrayed as laid-back, personable, and fun-loving through his casual dress, excited manner, and positive attitude. PC appears formal, standoffish, and primarily work oriented in his suit and tie. As if the sender wasn’t clear enough, what with all the PC-bashing throughout, the ad ends simply with the Apple logo on a Mac computer.

The message of all “Get a Mac” ads is just that- buy a Mac and see how much easier your life will be. “Out of the Box” in particular capitalizes on the frustration involved in setting up a new computer, compared to the simplicity of starting out with a Mac. Justin Long, the Mac, jumps right out of his nice white box ready to start making a movie, photo album, blog or mix CD, in stark contrast to PC, whose parts aren’t even all included in one box. The ad campaign centers around showing how effortless Macs are for everyone to use in order to appeal to viewers.

“Out of the Box” makes use of juxtaposing emotions - Mac, excited, PC, dejected. PC’s list of start-up requirements, “download those new drivers, erase the trial software that came on my hard drive, then I’ve got a lot of manuals to read,” reminds viewers of just how difficult it is to set up a new PC computer. Mac then shows how easy it is to start work on a new MacBook, as one can literally open the box, take out the computer, turn it on, and get to work right away. The ad appeals to older people, who often have difficulty with the complex connections involved in putting together their new computer, and also to younger people, who are eager to start their new creative projects right away. Apple also conveys that, because they are straight-forward, Mac computers work for everyone, in order to convince viewers of all ages to purchase their product.

In the ad, the primary tool used to convey the message is dialogue between the two characters. PC states he has “a lot to do” whereas Mac is “ready to get started,” The language used by the PC first appears hyperbolic, until the viewer stops and thinks about a time when he or she has tried to start up a new computer, and gone through all the steps PC describes. Mac says he might “make a home movie, or maybe create a website, or try out my built in camera.” All of these express how easy it is to start up a Mac computer. As soon as the Mac is out of the box, he is ready to get to work. Also, the writers throw in a few plugs for Mac’s cool features, such as iMovie and iSight (Mac’s built in camera) neither of which are available on a PC.  After PC describes the many start-up steps he must take, Mac says “sounds like you have a lot of stuff to do before you do any stuff.” This ironic statement mocks the complex set up of PC in contrast to Mac’s easy to use system. PC then unhappily admits that “the rest of me is in another box somewhere,” and he can’t even get started, but must wait for all his parts to arrive. He tells Mac that he will catch up with him later, a promise made often by PC computers, to raise their computers to Apple standards. However, Apple continues to surpass PC companies in just about every area of computers.

The clear-cut logic of this commercial promotes the overall message. Why sit around and wait to start working on your PC when you can buy a Mac and start using it the same day? PCs are old, out-dated, behind the times (made obvious through the portrayal of an older actor) whereas Macs are new, hip, and user-friendly (portrayed by popular young, actor Justin Long.) Every aspect of the commercial, from the music, to the background, to the dialogue works to convey the simplicity and effectiveness of Apple computers, while emphasizing PCs flaws and convolutedness. 

Apple’s “Get a Mac” campaign has had widespread success since its conception as more and more people are switching over to their popular Mac computers. PC companies have suffered losses in profit and sales, compared to Apple who, in this failing economy, still continues to post profits. Their “Out of the Box” ad appeals to viewers who have suffered through complex set-ups for their new computers and offers an easier, superior alternative. Apple’s prosperity results from recognizing a demand of consumers, and offering a product that meets such demands.

Drive - Incubus

Sometimes I feel the fear of uncertainty stinging clear 
And I can't help but ask myself how much I'll let the fear take the wheel and steer 
It's driven me before, it seems to have a vague 
Haunting mass appeal 
Lately I'm beginning to find that I should be the one behind the wheel 

Whatever tomorrow brings, I'll be there 
With open arms and open eyes yeah 
Whatever tomorrow brings, I'll be there, I'll be there 

So if I decide to waiver my chance to be one of the hive 
Will I choose water over wine and hold my own and drive, oh oh 
It's driven me before, it seems to be the way 
That everyone else get around 
Lately, I'm beginning to find that when I drive myself, my light is found 

Whatever tomorrow brings, I'll be there 
With open arms and open eyes yeah 
Whatever tomorrow brings, I'll be there, I'll be there 

Would you choose water over wine 
Hold the wheel and drive 

Whatever tomorrow brings, I'll be there 
With open arms and open eyes yeah 
Whatever tomorrow brings, I'll be there, I'll be there 

Often, people are scared by the unknown future, and chose to take the easy way out by letting fear decide their lives for them. In their song “Drive,” the band Incubus employs symbolism and diction to encourage listeners to live their own lives instead of letting fear control their decisions and actions.

