Original Academic Works & Writings
Essay - Gilded Age [APUSH]
Written May 2020
In the aftermath of the civil war & reconstruction, the United states underwent change by way of corporate entities rising to prominence. The ‘self made man” and the ideal of the entrepreneur became very popular, new companies worth billions in today’s money grew from seemingly nowhere. With this astonishingly quick rise to economic power, political power came with it. Corporations began to grow their influence in Washington and with this, they created laws that benefited them, not the people. The absence of the people’s will within the government caused many groups in society to grow weary, new political movements were created to shift the balance back towards the citizens of the nation. Populism sprung up from an alliance of farmers movements, farmers were being harassed by railroad monopolies for their land. The corporate entities would raise their rates for farmers to forcefully gain this desired land. These injustices, along with the numerous others such as child labor and minimal workers rights also gave way to the progressive era. These reform movements ultimately changed American society to a massive extent, they challenged the rule of corporate monopolies & they attempted to end the decades of long injustice that plagued the nation at the hands of malicious entities, such as large corporations.
The first wave of corporate corruption affected the political sectors. Congress & the senate were prime targets for these corporations, they fully intended to control American lawmakers in order to properly lobby support for their own interests. Whenever injustices in the business world were noticed by well meaning government officials, they were quickly explained away. The owner of the Union Pacific Railway Company Jay Gould had purchased a smaller railroad company (Kansas Pacific Railway), for this act, he was being investigated by a congressional committee. Gould testified before this committee and gave many reasons for the merger. Gould would be able to continue with his practice, growing his company’s power in two ways, economic and Political. These moves of apathy by the government were precisely what allowed railroad companies to later force farmers off their land and charge them exorbitant rates. The audience of this document, congress, illustrates how many sway the corporations had over the government, this is relevant because it depicts the exact situations that reformers had to change. They had to overcome many aspects of our society that had become ingrained in even the American political system. During this time period, a US senator from Ohio, John Sherman, spoke before congress as well. His speech was on the matter of the government and their responsibility to the people to confront corporate interests. While this shouldn’t have even been a matter of debate, senators of congress were frankly torn about their next move. Corporate entities and businesses dictated many steps in the political process at this time, something reformers would later try to change.
During America’s entry into the 20th century, many of the same problems were still occurring. Reforms to American society were long due, that was where the progressive movement stepped in. Progressives took many notes from the populists, but some ideas were altered. The direct election of senators and the “Australian” or secret ballot were ideas shared by both parties. Both of these ideas were ultimately achieved, leading to a less corrupt political system. Before that point, voters may have been intimidated by powerful local leaders to vote in a certain way. This could have been seen earlier in the gilded age with Tammany hall. Tammany became a very corrupt institution in New York, a victory for reformers when its corruption was ultimately dismantled. While some reforms had been passed many aspects of American society still needed change. The chief method in which this was achieved was by spreading awareness of society’s ills. One man that did this better than any other was Jacob Riis. He photographed the slums of New York city, showing their depravity and how unclean living conditions were. These conditions were a result of the low wages garnered by workers during this time. Riis reached a wide audience with these photos, spreading awareness of this plight in “How the other half lives”. This is relevant due to the project's immense audience, reaching high up in the government, all the way down to the common man across the nation. Most of society were now aware of the issues, thus allowing them to be properly tended to in the government. Another consequence of low wages during this age was child labor, a majority of children worked in some areas to supplement their parents income. Florence Kelly brought attention to this important issue, saying that many children were out of school. If this continued, it would poison society and cripple the youth. Attention was placed upon this issue and it was ultimately fixed by reformers. Like many issues of the age that would have crippled American society if they were not stopped, reformers brought the issue to light, and insisted that the government deal with it.
