See Long Live the Dead Or Patrick Patterson Essay

Transcending Essay: Write a personality profile article about someone who Transcends, or goes far beyond the expectations of their profession or occupation. This means that if it is a sports, music, or celebrity person, that what they should be known for is excelling in areas BEYOND just what they get paid to do. This could be their personal conduct off-camera, volunteer or charity work, family life, or other thing that sets them apart as a professional.

See Long Live the Dead or Patrick Patterson Essay.

Requirement Rubric

___ States thesis and supporting reasons in a clear terms.

___ Develops support reasons into concise focused paragraphs elaborating and providing relevant evidence to support claim.

___ Uses vocabulary, rhetorical strategies and varied sentence structure to create precise descriptions, examples and comparisons: Anecdotes, analogies, historical facts etc.

___ Uses connotative diction, parallel structure, or periodic sentence structure to demonstrate subtle command of rhetorical technique.

___ Concluding paragraph clarifies or define their legacy: Explains how they have, or will change the game.

___ Demonstrates proper MLA formatting and shows signs of careful proofreading, including correct syntax and punctuation.

See Examples below

Joe Student

Mr. Mahoney

AP 11 Language and Composition

10/22/09

Long Live the Dead

The Grateful Dead are arguably the most truly artistic band in the history of rock music. In an industry that promotes conformity, “The Dead” consistently have maintained a diverse fan base. In an economy of niche marketing, they have continued to explore un-definable music genres. In a medium that centers around the mass promotion of hit songs, they have enjoyed a commercially successful career depending almost exclusively on eclectic, diverse and experimental live show performances[MD-CET1].

“The Dead’s” humble beginnings in the back of Dana Morgan Music in Palo Alto, California began a collaboration[MD-CET2] and evolution not only of divergent personalities, but an exploration of nearly every known genre of the American music canon. This non-linear exploration began with the simple, folksy “jug band” music of their “Mother McCree’s” days and progressed through electric blues, intentionally unguided psychedelia, and culminated in their formation of a musical amalgam which could be called “a genre unto itself.” If you ask a “Deadhead” what kind of music “The Dead” play, you would get an answer like: “What don’t they play?” For thirty years, through good times and bad, “The Dead” reigned supreme in the ears of fans who insisted on something beyond the ordinary. From the joyous chaos of Ken Kesey’s acid tests, the halcyon days on the ‘Frisco panhandle, the homicidal cloud over Altamont Speedway, to later triumphs and tragedies as cultural icons, The Dead remained culturally vital, continually changing and un-definable in the parlance of music industry standards. (Fong-Torres)

In the Music industry, there has always been the irony of the superficial trappings of rebellion cloaked in[MD-CET3] an easily defined and packaged adherence to an “off the rack” style. The terminologies and labels of the styles are often prescribed not by the artists themselves, but by various industry types, like A&R, radio promoters, and advertising executives. Definitions like Blues, Jazz, Rock ‘n Roll, and Punk were not coined or brought into popular usage by musicians, but by the various hangers-on and business infrastructure personnel.. For example, the terms “Blues” or “Rock ‘n Roll” were mentioned in various song lyrics in early in the history of recording. These terminologies were later co-opted by the industry and used as a title to define or market very diverse musical phenomena. Along with the musical label, predatory commerce often prescribes a style which suggests a sort of exclusivity or loyalty to one particular musical style. The fans of The Dead are unique in their uniqueness. Although there is a prevailing vibe of “weekend hippie chic” to the undiscerning eye, a closer investigation will reveal people of all ages, education, economic function, or various degrees of gender, enjoying a very danceable groove for reasons that don’t require clarification. Like the music, the people are usually interesting, unusual, fun, welcoming of change and tragically flawed. (Palmer)

The music itself has refused to be controlled, for better or worse, by the very performers who play it[MD-CET4]. While more commercially defined artists will be content with verbatim readings of their radio hits for a sing-along audience, The Dead are known for performing songs differently every time they approach the performance. This Jazz-influenced aesthetic consists of off-the-cuff medleys, as one song may morph into a completely different song; a variety of key, tempo or time signature changes may often arise with alternately pleasing, or disastrous results, depending on one’s perspective. This musical adventurousness is uncommon, and decidedly not a sure-fire formula for success in an art form which relies upon familiarity and conservative expectations for communication

(Harrison)

