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The importance of film in geography lies in it’s representation of our own understanding of place in the world. Critical geographers can provide this analysis and make important contributions to film theory and criticism. (Aitken and Zonn, 1994). Critical geography is an engagement with social themes which promotes progressive social change. In its analysis and research, critical geography is in opposition to unequal and oppressive power relations, including class, race, sex, age, and politics, the majority of which are present in the movie The Departed by Martin Scorsese and can be examined thoroughly using a critical geography approach. Craine (2007) outlines the role of critical geography in media as a tool that takes the image as a secondary body of information. It acknowledges that the image does not represent “a preexistent and independent reality, but rather a means for the geographer to intervene in the production of the ‘real,’ which we can understand to be a rendering of spatial data”(p.148). It is possible to critically examine these aspects by looking at cinematography, music and dialogue of the film, all with the intent of representing meaning within the film and how it engages with meaning outside of cinema.
The Departed is a film set in modern day Boston Massachusetts U.S.A . It is primarily the story of two men: Billy Costigan and Colin Sullivan. Both men are from Boston and they enlist in the Boston Massachusetts State Police Depatment. Costigan becomes an undercover trooper to gather evidence on the Irish mafia crime syndicate run by Frank Costello where as Sullivan becomes a police detective working for Costello and leaks him information from the police department. These two characters engage in a crisis of identity and agency within the political structures in which they are entrenched.
The story begins with a monologue in which Costello sets the tone for the entire film:
“I don’t want to be a product of my environment. I want my environment to be a product of me. Years ago we had the church. That was only a way of saying - we had each other. The Knights of Columbus were real head-breakers; true guineas. They took over their piece of the city. Twenty years after an Irishman couldn’t get a fucking job, we had the presidency. May he rest in peace. That’s what the niggers don’t realize. If I got one thing against the black chappies, it’s this - no one gives it to you, you have to take it.”(Scorsese, 2007)

This statement above is all about power relationships. Costello wishes to see himself above institutions, a perception which is untrue given the social structures that attribute to his life and ultimate demise. There is also a strong tone of racism in this speech which becomes a reoccurring theme throughout the film. This dialogue is being said in connection with documentary footage of the Boston bussing riots to set the place for the action.

Place and Space
There is a great deal of importance on the sense of place in this film. The South Boston (Southie) setting is not used as a backdrop but as a character as Ford describes in Sunshine and Shadow (1994). Attention was taken to create for the viewer a sense of “real” representation of South Boston by use of regional accents and local slang. Our social engagement with the film is through the context of the Boston setting. Ideas about race, sex, class and power are illustrated from this particular viewpoint.

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Second part second version:

Cinematography
Cinematography includes the technical aspect of lighting and camera work; an important aspect to study as the viewer must see the film through the film lens and experiences events in a way outside of their control (with the exception of not watching the film). It is possible however to see beyond these technical aspects and look instead at the social implications of the way in which cinematography is put to use. Issues of power relationships show in the film, relating to sex, race and class. Symbols are another part of interpretation and the deliberate images shown of these can convey specific meanings.

Power of individuals and the “other”
Costello could be arguably the most powerful figure in The Departed, something that is conveyed cinematically from the very beginning. Hopkins (1994) argues that “power is…[a] social relationship whereby one person, group, or institution has the ability to influence…how other people, groups or institutions act”(p.58). Using the power of cinematography in film, our very fist view of Costello is that of a silhouette, masked in smoke and darkness. As the story begins, we are in a first-person view (the only time it is used in the film) of Costello. The audience is Costello, a position of power not allocated to other characters in the story.
Costello is also portrayed as being a womanizer and deep red lighting is used while he is in the opera house, accompanied on either side by two women to create an erotic feeling of sex and power. In traditional Hollywood film, woman have been subjected to the “male gaze” in which they are objectified and used as the “other”(Aitken and Zonn, 1994). In The Departed there are two ways this is done; one is through the eyes of our characters and the other is a voyeuristic stance the audience is forced to take. The most powerful and lead characters in the film are male, and as such we see much of the film through their eyes. It is made obvious for instance that Sullivan is a womanizer and as a result, we are subjected to viewing woman as he would see them. During the sex scene between Costigan and Madolyn (the occupational therapist and Sullivan’s love interest) I believe the camera movement is attributed much more to the underlying patriarchal society in which exists outside the film as well as within it. The idea that “sex sells” is predominately focused on the sex of women in film as opposed to that of men.
The “other” is also used by shooting the chase scene in an area that might be referred to as a china town. The use of otherness attempts to create an exotic and exciting feeling as well as making a clear distinction between this area and where the rest of the film takes place.