Essay - Wordsworth and Coleridge
Nightengale
Written April 2025
Wordsworth and Coleridge are about as culturally relevant as two “old poets” possibly could be in today’s literary canon. The focus on common situations and everyday language is something that persists in the minds of many modern writers, especially in the poetry scene. While being somewhat of a radical view when it was written, the removal of the heightened or elevated language that was so typical of the time’s works would eventually become commonplace, making poetry as a whole much more accessible to the average person. The medium became more dialed in to the dreams, struggles, and whims of the “everyman” and this was by design. Wordsworth in particular (the author of the preface) felt deeply that these types of stories were more authentic and universally relatable than any “Highfalutin” or overly philosophical one ever could be. A poet, in Wordsworth’s eyes, was someone with a heightened sensitivity to the natural world that can relay their internalized feelings and hopefully give voice to other feeling similarly. Wordsworth stresses the importance of nature in writing, a keen focus on this was a key part of this redesigned format. One of the well-known masterworks of Lyrical Ballads, The Nightingale, demonstrates these core principles more so than any other. Although it was written by Coleridge and not Wordsworth, the piece still commands most of the tenets and ideals contained within the preface. While they separated over time in terms of both artistic ideology and personal–closeness, this initial similarity demonstrates how close their visions were at a point. The Nightingale perfectly illustrates the naturalist elements, focus on lived experience, and shedding of pretensions that Wordsworth outlined.
Upon your first reading of The Nightingale, you may be curious as to how exactly it demonstrates simplicity. To the modern reader, it still sounds rather wordy, complex, and “unnatural”. These may be the temptations of the initial reading, but a more careful look at the piece combined with some historical knowledge reveals that it is indeed a champion of the preface’s traits. The diction is a bit flowery, as was typical of the day, but in comparison to many of the poem’s contemporaries, it is quite simplified and light. All the language used is comprehensible not only to the poets, noblemen, and scholars of the day but also the workers, shopkeepers, and farmers. There is an airy sort of flow to it that mirrors the calmness and tranquility one can reach by finding respite in nature. Once again as the poem continues we can find that emphasis on nature is a focal point, starting from the 23rd line Coleridge writes:
“And many a poet echoes the conceit;
Poet who hath been building up the rhyme
When he had better far have stretched his limbs
Beside a brook in mossy forest-dell,
By sun or moon-light, to the influxes
Of shapes and sounds and shifting elements
Surrendering his whole spirit, of his song
And of his fame forgetful! so his fame
Should share in Nature's immortality,
A venerable thing!” (Coleridge 35).
Here is one of the most direct and pointed statements from Coleridge on the proper role of a poet. Instead of spending their time perfecting their language or finding the right metaphor they should instead focus on spending time living their own lives, particularly in the company of nature. Coleridge goes on to further suggest that a poet should submit his will to the whims of the world, allowing him or her self to experience life as it is, then tell that story from the full depth of their emotions. To Coleridge, what good is immaculately crafted diction if there is no genuine feelings or lived experiences behind it? This is an abject rejection of many things that previously defined poetry as a medium. The words of the preface are mirrored throughout these lines, showing the creative througline between Wordsworth and Coleridge’s philosophies. There is a distinct dedication to do something new here.
Moving on towards the next few critical lines, we can see the connections to nature even further deepened. Both poets believed strongly that our natural world was the best conduit for human emotions and that it was perhaps the most sacred of any writing topic.
“His song
Should make all Nature lovelier, and itself
Be loved like Nature! But 'twill not be so;
And youths and maidens most poetical,
Who lose the deepening twilights of the spring
In ball-rooms and hot theatres, they still
Full of meek sympathy must heave their sighs
O'er Philomela's pity-pleading strains.” (Coleridge 35)
This passage could very well be interpreted in numerous ways but when viewing it through the lens of the preface’s statements we can see a more defined purpose begin to reveal itself. The section about making nature lovlier through writing (and in turn, making nature love you more) could be a sgnifier that following these new poetic ideals could lead to a deepened understanding of our natural environment, and even perhaps a greater understanding of ourselves through those same means. Towards the end of the selected lines, Coleridge also speaks about how we can become disconnected from nature and the proper order of things. Losing our days (Or “deepening twilights”) in the hustle and bustle of everyday modern life (Or “ball rooms and hot theatres”) can cause our connection to the world around us to weaken.
