LSD Essays (1755 words) - Lysergic Acid Diethylamide, Mind Control

LSD Despite the negative portrayal in mainstream 1960s media, justifications expressed by counterculture activists for further investigation, education and experimentation under government control of LSD were rational and valid arguments. Sex, drugs, protests, war, political upheaval, cultural chaos, and social rebellion; the many comforts TV dinner eating, republican voting, church going, suburbia conformists tried to escape through conservative ideals, town meetings, and The Andy Williams Family Hour. National consciousness in 1960s United States was alive, but existed differently in every mind it dwelled, and stirred uninterrupted in every life to which it was introduced. A dream of money, success, and a house with a white picket fence still existed within the pandemonium of the nation and many still relished in the idea of "Americanism." Television was a base for a magnitude of world news and national information. Television situation comedies created ideal families and contenting distractions from unsettling national realities. Mainstream media, both fact and fiction, influenced the nation's minds resulting in the effect of political change and further media influence over the government. The new decade, along with the effects of the Vietnam War and the strong influence of television, began to leak from the cracks of the nation a new counterculture of rebellious teenagers, unfamiliar narcotics, and a wave of promiscuity. Among the many issues and events molding our nation into a new decade, came the question of government and mind control. For some it was the next step into human evolution, a potential tool for mind control, a liberator of human kind, but for most LSD helped define 1960s counterculture, in which it was deeply rooted. LSD has proved that the mind contains much higher powers and energies, beyond the average10% of the brain that a typical human uses. These powers and energies, under the right circumstances, can be taken advantage of to benefit human kind spiritually, creatively, therapeutically, and intellectually. LSD has given human kind the option to chemically trigger mental energies and powers. Arguments that LSD is potentially a dangerous discovery and mind control should be strictly prohibited by the government holds much validity, although there are benefits and arguments of personal freedom of neurology to consider. Whether LSD reflects negativity as a weapon and mind control drug, or radiates euphoria as a mind-expanding chemical and sacrament, the choice to engage in such an experience should be through personal reasoning. It is not the states and other bureaucracies' duties to take control of the human brain and body. We no longer live in an age of industrial muscularity, and in this time of neurological intelligence, we should have the individual choice and freedom to further engage in the depths of our consciousness, if we are so graced with an option to do so. "No one can limit, restrict, or try to control how you access, activate, manipulate your own brain through the use of drugs." Temperance, moderation, and education should be applied to the use of mind control, but not restricting personal freedoms of neurology. Dr. Timothy Leary agrees: It's ludicrous and ominous to think that the government will try to limit, restrain, control where you're going to put your head, and how you're going to manage and direct your own neurology. That's the basis of your own freedom. Now, as far as behavior is concerned, if what you do in your head leads you to violate any behavioral law, a traffic law, or impose on the rights of the people?then you should be busted. But in the privacy of your own home, your own body, and your own brain, that's your business. Likewise, other individual freedoms justifying further investigation, education, and experimentation of LSD under moderate government control are questioned. The freedoms of spirituality and creativity are, similar to neurological freedom, issues in result of the use of psychedelic drugs. Spiritually, psychedelic drugs, are sacraments: divine substances no matter who uses them, in whatever sprit, with whatever intention. LSD, along with other drugs generates spiritual discovery and perception. Creatively, LSD has extreme potential; it is "a tool to explore the creative attributes of the mind." Dr. Oscar Janigar states, continuing that this tool could equal to "four years of art education." The further appreciation of the power of human thought, and the exploration of the boundaries of the human mind, LSD provokes, is extremely beneficial in freeing ones mind and taking full advantage of the powers in which the mind possesses. Within these powers LSD evokes is the capacity to resolve, therapeutically, personal emotional conflict. Although LSD, as previously proven, has its benefits it has yet to rise

