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Speech Comm

Speech 201 2nd Period

DAMN THE MAN! SAVE THE EMPIRE!

Sugar high over, and Josh's words maybe...and only maybe...sinking in, she revisits her righteous teen indignation and decides speeches will be anti-establishment this week. It's time to shake things up and say Damn The Man! There's a reason she went into politics in the first place, you know.

We Want the Airwaves: The Ramones

Anarchy in the UK: Sex Pistols

Baba O'Riley: The Who

School's Out: Alice Cooper

Another Brick in the Wall: Marylin Manson

American Idiot: Green Day

"First. Iwentinlocker327andcameoutlikethismovingon...listen to the news once in a while or talk to your friends. I don't want to talk about it.

So today I want you to listen to these songs. Pay attention to the Ethos, Logos, and Pathos of the lyrics. Then instead of a traditional speech, I want you to take a crack at writing me a song of righteous protest. What makes you mad? What do you take a stand against? What makes you want to stand up and shake your fist and say "Hell no! I'm not going to sit here and take it, ~~you elitist, Harvard fascist missed-the-Dean’s-list-two-semesters-in-a-row Yankee jackass~~ authority figure!!"

She takes a deep breath, and a sip of water, and jumps back in,

"So, listen, learn, and get off your apathetic asses! Only you can effect change. If you wait for someone else to do it, you'll be old and dead and maybe in a gulag. So...no secret I like punk and it's probably going to be the easiest for you, but feel free to write whatever moves you to ACTION."

Nodding sharply, she hits Play. Because this is the only class in the Humanities wing at this hour, it's really, really, reallllly loud.

[If the music bothers Profs. Grissom, Pierson, or Chaucer, please, do come see CJ about it. She's very reasonable.]

*** *** *** *** *** *** *** *** *** *** *** ***

InterComm 301 3rd Period

We're gonna talk about senders, and how the ethos of the sender can change
the message. Ethos is the credibility of the speaker, as opposed to Logos which
is the logic of the argument or Pathos which is an appeal to the emotions of the
receiver.

We had some good thoughts yesterday. Maia said 'The sender is the originator of the message and so they can basically decide
how they want the message sent. I mean if they want it clear or not depends on how they word it' and that's a good start, but lets talk today about NONVERBAL communication. Aside from what you say, how does the nonverbal effect the senders ethos?

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...

Phoebe walks into class and stops when she sees CJ.

"CJ?"

"Yeah, Phoebe?"

Phoebe grins. "I love the Ramones."

"Me too! I saw them live in '81...so cool. Joey, whoa." She gets a dreamy look, then smiles. "Good to see you walking." Having had a miraculous recovery herself thanks to Aziraphale, she doesn't really put too much thought into the rapid recovery at all.

Bel signs in and looks on with amusement.

"So? Rebel already!"

Isabel signs in. She listens to the radio so she's not surprised.

"Isabel, ideas?"

"Maybe something about alienation? About feeling different then everyone around you and worrying about how others are going to respond to that difference?" And boy does she know that feeling.

"Good Isabel! Run with that!"

Grissom walks by the classroom, coming in for the day, just as CJ starts blasting The Who.

A strange sensation comes over him, and he ponders a day trip to New York, before he glances into the classroom to see what in the hell is going on.

She sees him and smiles wide, singing along..."Teenage wasteland...teenage wastelnd...What's up, Gil?"

"Ummm... just coming into work," he says, looking at her strangely. Good thing his hearing isn't 100% anymore.

"What's going on here?" he asks a little too loudly.

She doesn't turn it down at all, but does step out into the hall with him. "I think these kids are lazy in their conviction and too ready to obey authority...so..." she grins misceviously, "...I'm inciting verbal anarchy. Songs of protest and anger and indignation. Cool, huh?"

"Not that I don't appreciate a healthy disrespect for authority..."

He trails off, shaking his head slightly. "But is inciting anarchy what you want to be doing, CJ? I was under the impression you had respect for, ummm, the government, considering you worked for the President, for example."

"Yeah, you're right. I chose to channel it and work within the system. But you know Gil, without change there's stagnation and with every new generation there's a revolution. I'm just trying to light a fire." She smiles at him and pats his arm, "It's cool, it's politics. Didn't you ever just tell the establishment to shove it?"

"Perhaps," he replies with a smirk, although his face betrays some concern.

"I have to run, CJ, but just remember that your hearing is a valuable resource and raising rebellions can be hazardous for your health." He gives her a mock paternalistic glance.

"I'll see you later. Don't light any real fires. They'll probably bill you for that."

"No real fires, Gil. Swear." She smiles at him and goes to turn the music down...just a little.

Someone has slipped Public Enemy's 'Fight the Power' (http://download.yousendit.com/4627ED4F7D8ED5D8) into her stack of music. No guesses as to who.

It's not punk, but it's got the message going on...she plays it twice.

Alanna signed in. And blinked. And shook her head a bit. And carefully tucked away something black and furry in her bag that was trying to stick its head out.

Barbossa didn't even blink to see CJ's transformation.

He sat down in the back of the class and spent the hour writing a country ballad about a ninja who tempted a pirate with baked goods and then had sex with the pirate's principal.

Barbossa had heard that it was easier to write about real-life experiences.

Oh yeah, and Lisa was totally here too. Yup. Here. Mmmhmmm.

...

Having spent some time thinking about what CJ said about him being so uptight, Shep tries very hard not to be mortified over what happened in the bar anymore. He signs in and takes a set not quite as far back as he was yesterday.

"Hey, Shep. Jump on in...sender, non-verbal, message, whathaveyou."

Reaching for something academic to say, he goes with, "Non-verbal messages are what tell us when a person is being sarcastic or euphamistic or whatever. When you're being stared down by your father who's clearly pissed saying, 'Nice grade on your math test,' you know better than to say 'gee thanks,' by his non-verbal message.

Maia signed in and thought about the nonverbal lines of communication. "A person's body language when they are talking to you can send a nonverbal message, like if your talking to them and they cross their hands over their chests it could be seen as a protective against the onslaught of the words. Um, hands at your sides in fists or on your hips while you talking can be defiance or confrontational. The power of nonverbal communication while talking to someone often sends very mixed signals."

"Good, Maia. Very good. Keep going..."

Maia blushed at the encouragement and became unsure of how she wanted to continue. "Well that's um about all I had to say actually on that really...just how you stand and gesture can make an ordinary conversation be a lot more then you perhaps intended it to be when nonverbal communication comes into play."

Boone, looking as if he just got over a ~~fit of OMGRealLifeExplodedIntoBusy~~ cold, comes into class, slightly late. However, he's bearing a latte for CJ.

"Oh, my God! I love you more than chocolate Boone. Tardy totally excused! Jump in wherever, kay?"

"All right," he agrees, handing ~~the hot teacher~~ CJ the coveted drink. "I love you too, I guess." He grins.

"Good. I can tell...coffee is nonverbal love." She grins and resumes the lesson.

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Speech Comm

201 Speech

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301--Interpersonal Communication

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