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Ed Real and Mark Richardson biography, Ed Real and Mark Richardson discography
Choose which country's videos, channels, and activity filters (for example, "Most Viewed"), you would like to view.Choose the language in which you want to view YouTube.This will only change the interface, not any text entered by other users.Sign in with your Google Account!Tina Fey and Little Gra...This video will appear on your blog shortly.Sign in with your Google Account!Sign in with your Google Account!This video has no Responses.Would you like to comment?Edit Your Playlists', 'Close', 'Save', 'Add', 'LOADING PLAYLISTS ...Playlist with that name already exists.Character max', 'OK', 'Cancel', 'Please select at least one playlist.Ian M B2B TRADE Class...To share this media with a friend, you must have AIM installed.There is some problem in posting your request.Good old hard Nukleuz house.Good old hard Nukleuz house.This Video is provided and hosted from a third party server.Appropriate action will be taken soon."Wewt thtstrnubown 100str:)03:45Home VideoBig changes for 2009!The New Year (1)06:53Entertainmentjb on the set of burning up!!!Watch music videos for free.Notify AOLNotify AOL of Inappropriate Content.Use this area to report a violation of Community Standards.Mark Richardson is a former Health Practitioner and author who has been featured on over 300 Radio and TV stations across trhe U.His story of curing asthma and allergies through herbs and other natural methods has been an inspiration to others in living full lives.Subscribe to new article email alerts from Mark E.Oreck and Sharper Image Home Air Purifiers from Infomercials I decided it might be time to figure out what purifier I really needed, where to shop, and what technology was available.Knowing it can make success "effortless".Are they the best for allergies?People from every religion have had inner spiritual experiences with Spiritual Lights and Sounds from within.Can an herbal approach really cure allergies?Turns out the real cause may be in the Liver.Help may be on the way as the Japanese have developed new sensors that detect pollen, odor, and dust.And no matter what your faith or spiritual beliefs, direct spiritual experiences may be closer than you think.TV show "Living With Ed" (HGTV) features some cool, and some geeky, products for healthy and "Green Living".Do Allergy Air Purifiers Really Give Allergy Relief?Can An Air Purifier Really Provide Allergy and Asthma Relief?Real Help From Experts Air Ozone Purifiers: Are They Good or Bad?Baltimore County knows which professors are most adept with online teaching tools, Jeff Young writes in College 2.They poison colleges and universities, affecting the morale of writing instructors, the attitudes of other faculty members, and, worst of all, students' acquisition of literacy.The truth often turns out to be more complicated than we thought.Over half of the applicants who took it failed.Colleges responded by creating composition courses.Harvard's new writing courses were taught not by a rhetorician or an English teacher, but by a newspaperman, Adams Sherman Hill.It was invented in a hurry to resolve a perceived crisis, as colleges struggled to adapt to the requirements of a new age.And as Harvard went, so went the rest of American higher education.Students who do one kind of writing well will not automatically do other kinds of writing well.The conventions of thought and expression in disciplines differ, enough so that what one learns in order to write in one discipline might have to be unlearned to write in another.When students are faced with an unfamiliar writing challenge, their apparent ability to write will falter across a broad range of "skills."Teaching students grammar and mechanics through drills often does not work.Patterns of language usage, tangled up in complex issues like personal and group identities, are not easy to change.Rhetorical considerations like ethos, purpose, audience, and occasion are crucial to even such seemingly small considerations as word choice and word order.Writing involves abilities we develop over our lifetimes.Those truths, and others like them, have reshaped our understanding of what writing is and how it is learned.From that perspective, academic literacy is something that students should have when they arrive at college.French or playing the piano, will not be mastered so quickly.Of course, one could argue that all academic writing should have some qualities in common: clear organization, detailed development, mechanical correctness, evidence of critical thinking, and so on.Every composition teacher has seen students whose abilities seem to deteriorate rather than improve as the course proceeds.The new problems are just fault lines exposed by the pressure of an unfamiliar genre of writing.But the viewpoint shaped by 50 years of research, analysis, and experimentation views composition differently.Indeed, writing experts see in composition a body of knowledge as rich as any other discipline's.Psychology 101 is an introduction), generating knowledge that students can learn and on which they can be tested and evaluated through their writing.Such courses should be paid for collaboratively, with the discipline requiring or recommending the course contributing its fair share.Hello, Introduction to Rhetoric and Comp.Mark Richardson is an assistant professor of writing and linguistics at Georgia Southern University.You may give each page an identifying name, server, and channel on