These lines combined with the context of previous sections paints a picture of poetry as a healing element. Coleridge is ultimatley suggesting that we can cultivate and maintain our link to the world around us by writing about it and expressing our emotions. The preface and poem can almost serve as companion pieces to one another. The preface outlining the rules and necessities of the (at the time) current-day poet and The Nightingale serving as the showroom example. There a was a clear and deliberate effort by both Wordsworth and Coleridge to draw a line in the sand here. They wanted to create an entirely new poetic landscape, one that roundly challenges the notion of poetry as the fanciful, pretentious artform of old. Instead, they were intending to create a new perception of the format, one where the words and experiences of the common man reigned supreme. Hundreds of years later, this shift has proven to stand the test of time and remain relevant in our own cultural landscape. There has been a concerted movement by contemporary poets to continue the legacy of Lyrical Ballads and ensure that average, everyday stories are told with just as much reverence as the most crafted narrative. As we read and enjoy poetry today we should keep in mind those that forged it into what it is currently. Without their influences, the entire medium may be completely altered.
Works Cited
Wordsworth, W., & Coleridge, S. T. (2008). Lyrical ballads (M. Gamer & D. E. Robinson, Eds.). Penguin Classics. (Original work published 1798)
Essay - American New Wave Music
1978-1982
Written December 2022
Rock and roll music has undergone countless changes throughout its storied history, but none have been as dramatic, and as visual, as the “New Wave’. Seemingly overnight the era of video music was here, and appearances mattered more than ever. Gone were the dusty workboots, faded blue jeans, and open shirts of old. Vibrance and color were the new indicators of success. New wave was, and still is, much more than its glamorous appearance. The champions of the genre continue to inspire millions of artists around the world and the songs still live on long after the end of their glory days. The prominent sounds of sweeping synths, jagged guitar lines, and pristine production may seem dated to some, but its cultural impact has proven surprisingly durable.
Effortlessly simple, the lyrical themes of the genre remain timeless in many aspects, whilst still throwing in references to the times and culture of the late 70s and early 80s. Due in large part to nostalgia for the 1950s and a desire to separate from the nihilistic worldview that America held, proponents of this new sound rejected the hippie aesthetics of the mid-decade. This included shedding not only the sonic palette but also the obtuse lyrical themes of psychedelia. New wave artists wanted to harken back to the days of Chuck Berry, of beautiful young people dancing and swaying into the night, but this could not be a perfect recreation. Tensions of the cold war were reaching a fever pitch and the public was starting to get worried. The soundtrack of confusing times, American New Wave melded several conflicting characteristics. “Back to basics” riffs from punk music (where most new wave musicians found their start) with progressive rock’s ambition and experimentation, ironic and dower depictions of a world teetering on collapse with youthful, picturesque nights in the city. The result was a genre many struggle to define in perfect terms, but a sense of quirk and “musical vanguardism” can be heard throughout, even in the most commercial of albums. Poetic verses describing the joys and woes of teen romance will always strike a chord with young audiences, but new wave did more than just whisper sweet nothings as the 50s had. They were truly soundtracks to an individual’s life. The grandiose soundscapes of bands like the Cars and Blondie made the normal, everyday moments they sang about feel cinematic, they made their audience feel important. This, combined with the new advent of portable hifi (see Sony Walkman), led to an unprecedented attachment to the music. In a world where people were becoming fearful and increasingly drowned out by the noise of society, new wave told them that there was still fun to be had, and that getting Suzie’s number was just as important as Brezhnev’s latest rocket.
The individual was king in the eyes of new-wave artists, not only their experiences but also their fears and hopes. Despite its many different varieties, the main themes of the genre were: coolness, romantic rejection, lust, partying, style, musical enthusiasm, quirk, Cold-War anxiety, culture, and teen idealism. (These have been highlighted by the songs in the “Not My Type” tracklist) Each band had its own ways of addressing each, but common methods and ideas did sprout up over time.
