Rhetorical Analysis of Adeles 21 Essay Example For Students

Rhetorical Analysis of Adeles 21 Essay Musical sensation, singer-songwriter Adele Adkins, quickly developed the nickname, queen of soul-pop† after the release of her first album 19. Her powerful love ballads and universal lyrics mesmerized listeners throughout the world. After her breakthrough performance at the 2009 Grammy Awards, audiences were eager for Adkins to release her sophomore album. Everyone’s pleas were soon answered when Adkins debuted her second album 21 in 2011. The album was widespread in a matter of hours, garnering attention from critics around the world. Nick Freed, senior-staff writer of the favored online publication Consequence of Sound, took advantage of the opportunity to write a piece on Adkins’ masterpiece. Less than a day after the reveal, he released a comprehensive review of the album entitled â€Å"Adele-21† to entice his audience of music lovers. An accomplished columnist, Freed relished at the chance to influence future buyers of the record. Freed begins the piece by addressing the circumstances in which the album was written. He writes that, â€Å"the best writing comes out of moments of distress and depression,† arguing that Adkins’ heartbreak that influenced 21 is the catalyst for the record’s heart-wrenching songs (Freed). Freed writes further, establishing that Adkins’ young age causes a sense of vulnerability to appear in every song, a feeling that is all too common after heartbreak. Following the introduction to the piece, Freed notes the changing emotions throughout the album. Uniquely, he incorporates the lyrics of Adkins’ songs to demonstrate how she essentially is telling the story of her relationship. Freed confirms that Adkins excludes no emotion from the album. Listeners can hear the progression from anger, to depression, and utter heartbreak as the soundtrack progresses. Freed analyzes a few of the songs on the record, one of which is â€Å"Rolling in the Deep. † He informs readers of the track’s â€Å"escalating pre-chorus† and â€Å"crazy catchy hooks† that appear in the song (Freed). He exposes everything from what potentially is the true meaning behind Adkins’ lyrics, to the actual composition of the piece itself. Freed concludes with an indication that Adkins’ 21 is a pre-cursor to bigger and better things. He suggests that this album â€Å"blows pop music on its ass† and that there are only great things to come for the artist (Freed). It is apparent that Freed aims to identify why people should purchase 21. He persuades readers into believing that Adkins’ album is a dynamic piece of work that is going to change the direction of pop in the music industry. By using descriptive adjectives and cogent verbs, it is evident what Freed’s agenda behind the article is. Freed chose to write in the genre of review to intentionally create a stance on a piece of music that would give the world better insight into why this exceptional work is worth a listen. Freed successfully integrates his credibility by attaching a brief summary of his past experience writing reviews for a variety of entertainment magazines. The resume is brief and to the point, not to take away from the substance of his piece. Logically, Freed lures in readers by posing the argument that Adkins’ album is so incomparable that it is essential to the pop music collector. He even goes further to point out that â€Å"pop music should take more cues from Adele and this album† and that â€Å"Adele should be the future of radio, and in the near future will be† (Freed). Freed implies that the record really is like no other and that those who don’t buy it are missing out on a major opportunity. Lastly, Freed successfully merges emotion as an appeal to beguile readers to obtain the album. .ubb0e42e65aa3cede8bb5c5075df5739d , .ubb0e42e65aa3cede8bb5c5075df5739d .postImageUrl , .ubb0e42e65aa3cede8bb5c5075df5739d .centered-text-area { min-height: 80px; position: relative; } .ubb0e42e65aa3cede8bb5c5075df5739d , .ubb0e42e65aa3cede8bb5c5075df5739d:hover , .ubb0e42e65aa3cede8bb5c5075df5739d:visited , .ubb0e42e65aa3cede8bb5c5075df5739d:active { border:0!important; } .ubb0e42e65aa3cede8bb5c5075df5739d .clearfix:after { content: ""; display: table; clear: both; } .ubb0e42e65aa3cede8bb5c5075df5739d { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ubb0e42e65aa3cede8bb5c5075df5739d:active , .ubb0e42e65aa3cede8bb5c5075df5739d:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ubb0e42e65aa3cede8bb5c5075df5739d .centered-text-area { width: 100%; position: relative ; } .ubb0e42e65aa3cede8bb5c5075df5739d .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ubb0e42e65aa3cede8bb5c5075df5739d .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ubb0e42e65aa3cede8bb5c5075df5739d .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ubb0e42e65aa3cede8bb5c5075df5739d:hover .ctaButton { background-color: #34495E!important; } .ubb0e42e65aa3cede8bb5c5075df5739d .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ubb0e42e65aa3cede8bb5c5075df5739d .ubb0e42e65aa3cede8bb5c5075df5739d-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ubb0e42e65aa3cede8bb5c5075df5739d:after { content: ""; display: block; clear: both; } READ: An analysis of the dramatic structure EssayHe conveys that all who have experienced heartbreak are susceptible to re-visiting that period in their life when listening to the record. Freed writes a concise review that exhibits the power behind 21. While other critics fail to capture the true essence of Adkins’ art, Freed provides a positive, credible, and convincing argument as to why the record is a worthwhile investment. In Adkins’ songwriting, she appeals to the universal emotions that heartbreak produce. Likewise, Freed shows how universal Adkins’ album is by highlighting her emotional appeal for potential consumers. Bibliography: Freed, Nick. Adele-21. Consequence of Sound. Consequence of Sound Incorporated, 8 Apr. 2011. Web. 20 Mar. 2015.