the next lines.Texas Studies in Literature and Language 43.America did
you have when Charon quit poling his ferry and you got out on a smoking
bank and stood watching the boat disappear on the black waters of Lethe?The Birth of Tragedy, "through the analogy of dream.We can imagine
the dreamer as he calls out to himself, still caught in the illusion of
his dream and without disturbing it, 'This is a dream, and I want to go on
dreaming,' and we can infer, on the one hand, that he takes deep delight
in the contemplation of his dream, and, on the other, that he must have
forgotten the day, with its horrible importunity, so to enjoy his dream"
(32).Its Dionysian ecstasies notwithstanding, Jack Kerouac's On
the Road belongs to the tradition of Apollonian art that Nietzsche
conceives of here: an art of willful illusion sustained against the
encroachments (as Nietzsche later puts it) of "a whole world of torment"
(33).Kerouac's is the work of forgetting, though the residues of memory,
the shafts of daylight that trouble this dreamer's sleep, are precisely
what intrigue me.On the Road finally
believes, and in what sense believes, in the mythology of America on
which it depends.On the Road constantly tests the limits of its own
creed but refuses, often poignantly, to abandon it.Dean in, to adapt a phrase Robert Frost once used about God and
the future.On the Road tells a Young Goodman Brown sort of story.We
look out on America and see double: promise and piety on the one
hand, wickedness and fraud on the other.Dean Moriarty, in all his
dubiety, simply is America: "tumbledown holy America," Sal
equivocally says, catching the seediness and the grace.The faithful see something else altogether: Dean Moriarty, new
American Saint, as Sal Paradise puts it (34).Forrest Gump, whose vast appeal
for American audiences is not hard to explain.Kerouac's novel emerged as a new sense of American national identity
was consolidating itself: both internally with respect to the possible
full Americanness of Black men and women and externally with respect to
its conflict with the USSR.Ethel and Julius
Rosenberg were executed in 1953.During the same period, many states
considered, and some passed, laws requiring oaths of loyalty for state
employees.Eniwetok
Atoll in November 1952.Between 1950 and 1953 defense spending quadrupled
as the peacetime economy was partly militarized.On the Road almost never refers directly to these events, but
they are, in a nebulous sort of way, everywhere felt.PT
boats, artillery, all kinds of war material that looked murderous in
the snowy grass" (112).The next two paragraphs tell how the Virginia
police harassed Dean just for the hell of it.Sal points the moral:
"The American police are involved in psychological warfare against those
Americans who don't frighten them with imposing papers and threats.All
the essential Cold War questions trouble Kerouac's novel: What is
America?Are we the chosen or the damned?Our broken Ford,
old thirties upgoing America Ford, rattled through them and vanished in
the dust."Everything was dead," Sal tells us in the first paragraph of the
novel.Sal speaks of
"the coming of Dean" as if it were an advent, saying: "I could hear
a new call and see a new horizon, and believe in it at my young age"
(11).But after sounding an overture to Dean, On the Road
presents him to us in equivocal terms.It would be hardhearted of us to debunk Sal's faith.Such is the
conciliatory position On the Road forces us into if we are at
all susceptible.America, Kerouac seems to say, has always been a beautiful fiction
believing itself into existence as it unfolds west.Once on the road he subsists on apple pie and ice cream:
"That's practically all I ate all the way across the country, I knew
it was nutritious and it was delicious, of course" (15).Such is the
patriotism of On the Road, which was a pretty good advertisement
for America.American lover Terry in Part One of the
novel."Fellahin," as Kerouac uses the word, can refer either generally
to peasants, or more specifically to peasants (and other persons)
of color.In the passages describing Sal's life with Terry, Kerouac essentially
crosses the color line, as by an act of sophisticated minstrelsy:
he puts on a mask of color.But I knew nothing about picking cotton.There was an old Negro couple in the
field with us.If I felt
like resting I did, with my face on the pillow of brown moist earth.He says: "I was a man of
the earth, precisely as I had dreamed I would be" (82).The latter remark opens up a crucial chain of associations
affiliating "earthiness" with "the Fellahin" and with "the
primitive."Movement across lines of color and
