Friday, January 31- Tuesday, February 4 your voice and word choice in an interview

Friday / Monday/ Tuesday Your voice and word choice in conducting an interview

Most everyone has sent in this assignment. This is due at the close of class today.    We are moving on tomorrow.

Coronavirus
 

Scientists are desperately trying to develop ways to treat the Wuhan coronavirus, and while there's no cure, several big biotech companies are hoping they can treat the symptoms with existing antiviral medications. One of these drugs is actually used to treat the Ebola virus, another global health threat. Officials in Thailand claim two patients have been successfully treated with a new combination of HIV and flu drugs. The virus continues to rip through mainland China, where 425 people are confirmed dead. China’s National Health Commission said 80% of these victims are over 60 years old. The virus has been confirmed in 25 countries and territories now, with 20,000 people infected worldwide. 

The assignment is due at the end of class on Tuesday, with the exception of those who receive extended time. Theirs is due by midnight. We have new material on Wednesday.

Learning Targets:

1) I can seek to understand other perspectives from varied backgrounds.

2) I can draw evidence from literary or informational texts to support analysis, reflection, and research. 

Please send along the completed assignment as a whole; that is one sharing. Label this assignment VOICE. This is due at the close of class on Monday, with the exception of those who receive extended time. Yours is due at midnight Monday.

Class directions: Part A

read the following abstract taken from the Journal of Natural Science, Biology and Medicine.

Tiwari, Manjul, and Maneesha Tiwari. Journal of Natural Science, Biology, and Medicine, Medknow Publications & Media Pvt Ltd, 2012, www.ncbi.nlm.nih.gov/pmc/articles/PMC3361774/.

In approximately 100 words, weaving in some textual evidence,  explain how you think your voice impacts an interview.

Voice - How humans communicate?

Voices are important things for humans. They are the medium through which we do a lot of communicating with the outside world: our ideas, of course, and also our emotions and our personality. The voice is the very emblem of the speaker, indelibly woven into the fabric of speech. In this sense, each of our utterances of spoken language carries not only its own message but also, through accent, tone of voice and habitual voice quality it is at the same time an audible declaration of our membership of particular social regional groups, of our individual physical and psychological identity, and of our momentary mood. Voices are also one of the media through which we (successfully, most of the time) recognize other humans who are important to us—members of our family, media personalities, our friends, and enemies. Although evidence from DNA analysis is potentially vastly more eloquent in its power than evidence from voices, DNA cannot talk. It cannot be recorded planning, carrying out or confessing to a crime. It cannot be so apparently directly incriminating. As will quickly become evident, voices are extremely complex things, and some of the inherent limitations of the forensic-phonetic method are in part a consequence of the interaction between their complexity and the real world in which they are used.

Part B: You will need your earbuds to listen to the interview, although there is an abreviated transcript below. 

Selena Gomez interview  10 minutes

Respond to the following questions based upon the interview. I suggest you copy the questions; then pause as needed to respond.

Note: you are  listening for examples of interview techniques as pertains to  voice, as well as word choice.

1. What types of types of questions (open or closed ended). (Give two examples of each)

2. What background background knowledge does the interviewer bring? (Give two examples)

 3. Note the manner in which the interviewer rephrases and paraphrases what the interviewee said. (Pick out an example and write a short analysis: for example, what might you note in the tone, diction, pacing, verbal stresses. Be specific

4. How does the interviewer maintain a sense of non-bias? Find two examples and explain.

note: a closed-ended question produces a yes / no response.

Over four years is a long time to go between albums in pop music, and it has been an especially eventful period for Selena Gomez. In the space between 2015's Revival and her latest release, Rare, Gomez has battled Lupus, depression and anxiety, and had two high profile breakups — all while millions followed along on social media.

All of those public struggles form the backbone for the songs on Rare, which debuted at No. 1 on the Billboard 200 albums chart last week. Gomez spoke with NPR's Lulu Garcia-Navarro about learning to take care of her mental health, trying to take control of her public narrative and seeking closure through songwriting. Listen in the player above or read on for a transcript of their conversation.

This interview has been edited for length and clarity.

---

Lulu Garcia-Navarro: You got the title of this album, Rare, tattooed on your neck. How come?