Throughout the song the speaker uses symbols to make an extended metaphor, comparing his life to a car. The title, “Drive,” refers to the main conflict present in the song, which is the decision as to what the speaker will let run his life. In the first stanza, the speaker realizes how much he has let fear control his life by letting it “take the wheel and steer.” His “fear of uncertainty” about the future has held him back from choosing his actions, instead allowing fear to dictate what he does. He understands that this is a rather popular choice for many as allowing fear to make decisions has a “haunting mass appeal.” People are seduced by the idea of fear decide their path in life, rather than choosing for themselves, which would be the scariest idea of all. However, the singer realizes that he must in fact do that, and “be the one behind the wheel,” controlling both his fear and his life. 

In the phrase “with open arms and open eyes,” the speaker expresses his willingness to confront head on the challenges that come with tomorrow. The most common response to a frightening image is closing your eyes, trying to block it out, and this is the first way in which fear controls your actions. But instead of closing his eyes and blindly letting fear drive, the singer will deal with the decisions and choices in the future. By repeating “whatever tomorrow brings,” he acknowledges that he does not know what his ambiguous fate might be, however, he refuses to let that frighten him and promises to “be there” instead of running away out of fear.

The speaker’s use of the word “waiver” in the second stanza shows his total rejection of fear, as he refuses to be one of the mindless drones in “the hive.” With this line, he is saying how those who let fear run their lives are not actually living, but just going through motions. Again, the speaker notes that letting fear control you is the most common way of life for everyone else. Although the singer confesses that, in the past, he lived in such a way, “it’s driven me before,” he speaks of his life now that he controls it, and not fear, “when I drive myself, my light is found.” “Light” traditionally refers to enlightenment and knowledge, and operates this way in the lyrics as well. By running his life and making his own decisions, the speaker gradually discovers his future and path in the world, instead of operating in the dark with his eyes shut due to fear. 

“Water” and “wine” in the bridge of the song refer to the two different choices presented in the song. We can select wine, and opt for the life governed by external forces. Wine dulls the body system, just like letting fear drive our life dulls our mind and our control. Or, we can chose water, and live a pure, clear life with a pure, clear mind in which we make the decisions and actions.

At the end, the singer urges us to “hold the wheel and drive,” bringing back the symbolic metaphor of the car in the hopes that listeners will get out of the passenger side of the car, and grip the wheel and head into their unknown future fully in control.

brilliantly naive

True love is given to only a few

and I could not comprehend

that everything that matters breaks in two

Deep in love, I fell into

he was someone on whom I could depend

since true love is given to only a few

Infatuated I did not see the clue

although what he said did portend

that everything that matters will break in two

then it was too late, nothing could I do,

to stay he did never intend

since true love is given to only a few

As he left he bid me adieu

and now my heart was beyond mend

because everything that mattered broke in two

Not a thing he said to me was true

blah, blah, blah, the stereotypical end

since true love is given to only a few

and everything that matters breaks in two

this is where the story ends

it was romeo and juliet from the start

he was a country boy, and she was from the city

they were a walking contradiction

traveling down a very long road with no regard for the consequences

summer love, it seems, was a wild thing

she was his only care in the world, his essential

if she was a bird, so was he

and she would go anywhere with him.

they spent every night in his truck

smelling like diesel fuel

curled up on cracked leather

not the red velvet she had once expected

beneath the luminous moon.

the anxiety of tomorrow was lost

on those two, their heartbeats, one

believing it would never be over

fighting time, refusing to acknowledge

what was just over the horizon

the day she left was like pearl harbor

as she stepped into that taxi

his world got kinda quiet

and there was no recovery

the fire in his heart and the peace in his mind

had left with her and her paradiso inferno

he waited, every day for a year. 

she had said it wasn’t over

but her word was shot to hell now

he was no one famous

there were no monuments dedicated to him

or buildings

and she would soon forget his name

for some calvin klein one man show

from the bright lights of the city

but although he had lost his 

fleeting glimpse of eternity

he hoped against all odds that she would return

and when she did, they fell right back

to how things were, to the way things used to be.