Structure, agency and the use of symbols
One of the main insinuations in The Departed is that of the police. During the police academy graduation the camera pans across the troopers, showing them in line, subordinate, a part of the system. We then get one shot of Sullivan with no one else in view, showing that he is an individual among all these uniformed troopers. To emphasis the structure of the police force a series of shots are taken that focus on the symbols of being a police officer. The police hat, the pins and uniform, the badge and the gun.
Signs and symbols are used to map the cinematic landscape. Humans understand the world through a set of signs (Hopkins, 1994) and The Departed uses these to convey a certain place. There are various times throughout the movie in which the American flag is used; a subtle but persistent message about the nation-state and place of the story. Use of the flag is seen during the police graduation, during Costigan’s conversation with his cousin Sean, on Sullivan’s hat when he meets Costello in the movie theater, as well as the flag used during Costigan’s funeral.
The use of the statehouse (Beacon Hill) is also used as a strong symbol throughout the film, one of law and order. Sullivan has a slight obsession with it as he is caught starring at it after the police/firefighter rugby match and also chooses his apartment based on the view it has of the golden dome. The statehouse again represents a political institution as well as being an identifiable marker in Boston. At the end of the film it is the last shot we see, an ironic symbol as it feels as though all law and order are lost.

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ok...next one new version


Music
Place and Race
The music score used in this film is based mostly on contemporary pieces. Music used in the film which we may experience in the “real” world allows the audience to better associate with the story and suspend their disbelief. However, with this assumption, the film itself is geared towards a certain audience. There is a discourse of power in the music industry (Hudson, 2006) which would have an effect on what songs were chosen for the film. The opening scene of the Boston bussing riots is overlaid with the song “Gimme Shelter” by the Rolling Stones. The song itself is from a similar time period and has a strong anti-violence message.
Husdon (2006) has identified strong links that music has to images of place but also to how music is related to identity and ethnicity. This would relate directly to the motivation for using the song “Shipping off to Boston” by the Dropkick Murphy’s as a main theme in The Departed. The band originates from Quincy, Massachusetts, which is relatively local to the setting of the film. “Shipping off to Boston” is considered Irish in theme which is the dominate background of most of the characters in the film. It isn’t however, the only song used to convey certain ethnicities. A rap song called “Thief’s Theme” by Nas is playing in the car when Costigan and his Cousin are making drug deals. One can argue either that it is a realistic form of music that these characters would be listening too, or that it is a form of stereotype to associate illegal activity with rap music. “Bang Bang” by Joe Cuba is a song with a Latino sound being played whilst an individual is being interrogated and which through the music, his appearance and accent we are lead to believe is of Hispanic decent. Both the songs by Nas and Joe Cuba are played in the background and are meant to give a certain feeling to the action without drawing attention to the music itself.

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treeplanter wrote: Meh, here’s the first section. I’ve been at it for so long I can’t even read it anymore...I don’t even know if it makes sense at this point 0_o

The Departed is a film set in modern day Boston Massachusetts U.S.A. which follows the lives of two men over several years and their intersections within the police department and the Irish mafia. A critical geography analysis of this film allows us to deconstruct the themes of representation in the context of critical social theory.
Critical geography is an engagement with social themes which promotes progressive social change. In its analysis and research, critical geography is in opposition to unequal and oppressive power relations, including class, race, sex, age, and politics, the majority of which are present in The Departed and can be examined thoroughly using a critical geography approach. Craine outlines the role of critical geography in media as a tool that takes the image as a secondary body of information. It acknowledges that the image does not represent “a preexistent and independent reality, but rather a means for the geographer to intervene in the production of the ‘real,’ which we can understand to be a rendering of spatial data”(p.148, 2007) It is possible to critically examine these aspects by looking at cinematography, music and dialogue of the film, all with the intent of representing meaning within the film and how it engages with meaning outside of cinema.
The Departed is primarily the story of two men: Billy Costigan and Colin Sullivan, both from Boston and enlist(ed?) in the Boston Massachusetts State police. Costigan becomes an undercover trooper to gather evidence on the Irish mafia crime syndicate run by Costello, where as Sullivan becomes a police detective working for Costello and leaks him information from the police department. These two characters engage in a crisis of identity and agency within the political structures in which they are entrenched.
The story begins with a monologue in which Costello sets the tone for the entire film:
“I don’t want to be a product of my environment. I want my environment to be a product of me. Years ago we had the church. That was only a way of saying - we had each other. The Knights of Columbus were real head-breakers; true guineas. They took over their piece of the city. Twenty years after an Irishman couldn’t get a fucking job, we had the presidency. May he rest in peace. That’s what the niggers don’t realize. If I got one thing against the black chappies, it’s this - no one gives it to you, you have to take it.”(2007)