Selena Gomez: The word has meant so much more to me than just a title of a song. We live in a time where everything is based on your looks and social media and there are so many different channels telling people what they should look like, and how they should do this, do that. And I want to represent a person that is just saying "You are who are; you're unique and you're rare."

A lot has happened to you since your last album, Revival, came out in 2015, and a lot of it in the public eye.

Right. Super fun. [Laughs]

It must have been difficult: two public breakups, struggles with Lupus, a kidney transplant. You've been public about a lot of this, too.

The reason why I've become so vocal about the trials and tribulations of my life is because people were already going to narrate that for me. I wasn't going to have a choice because of how fast everything moves now. And most of the time, yes, it's not true, or it's an embellished version of what the truth is. I want to be able to tell my story the way that I want to tell it. And all of these things happened, and I wasn't going to deny that, I wasn't going to pretend to put a smile on when it actually was awful — a few of the worst moments of my life. And I don't know if I would have made it. And that's medical reasons, obviously, and emotional reasons. I just had to find a way to claim my story.

You've said this album is your diary from the past few years, and it does sound like it's a diary that was full of a lot of hurt. I want to talk about one of the songs, "Fun" — there are a couple on this album that reference your struggles with mental health. You've spoken about suffering from anxiety and depression, and you took a break in 2018 for your mental health. It sounds like you're doing a lot better now. How'd you get there?

I feel great, yeah. I'm on the proper medication that I need to be on, even as far as my mental health. I fully believe in just making sure you check in with your doctors or therapist. [Taking care of mental health — ] that's forever. That's something I will have to continue to work on. Yes, I don't think I just magically feel better. I have days where it is hard for me to get out of bed, or I have major anxiety attacks. All of that still happens. I think "Fun," in that particular way, was that I do like learning about it. When I was a kid, I was terrified of thunderstorms; it would freak me out. I was in Texas, so I would assumethat thunder and lightning would mean "tornado." And so my mom, she would give me these books — and they're the little thin books for kids to know about "What's rain?" and "What's this?" and she just said "The more you learn about it and how it works, the less you're going to be afraid of it." I think that took so much work for me.

But the way I find these moments in my life that are pretty difficult, I think the only way it's helped me is that I can use that for good. So yeah, I can sit down with somebody who's gone through a lot of health issues, I can sit down with someone who has had their heart completely broken, or a family that's broken, fighting for their right to stay in this country, or kids who are going through things they shouldn't even be worrying about at that age. I want to live in a world where an 11-year-old is not committing suicide because of bullying on social media. That's what I think my real mission is; I think that I have such big dreams and ideas for ways that I can give back. And right now I know that this is something that will be for life.

"Lose You To Love Me" is your first No. 1 song off this album — tell me about this song.

I'm very proud of it. It has a different meaning to me now from when I wrote it. I felt I didn't get a respectful closure, and I had accepted that, but I know I needed some way to just say a few things that I wish I had said. It's not a hateful song; it's a song that is saying — I had something beautiful and I would never deny that it wasn't that. It was very difficult and I'm happy it's over. And I felt like this was a great way to just say, you know, it's done, and I understand that, and I respect that, and now here I am stepping into a whole other chapter.

Saying goodbye to Justin Bieber, who I'm assuming you're speaking about.

You had to get the name in, I get it.

Do you look back on that time, and when you think about the parts of your life that were painful, that you've kind of moved on from, is that one of the harder parts?

No, because I've found the strength in it. It's dangerous to stay in a victim mentality. And I'm not being disrespectful, I do feel I was a victim to certain abuse —

You mean emotional abuse?

Yes, and I think that it's something that — I had to find a way to understand it as an adult. And I had to understand the choices I was making. As much as I definitely don't want to spend the rest of my life talking about this, I am really proud that I can say I feel the strongest I've ever felt and I've found a way to just walk through it with as much grace as possible. 

I want to go out on the song "Vulnerable," because to me the idea of staying vulnerable represents the ability to move forward. What does that song mean to you?