What does it mean to be cool? New wave as a genre and creative movement explored this topic in nearly every possible regard. From the riffs to the slick outfits, these artists seemed to exude clout and attitude. America wanted a newfound way to express its affluence and it seemingly found it within MTV’s newest hitmakers. The rise of video music exploded the already turbulent powderkeg that was the late 70’s musical landscape. Taking cues from David Bowie, KISS, Alice Cooper, and many others across the glam sphere, they managed to tame the unconventional. Artists like the B-52s, DEVO, and The Talking heads utilized bright colors and coordinated outfits to signify them as outsiders, while The Cars, Blondie, and other new wave acts at the time retained a more traditional cool factor. This “coolness” extended far beyond fashion, many bands of the time did well to promote confidence of both themselves and their work. This unabashed outlook dissuaded audience members from picking on the more quirky or kitschy elements of their music. Cars guitarist Elliot Easton even maintains this viewpoint on the band’s output years later, stating “I really don’t have one, I really don’t. … I have no negative comments about any songs” when asked in a Vulture interview about his least favorite tune they created. Out of all bands, it is quite possible that the Cars embodied this spirit more than anyone else. Their debut album has many killer cuts with great lines, but “Good Times Roll” puts it best: “Let the stories be told, let them say what they want”. Loose, fast guitar lines catch your ear as frontman Ric Ocasek says this, the words combine with the music to create an image of flippant energy.
Romance, especially teen romance, played a large part in nearly every band’s revolving door of song subjects. The Cars based nearly their entire volume of work on this, while even experimental bands like the B52s sang about it on occasion, such as the song “Dance This Mess Around” for their 1979 debut album. In all varieties, this topic would be explored. Rejection goes hand in hand with romance, so its no surprise that this was also a major theme. Cars hits like “Drive”, ‘I’m Not The One”, and “Bye Bye Love” all told very similar tales, young men being put into a bad state by their relationships, wondering what things will be like now that their idealistic dreams have been crushed. Who will drive their girlfriends home now that they aren’t around? I guess we’ll never know, but The Cars did sure like to ask.
Continuing the idea of romance: lust and the yearning to get into a romantic relationship is perhaps even more common than the feeling of rejection. Out of all lyrical ideas, this one topic was by far the most common in new wave music. At its core, new wave appeals to many, including both genders, so the nearly split representation did well the highlight this. Debbie Harry brought this theme to the female sector of the audience with a force, swooning over dreamboats (see “Denis” on Plastic Letters) and crushing suitors (see “Go Away” on Parallel Lines). The multi-gendered audience helped to preserve the genre’s health as the years grew while also solidifying itself as music for anyone. Everyone has experienced what it's like to pine after someone, maybe we can have them, maybe we can’t, but the uncertainty and the feelings are there, we just can’t shake them. New Wave encapsulated these thoughts in a more compelling and borderline anthemic quality than ever before.
Youth isn’t just about mere romance, it's about thrills. Drugs, clubs, dancing, and fast cars, all were fodder for aspiring rebellious teens. The groups of the era were able to speak about this too. Even better, they were able to put it in such a way that didn’t piss off the parents. Once again, The Cars were on top of this, talking well of these vices in iconic tracks like “Good Times Roll” and “Nightspots”. These songs could make even the most mundane get-together feel like the latest John Hughes movie, this, of course, was one of the many reasons these types of songs grew so popular in the 1980s especially. Girl groups like the Go-Go’s also championed partying as a way to escape reality and the complications of life. In the song “vacation” they say “Vacation, all I ever wanted, vacation, had to get away” The need to get out of routines that defined life decades prior helped establish this feeling of restlessness among the youth in America, and it even existed within older generations.
The visual element of New Wave could perhaps be its longest-lasting cultural legacy, the aesthetics and poppy colors of bands associated with this time have long remained in the memory of the populace. While not always directly a lyrical theme, fashion and style were portrayed by the deliveries, outfits, and concepts of New wave bands. The name of the genre itself even derives from french cinema, a type of experimental artsy movie that existed a few decades prior to the musical movement. This french influence combined with flashy, eye-catching color schemes to grab the hearts and minds of the American public. many groups, like DEVO and the male members of Blondie were also known to wear matching suits, further steeping themselves in rock nostalgia by paying homage to old British invasion groups.