This statement above is all about power relationships. Costello wishes to see himself above institutions, a perception which in untrue given the social structures that attribute to his life. There is also a strong tone of racism in this speech which becomes a reoccurring theme throughout the film. This dialogue is being said in connection with documentary footage of the Boston bussing riots to set the place for the action.

Place and Space
There is a great deal of importance on place in this film. The South Boston setting is not used as a backdrop but as a character as Ford describes in Sunshine and Shadow (1994). Attention was taken to create for the viewer a sense of “real” representation of South Boston by use of regional accents and local slang. Our social engagement with the film is through the context of the Boston setting. Ideas about race, sex, class and power are illustrated from this particular viewpoint.

My edits are in bold. No revisions needed.

Good paper. I would work on the introduction, however, as its pretty standard fare. I know its analytical, but really, cliches aren’t good. Its all too common to begin any informative work with "(subject) is a _____ set in _____ about ____."

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Last one before the conclusion newer version


Plot and Diologue
Gender and Sexuality
The dominate outlook of sexuality in this film is that of the straight, masculine, powerful male. The film does not try to hide under these pretenses and instead makes a point of being very bold about the characters own affiliation. Both discrimination against woman and homosexuals is portrayed as a norm for many of the characters and in that way is also making a statement about how Boston as an actual place has been interpreted.
Womanizing occurs throughout the film and Costello’s character is a frequent example of this. We see him in his younger year’s address a shop keeper about his daughter: “Carmen’s developing into a fine young lady. You should be proud. You get your period yet, Carmen?”(Scorsese, 2007). Throughout the film we see how he treats women, although despite his powerful position, it should be noted that Gwan, Costello’s girlfriend, is almost never seen upset, and only her and his number one man French seem genuinely unafraid of Costello. Referring to men as woman is also used as a derogatory remark on several occasions. Sgt. Dignam in one of these examples addresses one of Costigan’s questions thus:
“Whoa, let’s say you have no idea and leave it there. No idea. Zip, none. If you had an idea about what we do we would not be good at what we do. We would be cunts. Are you calling us cunts?” He later refers to the Special Investigation Unit has girls, a comment not meant in a positive light. Costigan is also made the brunt of a couple sexist jokes which he responds to with violence.
A particular social view on masculinity is demonstrated through a short speech given by the Department Captain George Ellerby. He tells Sullivan, “Outstanding. That’s good. Marriage is an important part of getting ahead. You don’t want anyone thinking you’re a homo. Married guy seems stable. People look at a wedding ring and think: someone can stand the son of a bitch. Ladies see the wedding ring and know immediately that you must have some cash and that your cock works” (Scorsese, 2007). Sullivan affirms that yes, his sex life is more then adequate, where as the audience knows that he is in fact having impotency problems and is uncomfortable and insecure with the issue. The reference to homosexual males in this comment is not the only one to appear in the film. After a game of rugby Sullivan says: “Fuck you! Fucking Queers. Fucking firemen are getting pussy for the first time in the history of fire or pussy. Hey! Go save a kitten in a fucking tree you fucking homos”(Scorsese, 2007).
The dialogue in this film reveals that if you are not a straight heterosexual male you are not given respect. This is perhaps an unsettlingly portrayal of life being represented and may be an instance in which the film as Aitken (1994) describes, attempts to give back to society an image of itself. It reinforces societal structures, in this case those being of sexual discrimination.