That means to me that vulnerability — and I've said this before — is a strength. And as I grew up in this chaotic space, I did have to learn how to be tough, and to be strong, but I'm not this hard person. And I have every right to be: From 7-years-old to 27, I've been working, and I've had the most horrible things said to me, said about me, and being exposed to way too much. One of my issues is that I always felt like I was this weak person because I would cry, or I would get emotional, or I hated when people were rude. I just started getting to the place, definitely a few years ago, where I understood that vulnerability is actually such a strength. I shine the most within when I'm sharing my story with someone, or when I'm there for a friend, or when I do meet someone, I'm not bitter and sarcastic — I mean sometimes I am, but I'm proud that I'm okay with speaking about my heart. And the whole song is saying "Hey if I give this to you, If I give myself to you, are you strong enough to be there for me?" If not, I'll let go of the situation but I'm still going to be vulnerable to what's next.

Thursday, January 30 The Art of the Interview

Learning Targets: 1)I can engage in using a wide range of prewriting strategies, such as visual representations to make connections and insights.

2) I can integrate multiple sources of information presented in diverse formats and media (e.g.,

visually, quantitatively, orally) in order to make informed decisions. 

3) Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric, assessing the

stance, premises, links among ideas, word choice, points of emphasis, and tone used.

Tanzania

The World Bank is hitting pause on a $500 million loan to the east African nation of Tanzania after activists raised alarms about how the country treats young pregnant women. Tanzania has a policy that bans pregnant girls and young mothers from attending state schools. During a visit to some of these schools in 2018, CNN discovered students were given compulsory pregnancy tests. Activists and international human rights organizations want to stop the loan until Tanzania passes a law to allow pregnant girls to go to school and ceases mandatory pregnancy testing. A similar situation unfolded in 2018, when the World Bank withdrew a $300 million loan following claims that the country was expelling pregnant girls from school. 

As you read through the background material on the man below, you might wonder what a director at the National Portrait Gallery and Smithsonian might have to say about interviews. Those of you who are in the visual studies probably already understand how difficult it is to capture an authentic image of an individual, to reveal the full panoply of a character through line, contour, color and perspective.  Portraits may take months, or even years, and are often constructed as much through conversation as the artistic process.  In class, I am asking you to listen to a 20 minute Ted Talk on "The Art of the Interview".

Marc Pachter (born 1942 or 1943)^[1] is an American museum director who headed up the United States National Portrait Gallery from 2000 until 2007 and was the acting director (after coming back out of retirement) of the National Museum of American History between 2011 and 2012, both at the Smithsonian.

the art of the interview

When you have finished, please write down 5 points you took away from the talk that will help you be a better interviewer.  Please compose these in complete sentences, weaving in text. Due at the close of class, with the exception of those who receive extended time.   I suggest you pause the talk and compose your points as you listen. 

The Art of the Interview

Transcript Arabic Bulgarian Chinese, Simplified Chinese, Traditional Czech Dutch English French German Greek Hebrew Italian Japanese Korean Polish Portuguese, Brazilian Romanian Russian Serbian Spanish Thai Turkish Vietnamese 

0:11The National Portrait Gallery is the place dedicated to presenting great American lives, amazing people.And that's what it's about. We use portraiture as a way to deliver those lives, but that's it. And so I'm not going to talk about the painted portrait today. I'm going to talk about a program I started there, which, from my point of view, is the proudest thing I did.

0:37I started to worry about the fact that a lot of people don't get their portraits painted anymore, and they're amazing people, and we want to deliver them to future generations. So, how do we do that? And so I came up with the idea of the living self-portrait series. And the living self-portrait series was the idea of basically my being a brush in the hand of amazing people who would come and I would interview.

1:02And so what I'm going to do is, not so much give you the great hits of that program, as to give you this whole notion of how you encounter people in that kind of situation, what you try to find out about them,and when people deliver and when they don't and why.

1:19Now, I had two preconditions. One was that they be American. That's just because, in the nature of the National Portrait Gallery, it's created to look at American lives. That was easy, but then I made the decision, maybe arbitrary, that they needed to be people of a certain age, which at that point, when I created this program, seemed really old. Sixties, seventies, eighties and nineties. For obvious reasons, it doesn't seem that old anymore to me.

1:48And why did I do that? Well, for one thing, we're a youth-obsessed culture. And I thought really what we need is an elders program to just sit at the feet of amazing people and hear them talk. But the second part of it -- and the older I get, the more convinced I am that that's true. It's amazing what people will say when they know how the story turned out. That's the one advantage that older people have. Well, they have other, little bit of advantage, but they also have some disadvantages, but the one thing they or we have is that we've reached the point in life where we know how the story turned out. So, we can then go back in our lives, if we've got an interviewer who gets that, and begin to reflect on how we got there. All of those accidents that wound up creating the life narrative that we inherited.