time ran backwards

when they were together and

although he knew that she wouldn’t stay

he had lost her once

and knew he could do it again.

because, for him

it still wasn’t over

vocab poem

I watched, as luminescent yellow spun up and down the thread. one hundred. one hundred one. one hundred two. The spinning, the counting, was my only form of escape. There were three, actually, each of us had one, but my sister was asleep and my brother was wandering. I sat there. Three days I had been here. Although "here" had changed each day, first floor trauma, eighth floor ICU, third floor surgery, waiting rooms were all the same. It spun up, one hundred eight. Down, and up, one hundred nine. Down again, I was mesmerized. Inane palaver poured from the news anchor on the TV, fetid smells from the cafeteria wafted through the air. one hundred twelve. one hundred thirteen. one hundred fourteen. Up, down, and back up again. And somewhere, behind that attenuated sheet of glass, my mother quiescently lay, ensconced in a coma despite all the doctors had done. one hundred twenty-three. one hundred twenty-four. one hundred twenty-five. spinning spinning spinning. Darkness pressed up against the glass, obscuring the outside. My homework, which i had diligently done during the first several hours of my time here was haphazardly thrown aside. one hundred thirty-nine. one hundred forty. one hundred forty-one. up and down and up and down and up and down. beep. beep. beep. the monitor let me know she was still alive. The cold metal of the machines kept her breathing, beating, living. one hundred sixty-two. one hundred sixty-three. one hundred sixty-four. one hundred sixty-five. spinning, spinning, spinning, spinning, spinning like the world kept doing, although my own had stopped. 

luminescent (adj) - emitting light

attenuated (adj) - thin

inane (adj) - lacking sense, significance; empty

palaver (n) - mindless chatter or talking

fetid (adj) - having offensive odor

mesmerized (adj) - fascinated by

quiescently (adv) - being at rest, inactive, or motionless

haphazardly (adv) - in a random manner with out care or order

obscuring (v) - to make dark, dim or indistinct

ensconced (adj) - hidden in, or trapped

"So live like you mean it. Love 'til you feel it. It's all that we need in our lives."

"We had a gig that night and needed a name. It's the best we came up with, and for some reason it stuck. If I had five more minutes, I definitely would have picked a better name." Little did John Rzeznik, lead vocalist and guitar, Robby Takac, backup vocals and bass, and then-member George Tutuska, drums, know that their little garage punk band from Buffalo, NY, would one day reach such heights that the Goo Goo Dolls would win Rolling Stone's nod for best artist of the times. If they had, they might have picked a different name.

Goo Goo Dolls front runner Rzeznik credits his older sisters for his taste in music. At the age of 16, Rzeznik tragically lost both his parents, but gained a newfound freedom to rock. Growing up in the 1980s, its no surprise that Rzeznik's primary inspiration was Paul Westerberg, the lead singer for '80s rock band, The Replacements. True to his influences, Rzeznik lived a wayward, rebellious life throughout college, and mimicked the Replacements' raw, howling lyrics in his various experimental bands during his early years. He started cover bands to play songs of the Beatles, the Clash, and the Rolling Stones, some of his other key music influences, mixing their various styles to create his own. Rzeznik met up with drummer Tutuska, and Takac, a hippie/metal artist who credits the Ramones and the English Beat for his more mainstream rock style, and the rest, was history. Sort of. It took the band 5 years to chart a single. 9 years to chart an album. Tensions grew as the members realized that their band wasn't the hit the dreamed it would be. Their style was no longer popular with the public. Gone were the days of leather clad screaming rockers, so the band altered their style to fit the demands of the people.

No longer a punk band, The Goo Goo Dolls produce a much milder pop-rock variety of tunes, led by their emotional smash single "Iris" from 1998's hit movie City of Angels. It was "Iris," in fact, that saved the band from self-destruction. The Goo Goo Dolls had produced only one hit ("Name") in 5 albums over 8 years, and was reeling from a messy, controversial split with drummer Tutuska. Although Tutuska was replaced with Mike Malinin, the band was still suffering and on the verge of dissolving. Lead singer-songwriter Rzeznik had been struggling for months with writer's block and was, actually, just days away from quitting the band when he was asked to write a song for Angels. This proved to be the necessary breakthrough, as, within an hour, Rzeznik emerged with the lyrics and music to what is now the band's trademark song.