Race and Nationality
“The way spaces are used and places are portrayed in film reflects prevailing cultural norms, ethical mores, societal structures, and ideologies” (Aitken and Zonn, 1994, p5). This is no less true for the issue of race and nationality in The Departed. Unlike sexuality, race is treated slightly differently in terms of tone and meaning but is very much a product of the space and place in which the film in set. Race is a pervasive theme, not only as an underlying component of the film but as something that the characters themselves are aware of. With only a couple lines, specific attention is brought to racism in Boston as well within the police force. Billy brings our attention to this by telling his fellow police cadet Brown “Look at it this way, you’re a black guy in Boston. You don’t need any help from me to be completely fucked”(Scorsese, 2007). Sgt. Dignam also makes a similar accusation in describing motivation of some police officers as only wanting “to slam a nigger’s head through a plate glass window” (Scorsese, 2007).
The Departed uses racial comments numerous times and in reference to several different races and nationalities. An interesting interaction takes place between a Pakistani shop keeper and two Italian Mobsters. The two men continually call the shop keeper Babbo in which the owner finally replies: “My name is Singh mother fuckers. You keep on telling me you’re my friend you don’t even know my fucking name” (Scorsese, 2007). There is an acknowledgment of racism and disrespect in which the shop keeper (and the director) whishes to address.
An even more predominant theme of race and nationality in The Departed is that of Irish heritage. Our main characters are Irish, a subject which is addressed on several occasions. As a self-proclamation Sullivan states that he’s “fuckin’ Irish, so [he]’ll deal with something being wrong for the rest of [his] life.”(Scorsese, 2007) An outsider’s view on the Irish is also given when the two Italian mobsters from Providence comment that: “Business is bad? You opened up a store in an Irish neighborhood. These are dirty dirty people. Don’t you know that? Sell potatoes I don’t know what you’re going to do.”(Scorsese, 2007). Both comments are based on some sort of stereotype of Irish people. In general the characters in The Departed seem to give little thought to their comment based on ethnicity.

Class and Capitalism
The underlying economic system of capitalism has a great deal to do with the choices made by all the characters in the film. The film itself has also been made within this capitalist system and no doubt many if not all decisions concerning production were related to profit. Mister French gives an opinion during the film which may very well be shared by a good number of Americans: “Then make more money or go out of business. This is America. If you don’t make money you’re a fucking douchebag” (Scorsese, 2007). Money and power are the biggest two driving forces behind the mafia. The relationship for instance between Costello and young Colin Sullivan, begins when Costello offers an opportunity for Sullivan to make some money.
As we get to know Sullivan’s character we realize that he is materialist and sees his class as an important part of his life. The apartment he wishes to buy for instance, will make him “upper class by about next Tuesday” (Scorsese, 2007). Distain for the less wealthy is felt when in a poorer neighborhood in Boston doing some investigative work, Sullivan’s co-worker comments on the class of people living there and refers to them as a “different breed”.
A critical comment is lacking of how the structure of capitalism is affecting the lives of the characters which in my opinion also mirrors our own societies’ lack of understanding as to how the structure of capitalism is integrated so thoroughly in most if not all of our choices.

Structure and agency
When Billy’s job as a spy is over he distances himself from identifying himself as a cop and makes a distinction that being a police trooper is not an identity in and of itself. The idea of identity and how it is created is a constant theme in The Departed. The structure and agency debate is utilized directly in this film as it looks at how and where these two men made their decisions that led them down an ultimately tragic end. There is a mix of structural factors including where they grew up as boys and who were their influences. Most of the agency debate however takes place when Costigan and Sullivan are grown. Costigan’s situation is very difficult to escape as it would be extremely problematic for him to leave the mafia without police support and protection and his proper identity, which they hold. Sullivan too is in a situation that if he were to wish to leave he would have to face the circumstance that the mafia would most likely want him dead.
Costello on the other hand is an advocate for agency. Though he himself his a part systems that result in constraints on his own decision making process, he makes his view known about how he feels about structures in which he feels choice is limited:
Church wants you in your place. Kneel, stand, kneel, stand. If you go for that sort of thing...I don’t know what to do for you. A man makes his own way. No one gives it to you. You have to take it….You decide to be something, you can be it. That’s what they don’t tell you, the Church. When I was your age, they would say, we become cops or criminals. Today, what I’m saying to you is this: When you’re facing a loaded gun, what’s the difference?” (Scorsese, 2007).

The idea of power and who holds it is a much researched area in the field of geography. While our characters are most definitely in power struggles on the personal and institutional level there is some debate as to where that power is coming from. There is a difference between having power and actually being able to use it (Low, 2005). And Costello, as Low(2005) has pointed out, may derive much of his power from the perception there of. There is no doubt however that The Departed engages in a discourse on those unequal power relations and makes a comment about the sometimes tragic consequences of this.