2:42So, I thought okay, now, what is it going to take to make this work? There are many kinds of interviews. We know them. There are the journalist interviews, which are the interrogation that is expected. This is somewhat against resistance and caginess on the part of the interviewee. Then there's the celebrity interview, where it's more important who's asking the question than who answers. That's Barbara Walters and others like that, and we like that. That's Frost-Nixon, where Frost seems to be as importantas Nixon in that process. Fair enough.

3:15But I wanted interviews that were different. I wanted to be, as I later thought of it, empathic, which is to say, to feel what they wanted to say and to be an agent of their self-revelation. By the way, this was always done in public. This was not an oral history program. This was all about 300 people sitting at the feet of this individual, and having me be the brush in their self-portrait.

3:46Now, it turns out that I was pretty good at that. I didn't know it coming into it. And the only reason I really know that is because of one interview I did with Senator William Fulbright, and that was six months after he'd had a stroke. And he had never appeared in public since that point. This was not a devastating stroke, but it did affect his speaking and so forth. And I thought it was worth a chance, he thought it was worth a chance, and so we got up on the stage, and we had an hour conversation about his life, and after that a woman rushed up to me, essentially did, and she said, "Where did you train as a doctor?"

4:26And I said, "I have no training as a doctor. I never claimed that."

4:30And she said, "Well, something very weird was happening. When he started a sentence, particularly in the early parts of the interview, and paused, you gave him the word, the bridge to get to the end of the sentence, and by the end of it, he was speaking complete sentences on his own." I didn't know what was going on, but I was so part of the process of getting that out.

4:54So I thought, okay, fine, I've got empathy, or empathy, at any rate, is what's critical to this kind of interview. But then I began to think of other things. Who makes a great interview in this context? It had nothing to do with their intellect, the quality of their intellect. Some of them were very brilliant, some of them were, you know, ordinary people who would never claim to be intellectuals, but it was never about that. It was about their energy. It's energy that creates extraordinary interviews and extraordinary lives.I'm convinced of it. And it had nothing to do with the energy of being young. These were people through their 90s.

5:37In fact, the first person I interviewed was George Abbott, who was 97, and Abbott was filled with the life force -- I guess that's the way I think about it -- filled with it. And so he filled the room, and we had an extraordinary conversation. He was supposed to be the toughest interview that anybody would ever dobecause he was famous for being silent, for never ever saying anything except maybe a word or two.And, in fact, he did wind up opening up -- by the way, his energy is evidenced in other ways. He subsequently got married again at 102, so he, you know, he had a lot of the life force in him.

6:16But after the interview, I got a call, very gruff voice, from a woman. I didn't know who she was, and she said, "Did you get George Abbott to talk?"

6:28And I said, "Yeah. Apparently I did."

6:31And she said, "I'm his old girlfriend, Maureen Stapleton, and I could never do it." And then she made me go up with the tape of it and prove that George Abbott actually could talk.

6:43So, you know, you want energy, you want the life force, but you really want them also to think that they have a story worth sharing. The worst interviews that you can ever have are with people who are modest.Never ever get up on a stage with somebody who's modest, because all of these people have been assembled to listen to them, and they sit there and they say, "Aw, shucks, it was an accident." There's nothing that ever happens that justifies people taking good hours of the day to be with them.

7:19The worst interview I ever did: William L. Shirer. The journalist who did "The Rise and Fall of the Third Reich." This guy had met Hitler and Gandhi within six months, and every time I'd ask him about it, he'd say, "Oh, I just happened to be there. Didn't matter." Whatever. Awful. I never would ever agree to interview a modest person. They have to think that they did something and that they want to share it with you.

7:46But it comes down, in the end, to how do you get through all the barriers we have. All of us are public and private beings, and if all you're going to get from the interviewee is their public self, there's no point in it. It's pre-programmed. It's infomercial, and we all have infomercials about our lives. We know the great lines, we know the great moments, we know what we're not going to share, and the point of this was not to embarrass anybody. This wasn't -- and some of you will remember Mike Wallace's old interviews -- tough, aggressive and so forth. They have their place.