Additionally, the lack of hit singles, and a body of work that quite often defies radio-friendly song lengths has not deterred the career of The Grateful Dead phenomenon. The reason for this is that there is a communion of sorts going on between the participants at the live shows. To speak of these performances as “shows” in the Las Vegas sense of the word is reprehensible. The band has never used a set list, and there is very little “entertainer” type commentary, no introductions between songs, and parsimonious use of “concert” type lighting. The music is provided by the band, but the entertaining is done by the audience. The show begins essentially, when you leave to go to the show, the means of getting there is part of the adventure itself. (The author once hitch-hiked 325 miles in a whirlwind four-ride trip from Marquette, Michigan to East Troy, Wisconsin in less than 10 hours.) The parking lots before the shows are a moveable feast, where people enjoy catching up with old friends, and various products and services are vended, from T-shirts to car mechanic services. Cash money is really the order of the day, but usually barter is readily acceptable, as people trade various artifacts such as food items, “bootleg” recordings of previous shows, and other goods from various perspectives of the legal paradigm. What happens inside the venue is unique in several respects, most notably in the form of dancing and concert taping. The concerts may be the number one product for the band, but The Dead are unique in their pioneering of a free recording community, going as far as providing a special seating section for persons wishing to record the show. (Try that at a Stones concert and see what happens). Dancing is something that is infectious and necessary, as the serpentine grooves move people to dance as if no-one is watching, although everyone is watching. The visual appeal of the Dead show is provided by the dancers in the audience, not the band. (Squindo)

The Grateful Dead, now known as “The Dead” with the passing of Guitarist Jerry Garcia, have not only[MD-CET5] provided a musical legacy being followed to varying degrees by apparent successors such as Phish, Widespread Panic, String Cheese Incident, or The Dave Matthews Band, but have been exemplary in their formulation of a truly artistic realization of the rock music format by leading musical redefinition, defying categorization and transacting their economic development largely outside of the conservative expectations of accepted industry roles and mores. In the words of promoter Bill Graham: “It’s not that they are the best at what they do, but that they are the only ones who do what they do.” (Gordo)

Kyndall Curry

Mr. Mahoney

AP 11

10/22/09

Patrick Patterson

In an era where celebrity is often manufactured with ingredients of superficial glamour and blatant privilege, Patrick Patterson, current UK basketball player, transcends the common stereotypes of the average, NBA-bound, college athlete. In a culture where most collegiate basketball stars attend college only to play basketball and be drafted into the NBA before graduating; Patrick Patterson opted for a college degree and another guaranteed year of Wildcat Basketball. In an Era where the stereotypical, “Big Man on Campus” type, players are often known to snub adoring fans, and to egotistically speak of their talents, Patterson sticks it out and doesn’t leave Rupp Arena until the last program is autographed. Even his pregame musical preferences are different, in a society where “gangster rap” is most commonly associated with getting “pumped” for a game, especially with big time athletes, Patterson prefers the Old School, 70’s, feel good music.

Patterson unexpectedly turned down a guaranteed position on a pro basketball team, and an opportunity to earn millions when he withdrew from the NBA draft after his sophomore season. Instead, despite a disappointing year in Wildcat basketball, Patterson opted to stay at the University of Kentucky another year, to finish his education, and to partake a third year of Kentucky basketball under a new coaching staff. Due to his hard work, Patterson is predicted to graduate this year (as a junior) with a degree in communications. His value for education over affluence sets him apart from the majority of college athletes with NBA aspirations.

Patterson’s fame on the basketball court hasn’t gone to his head. He values the massive UK fan base, and does his best to show his appreciation. Patterson once had to be asked to leave Rupp Arena, long after the fourth quarter, because he was determined to sign every autograph asked of him. On Facebook, Patterson approves every friend request. One of the requests was Heather Durham, a 14 year old Wildcat fan with cystic fibrosis. Heather, who’s health is deteriorating as she awaits a double lung transplant, began instant messaging Patterson through Facebook chat. Patterson offered months of encouragement, through online chat, then later, visited Durham at the University’s Children’s Hospital. We often here of big time athletes and celebrities, doing things like this for publicity. However, what is unique about this situation is that Patterson didn’t tell anyone about his visit to Durham. The only press that was there where a few nurses and their camera phones. Even his own mother who had called him moments before was only told that he was “going to visit a sick friend.” In regards to the visit, current UK basketball coach John Calipari said, “Patrick isn’t looking for attention, he’s not out chasing ambulances. He’s just doing what comes natural.” (King)

Even Patterson’s pregame music is unique in a sense that it isnt the stereotypical “Gangsta Rap,” often listened to by athletes to get them “pumped” before a big game. Patterson, though still new to UK, dared to be different by growing out an “old-school” afro with a serious Jackson Five vibe, during his freshman season. When Coach Gillespie was asked about Patterson during the pregame sports report on the night that he chose to premiere his new “do,” Gillispie revealed that Patterson’s preferred pregame music for that night was the Temptations 60’s hit My Girl.

Patterson’s education values, moral understanding, and old school style set him apart from other college athletes. He is a talented player who transcends usual stereotypes.

[MD-CET1]Thesis statement with three reasons using parallel structure.

[MD-CET2]Develop reason 1 Non conformity/diverse fan base.

[MD-CET3]Develop Reason2 Undefinable genre

[MD-CET4]Develop reason 3 Live Shows

[MD-CET5]Conclude by identifying long-lasting legacy, or how they Changed the game.