class leads Sal Paradise to conclude that the primitive and the (to him)
Other are actually what is essentially human: it was with him all
along, though Whiteness had alienated him from it.But compare the
health of the two men, and you shall see that the white man has lost his
aboriginal strength.The
idea in Cane is the same one we encounter in On the Road,
as in much of Beat writing, which in this case Toomer anticipates.In the long passage quoted above, Sal Paradise says he had always
"dreamed" of becoming "a man of the earth."On the Road implicitly raises.What is the "method," as the actors say,
for Sal's little piece of stage business?Sal loses himself in Blackness, shedding the "white ambitions"
(148) that had saddled him through life until now.American and Black laborers is
an eminently White way of dreaming about them.White Northerners at liberty (and at play) among the Fellahin peoples
of the world.No equivalent irony is at work in On
the Road: Sal pretty clearly speaks for his author in episodes like
the one being discussed.There is a kind of mythic truth in this Hegelian
idea that the master enslaves himself.But the politics of it are
dubious.Such a dream of the world makes
it impossible to see what
is really happening: entrapment becomes freedom, and poverty an idyll
chiefly to be envied.As Kerouac's reader identifies with Sal,
he or she occupies a particular structure of feeling.To occupy it is
to enter into a specific set of relations to the world presented
in On the Road.It doesn't matter that this is an imaginary
world: every world that we can be aware of is an "imagined" one in some
sense.Kerouac encountered real men and women in the cotton fields
of California, but he took them up into a dream of what he might be as
Sal Paradise, and of what possible America he and they might inhabit
together.On the Road equivocally offers itself as a document of
America, but it is really a fiction of it.Negro cotton pickers" and with Terry and her son is a relation
of idealizing envy.Gary Snyder's remarks about his friend Kerouac in A Place in Space
are therefore terribly misleading.Marxist would sum it up like this: There is nothing much in On the
Road to disrupt the reproduction of existing relations of production
and much that actually helps to reproduce those relations.He writes, speaking generally of the "black mask"
of minstrelsy: "Its function was to veil the humanity of Negroes thus
reduced to a sign, and to repress the white audience's awareness of
its moral identification with its own acts and with the human
ambiguities pushed behind the mask" (Shadow and Act, 49).On the Road achieves at least this much distance from
its ideological basis.These
moments are like crises of faith.Feeling the pull of her own
life calling her back is a luxury that Terry simply never has.In
this case, similitude is not identity, though On the Road seems
at times to mistake the point.In fact, the novel may be said to exist
in order to make precisely this sort of mistake.It isn't, I think, merely a
matter of blindness on Sal's part, though I see how that argument might
be made.There are facts about the struggles of the Fellahin that for
ideological reasons On the Road cannot allow itself to see.This is the nightmare, the "horrible importunity," that
Kerouac's Apollonian dreamwork has supplanted.At times, Kerouac's turning away from this grim possibility
is keenly felt by the reader, quite as if it were willful, or a
little dishonest.Bigger Thomas in the novel's first section,
and whose daughter, Mary Dalton, Bigger kills.Negroes
is not entirely clear.The
refusal evolves out of diffidence, shame, fear, perhaps out of
hypocrisy.Native Son, which is an
incisive critique of the literary tradition to which Mark Twain's Jim
and Kerouac's strategically misrecognized "happy negroes" alike
belong.Kerouac and Sal are essentially like Wright's Jan Erlone, the
young White Communist who awkwardly tries to befriend Bigger Thomas in
the first part of the novel.Only after Bigger has killed Mary,
only after he has tried to implicate Jan in the killing, only after he
has killed a second time, is Jan able really to see
the man he had so condescendingly idealized: "Bigger, I've never done
anything against you and your people in my life," Jan says when he
first visits Bigger in prison.He never comprehends the
hatred of which both Norman Mailer and Wright speak, as is clear from his
astonishing remarks at the beginning of part three of On the Road:
"At lilac evening I walked with every muscle aching among the lights of
27th and Welton in the Denver colored section, wishing I were a Negro,
feeling that the best the white world had offered was not enough ecstasy
for me, not enough life, joy, kicks, darkness, music, not enough night"
(148).Well, neither has Jan Erlone ever had "enough night": enough
night is exactly what Bigger Thomas gives him.And that "joyous" and
"wild" America, where Black and White live together "voluntarily"
(as Sal memorably puts it early in the book), is even within the
terms of this fiction and faith nothing other than a utopia or