"Iris" was a big departure from the scrappy punk songs of the Goo Goo Dolls early days. The single combined poetic lyrics with a unique acoustic guitar tuning to create, for lack of better words, a ballad. Rzeznik tackles the idea that, although you may be happily in love, some part of you is afraid it will not last ("sooner or later it's over"). His lyrics confront our inability to live in the present moment, and the universal human belief that no one understands us, "I just want you to know who I am." Using synesthesia, "all I can taste is this moment and all I can breathe is your life," Rzeznik explores our human desire to be with someone fully, right there, but how our fears might hold us back. His second verse looks deeper into the human condition through two paradoxical statements: "and you can't fight the tears that ain't coming, or the moment of truth in your lies. When everything feels like the movies, you bleed just to know you're alive." So often we bury ourselves under a facade of lies, that, after a long enough time, they become true, and we start to believe them ourselves. Instead of participants in our lives, we become like actors in a movie, only playing a role. Rzeznik wanted to remind everyone that underneath it all, we are still humans, and prone to natural human tendencies such as failure, or ignorance. The second statement, Rzeznik meant to tie in with the movie City of Angels, because, to become human, the angel Seth, has to bleed, wanting to express our human ability to be physically, as well as emotionally injured. Unfortunately, the movie has become less prominent in our culture, leading many listeners to falsely speculate that the lyrics discuss self-mutilation. When asked about the deeper, more emotional lyrics that he penned, Rzeznik said, "I decided that it took a lot more balls to feel things in life rather than to feel numb." The band used "Iris" as a jumping point to launch their new heart-on-their-sleeve style, moving away from the empty punk songs they had been screaming.

The Goo Goo Dolls have inspired a new generation of music through their blend of rock music and alternative lyrics, calling it, ironically, alternative rock. Their influence can be seen through many young artists such as Ryan Cabrera, Matchbox 20, 3 Doors Down, and Lifehouse. These new bands, in a style similar to the Goo Goo Dolls, are not afraid to discuss topics such as love, fear, and God in their songs, while still attracting fans with their pop-rock style of music. They follow the Dolls in the idea of getting back to your roots, and remembering where you are from to get inspiration for songs. 

For over two decades, the Goo Goo Dolls have influenced the music scene, crossing boundaries and bringing out the positive side of rock-n-roll. The lyrics of their more recent works convey messages of hope, and the chance for change in our messed-up world. They encourage us to "Let Love In" and be "Real" and speak of "the chance that maybe we'll find better days." Ultimately, the Goo Goo Dolls are trying to bring humanity back from the cold, closed off people we have become, with the hope of making us feel emotions again. Sometimes, feeling the pain is a healing process, a topic explored in one song on the Dolls new album Let Love In. "I don't need to feel good all the time.  I just want to be able to feel," says Rzeznik. "That's how I know I wrote a song, and not just words."

"Iris"

And I'd give up forever to touch you
'Cause I know that you feel me somehow
You're the closest to heaven that I'll ever be
And I don't want to go home right now

And all I can taste is this moment
And all I can breathe is your life
'Cause sooner or later it's over
I just don't want to miss you tonight

And I don't want the world to see me
'Cause I don't think that they'd understand
When everything's made to be broken
I just want you to know who I am

And you can't fight the tears that ain't coming
Or the moment of truth in your lies
When everything feels like the movies
Yeah you bleed just to know you're alive

And I don't want the world to see me
'Cause I don't think that they'd understand
When everything's made to be broken
I just want you to know who I am

And I don't want the world to see me
'Cause I don't think that they'd understand
When everything's made to be broken
I just want you to know who I am

And I don't want the world to see me
'Cause I don't think that they'd understand
When everything's made to be broken
I just want you to know who I am

I just want you to know who I am
I just want you to know who I am
I just want you to know who I am

Hypnopaedia

The messages presented by society make it clear that we must be strong, violent, powerful, if we want to get anywhere in life. Weakness is looked upon with disgust. We must be willing to dominate over the lesser people, and assert ourselves in situations to take control. If we don't, we will end up like the pitiful prey of the lion, falling victim to our fellow man. Competition, warfare, and disease are the world's way of weeding out the weaker people, leaving only the strong to survive. Violence and combat are glorified in our movies, videogames, and other media, instilling this idea in the minds of children. The images in this video are all taken from nature, or media, which show that this is the "natural" order of the world, and that survival of the fittest truly does exist in the society.