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Hey that’s perfect, that sentence restructuring is just what I needed. And you’re right about the intro. My creative juices just haven’t been flowing today I’ll work on it.

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treeplanter wrote: Second part

Cinematography
Cinematography includes the technical aspect of lighting and camera work; an important aspect to study as the viewer sees the film through the film lens and experiences events in a way outside of their control (with the exception of not watching the film). It is possible, however, to see beyond these technical aspects and look instead at the social implications of the way in which cinematography is put to use. Issues of power relationships show in the film, relating to sex, race and class. Symbols are another part of interpretation and the deliberate images shown of these can convey specific meanings.

Power of individuals and the “other”
Costello could be arguably the most powerful figure in The Departed, something attempted to be conveyed in cinematic form from the very beginning. Hopkins argues that “power is…[a] social relationship whereby one person, group, or institution has the ability to influence…how other people, groups or institutions act”(p.58, 1994). Using the power of cinematography in film, our very fist view of Costello is that of a silhouette, masked in smoke and darkness. As the story begins, we are in a first-person view (the only time it is used in the film) of Costello. The audience is Costello, a position of power not allocated to other characters in the story.
Costello is also portrayed as being a womanizer and through deep red lighting used while he is in the opera house, accompanied on either side by two women, he creates an erotic feeling of sex and power. In traditional Hollywood film, women have been subjected to the “male gaze” in which they are objectified and used as the “other”(Aitken, 1994). In The Departed there are two ways this is done; one is through the eyes of our characters and the other is a voyeuristic stance the audience is forced to take. The most powerful and lead characters in the film are male, and as such we see much of the film through their eyes. It is made obvious, for instance. that Sullivan is a womanizer and as a result, we are subjected to viewing woman as he would see them. During the sex scene between Costigan and Madolyn I believe the camera movement is attributed much more to the underlying patriarchal society in which exists outside the film as well as within it. The idea that “sex sells” is predominately focused on the sexallure of women in film as opposed to that of men.
The “other” is also used by shooting the chase scene in an area that might be referred to as a “china town”. The use of “otherness”(These little figurative quotes are nice once or twice, but after so many times it begins to show that you just can’t think of a good word or don’t want to say a certain word.) attempts to create an exotic and exciting feeling as well as making a clear distinction between this area and where the rest of the film takes place.

Structure, agency and the use of symbols
One of the main insinuations in The Departed is that of the police. During the police academy graduation the camera pans across the troopers, showing them in line, subordinate, a part of the system. We then get one shot of Sullivan with no one else in view, showing that he is an individual among all these uniformed troopers. To emphasize the structure of the police force, a series of shots are taken that focus on the symbols of being a police trooper; the police hat, the pins and uniform, the badge and the gun.
Signs and symbols are used to map the cinematic landscape. Humans understand the world through a set of signs (Hokins, 1994) and The Departed uses these to convey a certain place. There are various times throughout the movie in which the American flag is used, a subtle but persistent message about the nation-state and place of the story. Use of the flag is seen during the police graduation, during Costigan’s conversation with his cousin Sean, on Sullivan’s hat when he meets Costello in the movie theater, and a flag is also used during Costigan’s funeral. (Find a way to reword that last part of the list. It doesn’t, at least to me, fit parallel structure. You are using the past participle seen at the beginning of the list, which coincides with the first three, but not with the last.)
The use of the statehouse (Beacon Hill) is also used as a strong symbol throughout the film. Sullivan has a slight obsession with it as he is caught starring at it after the police/fighter rugby match and also chooses his apartment based on the view it has of the golden dome. The statehouse again represents a political institution as well as being an identifiable marker in Boston. At the end of the film it is the last shot we see.

A few more edits in this one.

Still good though.

Once again, you don’t have to use these suggestions: You could use your own instead or leave it the same.

But I think those little "___" things should be held back a bit. Try and use a thesaurus, if you need to.

Can the rest wait a day or so to be edited? I have to go, I’m sorry to say.

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Aw, that’s awesome Rage.
Not going to lie, I never thought I’d actually get to use the “school” section in some sort of constructive manner.

I’m going to do my best to get this done and e-mail it to my prof tonight.

(oh, the use of “other” is used like that for a specific reason, it actually refers to a growing body of work done on the “other” but not the other. It’s stupid, ...maybe I’ll look into whether the other authors always use quotations.....)