For the 80’s artist, music was a lot more than what it appeared to be on the surface. It was no longer just about the songs, it was a way of life. People wanted to be as close to the music as they could be. The sound quality was controlled by high Fidelity audio systems that people built into their homes. If one wanted to they could get lost in the myriad of different audio equipment available. Tech giants like Pioneer, Sony, and technics were all hitting their strides with amplification and turntable design. While advancements were always being made on this front, the new growth got people excited about where music was heading. New sounds, new technology, change was in the air. New wave artists saw this and began to capitalize on it and write about it. On their debut record, the cars also have a song epitomizing this phenomenon. “Life’s the Same, I’m moving in Stereo, Life’s the same, except for my shoes” (Moving In Stereo) While this line ironically examines the hollowness of chasing new fashions, Ocasek feeds into excitement with home audio. During this line, his vocals even shift to the opposite channel, utilizing stereo separation in a whole new way. While mostly about technology, these sentiments were also more general. The old sounds of the past, while useful in some regards, were on their way out. The change was coming and it could not be avoided.
Among the genre’s most recognizable traits was quirk. New Wave wasn’t content to regurgitate the same sounds of decades prior, they wanted and fully intended on giving the listener something new to digest. Off-kilter deliveries or tempos often were the base of many tracks, especially earlier on in the genre’s inception. This could partly be accredited to its roots in the punk scene. DEVO and The B52s were a masterclass in this way, most of their appeal was in their odd and oftentimes funny nature. The B52’s sang about wacky topics, like the devil taking control of their car while on the freeway (Devil In My Car on Wild Planet) to wild lobsters rocking out on the beach (Rock Lobster on Debut). DEVO utilized its quirk to ironic effect, as did most new wave bands at the time. They acted like stiff robots on stage to convey some societal angst and worry they felt, the song “Uncontrollable Urge” comes to mind particularly for this.
All this fun, vibrance, and dynamic sound came from somewhere though, a place quite dark. It was rooted in the public’s desire to escape the anxiety and stress of the cold war. Tensions were renewed due to posturing from both sides. Ronald Regan even went so far as to publicly state that the soviet union was an “Empire of Evil”. The fun and lightness that most mainstream new-wave acts had was perfect for weary Americans. Bright colors weren’t going to ease their fears entirely though, some bands dropped the “cuteness” from their music and spoke candidly about the chaos. David Byrne led band The Talking Heads were the most influential and direct. The song “Life During Wartime” depicts an America in ruins, crippled by some vague disasters. The vibrato and awkwardness of Byrne helped contribute to the unsettling nature of the song. Their 1980 album “Remain In Light” also explored this topic thematically and sonically. Containing chaotic arrangements of funky afrobeat and unhinged bass rhythms. More mainstream acts like Blondie even talked about it in songs like “Contact In Red Square” on their second album
“The spirit of the times” or zeitgeist is a term still commonly in use today, however it became widely used around this particular era. The 80s and late 70s were very confusing times but New Wave seemed to speak to all the feelings society held during the time. The brightness and the dark. Culture was constantly changing during this time and becoming more materialistic, so the crazy outfits seem to make sense in the context of American capitalism. Rampant consumerist behaviors were further reinforced by the more lighthearted acts like the Cars and Blondie, party, dance, and have a good time. Once again from their debut LP, the Cars have several songs that encapsulate these feelings but the well-known “Just What I Needed” speaks most directly to them. While the song on the surface is simply about a boy and a girl enjoying their time together, in reality, it’s more of a statement. Their moments are transcendent, giving them the ability to forget about life and just have fun in the moment. This is also reflective of American society at the time, this new genre was just what the nation needed to help lift them from what were, in reality, scary times. New wave exalted the individual and their experience above all else.
People of the time, teenagers and otherwise, wanted desperately to be happy and to be idealistic. While the events around the globe did not make this an easy task, the music was there to lift them from this despair. The average person did not want to think about nuclear armageddon, they didn’t want to think about famine in Africa or war in the middle east. They just wanted to be secure in themselves, to have something to look forward to, to love and be happy. For the young people listening to this music, it did just that. Giving them the ability and renewed spirit to face life and reconcile its ugliness with their own visions of its beauty. For those older, it allowed them to revisit the past with rose-colored glasses. Ultimately, American New Wave helped people cope with negative aspects of life by helping them to idealize and romanticize their own lives. When two people are together with one another, it's powerful, many didn’t or still don’t realize the value of these connections and good times. While new wave has been cast aside music-wise decades ago, its themes and ideas retain relevance, perhaps even more so than they did previously. So until the world burns up in smoke, kick back, relax, and let the good times roll!