"supreme fiction."On the Road is nostalgic for a place
that never was, which accounts for its distinctive and very American
mood of elegiac optimism: a mixture of regret for what is missing,
and fond anticipation of what, according to our covenant with the gods,
is supposed to lie ahead.Kerouac's utopia is as fragile, hermetic, and
unreal as the hours Huck Finn spends alone on the river with Jim.On the Road, then, is touched by shamed nostalgia: shame
because
we are reading a White writer condemn Whiteness, nostalgia because
the mood is so thoroughly unprogressive.On the Road invites us
to suppose that in America Blacks have actually been somehow "freer"
than Whites.In
Existential Errands, Mailer wickedly suggests that Blacks are
"sufficiently fortunate to be alienated from the benefits of
American civilization" (270).All this admiration and wonder, all this talk about freedom,
all this regret about the repression the White man visits on himself:
these things work, abashed, in the shadow of real oppression in an
America which, to borrow W.DuBois's words, more or less remained
"an armed camp for intimidating black folk" (65).And yet there is
real pain in it, and real loss, however thin" (231).There
is remarkable sincerity in this novel, though it doesn't reveal exactly
what Kerouac thought it revealed.We pity him, as Baldwin does, for
reasons he wouldn't accept.For here it all is at last: Sal, animated
by unspeakable desire, in a dreary funk about his White inhibitions,
slumming around in Denver's "colored section."Sal does, and
you have, to borrow Ralph Ellison's indispensable trope, simply rendered
them invisible.He could deal with
Uncle Tom, not with Nat Turner.These were partly associated,
it must be said, with the mental and physical deterioration that
followed years of alcoholism.There Jack soaked the cloth in kerosene, stood the
cross on the wall, and set fire to it.As his homemade fiery
cross burnt, Jack danced up and down, yelling racist obscenities" (278).American, delirium tremens
and all.That he should register our national promise, too,
is a thoroughly American paradox, as we shall see.This is
the sort of parable Sal and Dean tell themselves once they get to Mexico.This strain, the strain of African American music in the novel
generally, is what Sal and Dean listen to jazz in order to hear.They
have lived, it seems, in exile from themselves.Thus,
The conscience is converted into palms,
Like windy citherns hankering for hymns.Thus, our bawdiness,
Unpurged by epitaph, indulged at last,
Is equally converted into palms,
Squiggling like saxophones.And palm for palm,
Madame, we are where we began.May, merely may, madame, whip from themselves
A jovial hullabaloo among the spheres.Wink most when widows wince.That is the
meaning of those "flagellations."Stevens's speaker
essentially follows Huck Finn, though he marches to the beat of his own
drummer.Having already been subject
to the regime of the Widow Douglas and Miss Watson, Huck lights out
for the territory when Sally Phelps, another Old Christian Woman,
threatens to civilize him.Jim on the margins of the river,
and on the margins of "civilization" itself.The same may be said of
Kerouac and Sal in On the Road, where "Whiteness" names a suit
of clothes too good to be comfortable.Toned
Old Christian Woman from those "disaffected" flagellants, "smacking
their muzzy bellies in parade."Stevens speaks of "squiggling" saxophones.The figure
refers at once to the shape, the sound, and the effect of the saxophones:
their squiggling sounds make his speaker squiggle in Dionysian dance.The
introduction of these saxophones into the poem accomplishes a double
reorientation.To become hip to jazz for these White writers is to enter into a
new relation to the body and to sexuality.He brings
into his poem all of these associations with the merest allusion to those
"squiggling saxophones": such is the economy of the language of race
in American writing.Still,
the better to understand Sal's malaise (and Stevens's) it is good to
turn again to James Baldwin.And his remarks suggest
that the blackface tradition of the "white negro" is by
no means without insubordinate implications.Toned Old Christian Woman"
(which remains the utterance of an aesthete, not a rebel).An integrated America will necessarily be
a different America because what it means to be "American" has until
now involved a complementary blend of social oppression and psychic
repression.The only way he can be released from the Negro's tyrannical
power over him is to consent, in effect, to become black himself,
to become a part of that suffering and dancing country that he now
watches wistfully from the heights of his lonely power and, armed
with spiritual traveler's checks, visits surreptitiously after dark"
(96).His need for them betrays
his poverty, which is also the poverty of the nation.I've never seen since" (51).In
Nobody Knows My Name, Baldwin rightly suggests that, in On the
Road, Kerouac is "ruminating" on "the loss of the garden of Eden"
(230).Eden is where we are headed, though we sometimes mistake it for