But congrats...you can now say you edited a third-year university paper (not necessarily a good albeit)

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the no-good conclusion new version

The Departed can be both critically examined as a film as well as a film that engages in a critical examination. Aitken (1994) says that film is able to give back to society an image of itself. It reinforces societal structures that help us make sense of our surroundings. If this is the case, then what does The Departed say about our societal structures? A dissertation of the film could reveal any number of various power plays that are meant to representative of society but does this create an avenue for social change or does it simply sustain our preexisting structures.
Hopkins (1994) argues then, that perhaps a more fundamental question in a critical analysis is what might be the impacts of values, social structures and geography that are portrayed in film have on the real world. The film ends with the death of Costello, Costigan and Sullivan among others. For most viewers, this ending has a very unsettling feeling. None of the characters are able to escape the power relationships they are in and no one becomes more tolerant about racial or sexual orientation. This film does not have what we consider a happy ending, if film is “…an ideologically charged cultural creation whereby meanings of place and society are made, legitimized, contested, and obscured” (Hopkins, 1994, p47), then surly The Departed is a dark representation but one that perhaps can be used to more critically view our discourses of power and prejudices.

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A diction note:

You use the word “dominate," which is a verb. The contexts call for “dominant," an adjective.

And you consider that conclusion bad?

I think its fine.

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RageOverdose wrote: A diction note:

You use the word “dominate," which is a verb. The contexts call for “dominant," an adjective.

Where is this?


Oh and the conclusion is bad because I don’t conclude any of my thoughts till the last sentence. It’s need to more lines...just have to figure out what to say...

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treeplanter wrote:
Music
Place and Race
The music score used in this film is based mostly on contemporary pieces. Music used in the film which we may experience in the “real” world allows the audience to better associate with the story and suspend their disbelief. However, with this assumption, the film itself is geared towards a certain audience. There is a discourse of power in the music industry (Hudson, 2006) which would have an effect on what songs were chosen for the film. The opening scene of the Boston bussing riots is overlaid with the song “Gimme Shelter” by the Rolling Stones. The song itself is from a similar time period and has a strong anti-violence message.
Husdon (2006) has identified strong links that music has to images of place but also to how music is related to identity and ethnicity. This would relate directly to the motivation for using the song “Shipping off to Boston” by the Dropkick Murphy’s as a main theme in The Departed. The band originates from Quincy, Massachusetts, which is relatively local to the setting of the film. “Shipping off to Boston” is considered Irish in theme which is the dominate background of most of the characters in the film. It isn’t however, the only song used to convey certain ethnicities. A rap song called “Thief’s Theme” by Nas is playing in the car when Costigan and his Cousin are making drug deals. One can argue either that it is a realistic form of music that these characters would be listening too, or that it is a form of stereotype to associate illegal activity with rap music. “Bang Bang” by Joe Cuba is a song with a Latino sound being played whilst an individual is being interrogated and which through the music, his appearance and accent we are lead to believe is of Hispanic decent. Both the songs by Nas and Joe Cuba are played in the background and are meant to give a certain feeling to the action without drawing attention to the music itself.

...

Plot and Diologue
Gender and Sexuality
The dominate outlook of sexuality in this film is that of the straight, masculine, powerful male. The film does not try to hide under these pretenses and instead makes a point of being very bold about the characters own affiliation. Both discrimination against woman and homosexuals is portrayed as a norm for many of the characters and in that way is also making a statement about how Boston as an actual place has been interpreted.

They are being used as adjectives, when they are verbs.

I’ll continue after dinner. Man, you are a far better analyst than I could ever be.

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RageOverdose wrote:

They are being used as adjectives, when they are verbs.

I’ll continue after dinner. Man, you are a far better analyst than I could ever be.

Oh (so how should I say it?)(doesn’t get it)


I may be able to analyze things but I’ve always been a horrible speller(spellcheck has saved my life) and grammar is not my forte. In fact, if I could give a speech instead of a paper I would.

Enjoy supper

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treeplanter wrote:

RageOverdose wrote:

They are being used as adjectives, when they are verbs.

I’ll continue after dinner. Man, you are a far better analyst than I could ever be.

Oh (so how should I say it?)(doesn’t get it)


I may be able to analyze things but I’ve always been a horrible speller(spellcheck has saved my life) and grammar is not my forte. In fact, if I could give a speech instead of a paper I would.

Enjoy supper

You are using the right word stem...

You should be using the word dominant, not dominate.

And thanks. Mac 'n cheese is a good, old school meal.

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