8:29I was trying to get them to say what they probably wanted to say, to break out of their own cocoon of the public self, and the more public they had been, the more entrenched that person, that outer person was.And let me tell you at once the worse moment and the best moment that happened in this interview series. It all has to do with that shell that most of us have, and particularly certain people.

9:00There's an extraordinary woman named Clare Boothe Luce. It'll be your generational determinant as to whether her name means much to you. She did so much. She was a playwright. She did an extraordinary play called "The Women." She was a congresswoman when there weren't very many congresswomen.She was editor of Vanity Fair, one of the great phenomenal women of her day. And, incidentally, I call herthe Eleanor Roosevelt of the Right. She was sort of adored on the Right the way Eleanor Roosevelt was on the Left. And, in fact, when we did the interview -- I did the living self-portrait with her -- there were three former directors of the CIA basically sitting at her feet, just enjoying her presence.

9:51And I thought, this is going to be a piece of cake, because I always have preliminary talks with these people for just maybe 10 or 15 minutes. We never talk before that because if you talk before, you don't get it on the stage. So she and I had a delightful conversation.

10:09We were on the stage and then -- by the way, spectacular. It was all part of Clare Boothe Luce's look.She was in a great evening gown. She was 80, almost that day of the interview, and there she was and there I was, and I just proceeded into the questions. And she stonewalled me. It was unbelievable.Anything that I would ask, she would turn around, dismiss, and I was basically up there -- any of you in the moderate-to-full entertainment world know what it is to die onstage. And I was dying. She was absolutely not giving me a thing.

10:49And I began to wonder what was going on, and you think while you talk, and basically, I thought, I got it.When we were alone, I was her audience. Now I'm her competitor for the audience. That's the problem here, and she's fighting me for that, and so then I asked her a question -- I didn't know how I was going to get out of it -- I asked her a question about her days as a playwright, and again, characteristically,instead of saying, "Oh yes, I was a playwright, and this is what blah blah blah," she said, "Oh, playwright. Everybody knows I was a playwright. Most people think that I was an actress. I was never an actress."But I hadn't asked that, and then she went off on a tear, and she said, "Oh, well, there was that one time that I was an actress. It was for a charity in Connecticut when I was a congresswoman, and I got up there," and she went on and on, "And then I got on the stage."

11:41And then she turned to me and said, "And you know what those young actors did? They upstaged me." And she said, "Do you know what that is?" Just withering in her contempt.

11:50And I said, "I'm learning."

11:52(Laughter)

11:54And she looked at me, and it was like the successful arm-wrestle, and then, after that, she delivered an extraordinary account of what her life really was like.

12:05I have to end that one. This is my tribute to Clare Boothe Luce. Again, a remarkable person. I'm not politically attracted to her, but through her life force, I'm attracted to her. And the way she died -- she had, toward the end, a brain tumor. That's probably as terrible a way to die as you can imagine, and very few of us were invited to a dinner party.

12:30And she was in horrible pain. We all knew that. She stayed in her room. Everybody came. The butler passed around canapes. The usual sort of thing. Then at a certain moment, the door opened and she walked out perfectly dressed, completely composed. The public self, the beauty, the intellect, and she walked around and talked to every person there and then went back into the room and was never seen again. She wanted the control of her final moment, and she did it amazingly.

13:06Now, there are other ways that you get somebody to open up, and this is just a brief reference. It wasn't this arm-wrestle, but it was a little surprising for the person involved. I interviewed Steve Martin. It wasn't all that long ago. And we were sitting there, and almost toward the beginning of the interview, I turned to him and I said, "Steve," or "Mr. Martin, it is said that all comedians have unhappy childhoods. Was yours unhappy?"

13:40And he looked at me, you know, as if to say, "This is how you're going to start this thing, right off?" And then he turned to me, not stupidly, and he said, "What was your childhood like?"

13:52And I said -- these are all arm wrestles, but they're affectionate -- and I said, "My father was loving and supportive, which is why I'm not funny."

14:00(Laughter)

14:02And he looked at me, and then we heard the big sad story. His father was an SOB, and, in fact, he was another comedian with an unhappy childhood, but then we were off and running. So the question is:What is the key that's going to allow this to proceed?