where we have always already been.To read On the Road, for the White
reader it anticipates and requires, is therefore to dwell in possibility,
"at sunset" in paradise America, as Kerouac's resonantly named narrator
says.The last paragraph in On the Road is peculiarly evocative.But here,
Sal Paradise speaks from the winter of his discontent as he charts the
Eastern streets of New York City thinking again of Dean.New Jersey and sense all
that raw land that rolls in one unbelievable huge bulge over to the West
Coast, and all that road going, all the people dreaming in the immensity
of it, and in Iowa I know by now the children must be crying in the land
where they let children cry, and tonight the stars'll be out, and don't
you know that God is Pooh Bear?Iowa, he knows that God is
Pooh Bear beneath the prairie's sparkler stars.And we ask: What is it about White American male writers
and childhood?Why the appeal of naive heroes, from Huck to Sal to
Forrest himself?From what knowledge do these authors wish to protect
themselves?Sal's
imaginative sympathy with Dean is now complete: he speaks the veritable
language of the orphan, with specifically American inflections
of longing and dislocation.On the Road sings its White readers to
sleep dreaming of this world elsewhere: the place where America has the
only reality it has in fact ever had.We have always dwelt merely in
possibility, as migrant farm laborers in California, though not in On
the Road, know full well.On the Road is therefore a novel
steeped in forgetfulness, an Apollonian dream willfully set against a
whole world of torment.Gossett's influential
study Race: the History of An Idea in America, recently reissued
in a new edition.Eric Lott's fascinating Love and Theft: Blackface
Minstrelsy and the American Working Class encouraged me to consider
the relation On the Road has to the tradition of minstrelsy.Toni
Morrison's productive essay Playing in the Dark also further
clarified for me the meaning of "color" in American writing.It derives, in part, from Frederic Jameson's arguments in
Postmodernism; or, the Cultural Logic of Late Capitalism.But
though I am generally in sympathy with Holton's illuminating essay, I
cannot agree that Kerouac's curious "nostalgia" is peculiarly postmodern,
or distinctly associated (pace Jameson) with "late
capitalism."It is of course a nice problem.Reliance"
is intended to suggest.Kerouac's thinking about the "fellahin" is, in its
essentials, quite in harmony with ideologies supporting White hegemony
in the antebellum period.Whiteness, all about the life of the
mind.And bear in mind what James Baldwin will not let us forget about
"color" in American history: the sheer persistence of its basic
ideological contours.Such changes as
he does ring on the old White tunes chiefly illustrate, to my mind,
the resourcefulness of White hegemony, which can comfortably contain
even the King of the Beats.Still, to dismiss Kerouac
entirely would be as simplistic as to elevate him to the level of a cult
hero, which many hagiographic Kerouac studies continue to do" (270).Tony Hilfer for directing my attention to Tomas Rivera's novel of
life among Chicano migrant laborers, y no se lo trago la tierra
(1971).Among my aims in the present
essay is to bring On the Road decisively into contact with that
literary culture.It is not hard to accept
this humane suggestion.His condescending tone must be discounted in light
of Kerouac's larger poetic framework.Kerouac typically poeticized the
world, and this is particularly evident in his books of reminiscence"
(87; emphasis in the original).Moreover, the point is not to choose between a "malicious" or
"racist" Kerouac, and a Kerouac in whom "paternalistic" attitudes must
finally be "discounted."So it seems of
limited use to say, with Swartz, that "Kerouac is not a racist but a
romantic" (86).Mark Antony and the dolphins to which Shakespeare
compares him, they can show their backs above it.On the Road may bind us to the American past, with its
sad contingencies.I've never seen since" (51).But her
essay has much to offer anyone interested in Whiteness and Blackness as
these things were understood by Americans in the first half of the
twentieth century.Most interpreters have taken him at
his word.New York: Monthly Review
Press, 1971.Berkeley:
University of California Press, 1984.Durham:
Duke University Press, 1994.Edited by Joel Porte,
Harold Bloom, and Paul Kane.Hanover, New Hampshire: Wesleyan University Press, 1987.San Francisco: City
Lights, 1957.Race: the History of An Idea in America.New York: Oxford University Press, 1997.Houston:
Arte Publico Press, 1987."Kerouac among the Fellahin: On the Road to
the Postmodern."Cultural Logic of Late
Capitalism.Durham: Duke University Press, 1991.Jack Kerouac: King of the Beats.Berkeley: University of California Press, 1994.The Birth of Tragedy and The Genealogy of
Morals.New York: Anchor Books, 1956.Interpretations of Poetry and Religion.Collected Poems of Wallace Stevens.Carbondale: Southern Illinois University Press, 1999.
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