Kathy
Kuang
Brown
English
306
29
September 2016
Rhetorical Analysis of “Same Love”
Homosexuality. The concept it
encompasses embodies a negative connotation, a product of societal opinion. In
fact, “gay is synonymous with the lessor” as Macklemore asserts (RyanLewisProductions). This prejudice and discrimination of individuals
that identify as part of the LGBTQ community was apparent in the prohibition of
gay marriage in numerous states; manners regarding marriage (such as the
legalization of same-sex marriage) were under the jurisdiction of the state
government. In the state of Washington, this issue was addressed in 2012, when
Referendum Measure 74 appeared on
the November 6, 2012 general election ballot to approve or reject Senate Bill 6239, which would legalize
gay marriage ("History of Referendum
Measures”). In order to influence the results
of this general election, Macklemore and Ryan Lewis, supporters of the LGBTQ
community, released a song titled “Same Love” on October 2, 2012 to protest the
societal disapproval of homosexuality (RyanLewisProductions). It was broadcasted in pop music radio
stations to primarily impact anyone who is against homosexuality (most likely
heterosexuals) as well as registered voters of Washington. The manner in which
“Same Love” protests against marriage inequality and thereby civil injustice
against the LGTBQ community is through its lyrics; Macklemore’s appeal to
ethos, pathos, and logos are interspersed throughout the song and intertwined
with each statement he makes.
Macklemore initiates with “When I was in
the third grade, I thought that I was gay, cause I could draw, my uncle was,
and I kept my room straight” to develop his credibility by stating his own
experience with homosexuality as a heterosexual man (RyanLewisProductions). He initiates the song by
first developing his ethos, so that his following arguments would be more
persuasive, especially since he does not belong in the LGBTQ community, which
would potentially be an adverse fact against his arguments. He then continues
with an appeal to pathos, stating that the mere idea that he was gay caused
“tears [to rush] down [his] face” (RyanLewisProductions). This image of a
crying eight-year-old child functions to provoke sympathy from the audience. Furthermore,
he includes a logical argument that the reason of his sexuality crisis was due
to a “bunch of stereotypes”; his suspicion of being gay was due to his artistic
capabilities, relation to someone who was gay, and tendency to be organized
(RyanLewisProductions). His logical argument lies in the fact that these traits
are not indicative of sexuality; for instance, anyone could be talented at
drawing, but that does not necessarily represent their sexual orientation or even
superficially unearths it. However, Macklemore claims that the stereotypes
related to homosexuality have caused these characteristics to be associated with
it, even though it should not be reasonably related. He protests against its inaccurate
association.
At the early middle part of the song, he again
appeals to ethos by saying “the right wing conservatives think it’s a decision
and you can be cured with some treatment and religion” (RyanLewisProductions).
He demonstrates his credibility by dismissing opposing perspectives against
homosexuality, specifically republican and religious beliefs (that
homosexuality is a decision), and the corresponding notion that this “ailment”
called homosexuality could be ameliorated. By acknowledging the existence of
these opinions, he simultaneously proves his knowledge about the issue and reaffirms
his ability to speak about it. He proceeds to protest against the conservative perspective.
He claims that this attempt in altering a person’s sexuality is “man-made
rewiring of a predisposition” and that this “rewiring” is equivalent to
“playing God” (RyanLewisProductions).
Here Macklemore is unquestionably appealing to ethos; God, to those who are
religious (which most U.S. citizens are) is the almighty entity. “Playing God” is not acceptable because only
God himself should have the power to decide a person’s life; by extension, the
thought of influencing a person’s destiny should be condemned as it is
technically committing a sin directly against God. Macklemore claims that God
decided the sexual orientation of its inhabitants on Earth. If man decided to
rewire this predisposition, he is stating that God made a mistake, or they
outright disagree with God’s decision. Continuing with that notion, he states
that this desire to change others is due to fear of the unknown, “America the
brave still fears what we don’t know” (RyanLewisProductions). He juxtaposes and
thus, highlights the irony of the idea that America is brave, yet fears the
unknown (homosexuality). Logically, that is nonsensical; thus, he causes
Americans to self-reflect on the validity of this bravery, ultimately, evoking
a sense of shame and guilt. With this phrase, he appeals to logos and pathos,
encouraging the alteration of this fear and mentality.
Near the later half, he continues with pathos,
and again induces empathy; he points out the phrase “Man, that’s gay” is
omnipresent in “YouTube comments” and the entire “hip-hop” industry
(RyanLewisProductions). Macklemore kindles the audience to recognize that
because the term “gay” is used in a negative context and that it is pervasive, homosexuals
are prone to feel that practically everyone “hates [them]”
(RyanLewisProductions). The resulting hurt that consumes a gay individual can
be unbearable especially since this hated is towards something “predisposed”,
and therefore, unresolvable (RyanLewisProductions). Near the end of the song,
he mentions this idea again, but now specifically refers to young homosexuals,
mentioning that “kids are walking [a]round the hallway plagued by the pain in
their hearts”. (RyanLewisProductions). By describing the kids as plagued with
this pain, he suggests that this hurt is severely debilitating, analogous to
the symptoms of a plague. It is so wretched, in fact, that it even convinces
some people to die “rather…than be who they are” (RyanLewisProductions). He calls
attention to this desire to irreversibly end one’s priceless life to justify
his disproval of the consequences of societal rejection of an inherent trait.
Throughout the song, Macklemore protests against the
discrimination against homosexuals – specifically regarding same sex marriage –
through multifaceted arguments in regards to modes of persuasion. He initiates
with ethos to develop his credibility so that the resulting arguments would be
even more convincing. However, he utilizes mostly pathos to persuade his
audience of the error in removing civil rights of a person due to their
sexuality. His protest extends even further; he asks Washington voters to actually
act against this discrimination by voting for Referendum 74, hoping that his rhetorical
lyrics has exerted some force in compelling the heterosexual residents (RyanLewisProductions). As a product of activist
action, including this widely disseminated protest, this social injustice was
removed on February 9, 2012 in the state of Washington and three years later on
June 26, 2015, the entire nation.
Works Cited
"History of Referendum Measures." Elections
& Voting. Washington Secretary of State, n.d. Web. 27 Sept. 2016.
RyanLewisProductions. "MACKLEMORE & RYAN
LEWIS - SAME LOVE Feat. MARY LAMBERT (OFFICIAL VIDEO)." YouTube.
YouTube, 02 Oct. 2012. Web. 10 Sept. 2016.
No comments:
Post a Comment