14:19Now, these are arm wrestle questions, but I want to tell you about questions that are more related to empathy and that really, very often, are the questions that people have been waiting their whole lives to be asked. And I'll just give you two examples of this because of the time constraints.

14:37One was an interview I did with one of the great American biographers. Again, some of you will know him, most of you won't, Dumas Malone. He did a five-volume biography of Thomas Jefferson, spent virtually his whole life with Thomas Jefferson, and by the way, at one point I asked him, "Would you like to have met him?"

14:58And he said, "Well, of course, but actually, I know him better than anyone who ever met him, because I got to read all of his letters." So, he was very satisfied with the kind of relationship they had over 50 years.

15:11And I asked him one question. I said, "Did Jefferson ever disappoint you?"

15:18And here is this man who had given his whole life to uncovering Jefferson and connecting with him, and he said, "Well ..." -- I'm going to do a bad southern accent. Dumas Malone was from Mississippi originally. But he said, "Well," he said, "I'm afraid so." He said, "You know, I've read everything, and sometimes Mr. Jefferson would smooth the truth a bit."

15:48And he basically was saying that this was a man who lied more than he wished he had, because he saw the letters. He said, "But I understand that." He said, "I understand that." He said, "We southerners do like a smooth surface, so that there were times when he just didn't want the confrontation."

16:09And he said, "Now, John Adams was too honest." And he started to talk about that, and later on he invited me to his house, and I met his wife who was from Massachusetts, and he and she had exactly the relationship of Thomas Jefferson and John Adams. She was the New Englander and abrasive, and he was this courtly fellow.

16:29But really the most important question I ever asked, and most of the times when I talk about it, people kind of suck in their breath at my audacity, or cruelty, but I promise you it was the right question. This was to Agnes de Mille. Agnes de Mille is one of the great choreographers in our history. She basically created the dances in "Oklahoma," transforming the American theater. An amazing woman.

16:59At the time that I proposed to her that -- by the way, I would have proposed to her; she was extraordinary -- but proposed to her that she come on. She said, "Come to my apartment." She lived in New York."Come to my apartment and we'll talk for those 15 minutes, and then we'll decide whether we proceed."

17:18And so I showed up in this dark, rambling New York apartment, and she called out to me, and she was in bed. I had known that she had had a stroke, and that was some 10 years before. And so she spent almost all of her life in bed, but -- I speak of the life force -- her hair was askew. She wasn't about to make up for this occasion.

17:42And she was sitting there surrounded by books, and her most interesting possession she felt at that moment was her will, which she had by her side. She wasn't unhappy about this. She was resigned. She said, "I keep this will by my bed, memento mori, and I change it all the time just because I want to." And she was loving the prospect of death as much as she had loved life. I thought, this is somebody I've got to get in this series.

18:18She agreed. She came on. Of course she was wheelchaired on. Half of her body was stricken, the other half not. She was, of course, done up for the occasion, but this was a woman in great physical distress.And we had a conversation, and then I asked her this unthinkable question. I said, "Was it a problem for you in your life that you were not beautiful?"

18:48And the audience just -- you know, they're always on the side of the interviewee, and they felt that this was a kind of assault, but this was the question she had wanted somebody to ask her whole life. And she began to talk about her childhood, when she was beautiful, and she literally turned -- here she was, in this broken body -- and she turned to the audience and described herself as the fair demoiselle with her red hair and her light steps and so forth, and then she said, "And then puberty hit."

19:24And she began to talk about things that had happened to her body and her face, and how she could no longer count on her beauty, and her family then treated her like the ugly sister of the beautiful one for whom all the ballet lessons were given. And she had to go along just to be with her sister for company,and in that process, she made a number of decisions. First of all, was that dance, even though it hadn't been offered to her, was her life. And secondly, she had better be, although she did dance for a while, a choreographer because then her looks didn't matter. But she was thrilled to get that out as a real, real fact in her life.

20:07It was an amazing privilege to do this series. There were other moments like that, very few moments of silence. The key point was empathy because everybody in their lives is really waiting for people to ask them questions, so that they can be truthful about who they are and how they became what they are, and I commend that to you, even if you're not doing interviews. Just be that way with your friends and particularly the older members of your family.

20:43Thank you very much.