Free Essays on Character

The Character’s Struggle†¦ Tolstoy’s â€Å"Death of Ivan Illich† and Jack London’s â€Å"To Build a Fire† are two fictional stories that describe man’s behavior when faced with the final act of life; the death. On the surface, the main characters in those two stories are quite different, as their death approaches however, they become more and more alike. Tolstoy’s Ivan Illich is an educated man who lives his live obeiding by all the written and unwritten rules. He likes the status quo and his happiness comes from conforming to what is publicly thought of as the right way to live. He acts as a decent person because it makes him happy when others say he is a decent man. Even his decision to marry was based on following the rules rather then the love for one another. According to Tolstoy, â€Å"Ivan Illich’s life had been most simple and most ordinary and therefore most terrible. He had been a member of the Court of Justice and died at the age of forty-five.† The Yukon man, in London’s â€Å"To Build a Fire† is a simple individual who finds himself in an unfamiliar territory. He is walking back to the camp after a trek in to the wilderness to examine the poss ibilities for logging. Unfamiliar with the area, the man is accompanied by a dog. By verbalizing the dog’s instincts, Jack London demonstrates the man’s lack of experience in Yukon. Instincts that tell the dog it is too cold to travel and learned behavior that make the dog wander why is his master not building a fire when is this cold. The Yukon man was warned about such escapades but he chose to ignore it. At last, all that could go wrong went wrong, and though he carefully avoided stepping in one of the hot springs hidden under the thin layer of snow and ice he stepped in one and got wet. Unlike Ivan Illich, the Yukon man goes from a self-confidant man with little regard for cold, to someone accepting his death in the matter of hours. Ivan Illich, on th... Free Essays on Character Free Essays on Character The Character’s Struggle†¦ Tolstoy’s â€Å"Death of Ivan Illich† and Jack London’s â€Å"To Build a Fire† are two fictional stories that describe man’s behavior when faced with the final act of life; the death. On the surface, the main characters in those two stories are quite different, as their death approaches however, they become more and more alike. Tolstoy’s Ivan Illich is an educated man who lives his live obeiding by all the written and unwritten rules. He likes the status quo and his happiness comes from conforming to what is publicly thought of as the right way to live. He acts as a decent person because it makes him happy when others say he is a decent man. Even his decision to marry was based on following the rules rather then the love for one another. According to Tolstoy, â€Å"Ivan Illich’s life had been most simple and most ordinary and therefore most terrible. He had been a member of the Court of Justice and died at the age of forty-five.† The Yukon man, in London’s â€Å"To Build a Fire† is a simple individual who finds himself in an unfamiliar territory. He is walking back to the camp after a trek in to the wilderness to examine the poss ibilities for logging. Unfamiliar with the area, the man is accompanied by a dog. By verbalizing the dog’s instincts, Jack London demonstrates the man’s lack of experience in Yukon. Instincts that tell the dog it is too cold to travel and learned behavior that make the dog wander why is his master not building a fire when is this cold. The Yukon man was warned about such escapades but he chose to ignore it. At last, all that could go wrong went wrong, and though he carefully avoided stepping in one of the hot springs hidden under the thin layer of snow and ice he stepped in one and got wet. Unlike Ivan Illich, the Yukon man goes from a self-confidant man with little regard for cold, to someone accepting his death in the matter of hours. Ivan Illich, on th...

Create and Interpret a table that compare the prevalence of Diabetes Essay

Create and Interpret a table that compare the prevalence of Diabetes in the US(age 18+ age adjusted Males and Females) Mountain and pacific regions from 2000-2012 - Essay Example The trend indicates that there is prevalent decrease in diabetes over the years from 2002 to 2012. The overall rudimentary prevalence was similar for males (Attaining 24.9 percent in 2012) and females (Attaining 17.6 percent in 2012) (National Institute of Diabetes, Digestive, and Kidney Diseases 65). Trends across the different regions in America show similarity in rudimentary prevalence for males and females in the two regions under study. The pacific region shows even a lower level of diabetes prevalence throughout the years and across the sexes. Generally, the rates decreased from 36.9 percent between 2002 and 2004, to 27.1 percent by the close of 2012. A notable aspect between the mountain region and the pacific region is that fewer males get diabetic in the pacific region as compared to the mountain region. However, the pacific region still indicates a decrease in the trend across the years for the two sexes. Murphy, Sherry., Xu, Jiaquan and Kochanek, Kenneth. Division of Vital Statistics CDC/NCHS, Deaths: Final data for 2010. National vital statistics reports; vol 61 no 4. Hyattsville, MD: NCHS; 2012. Accessed September 18, 2014 http://www.cdc.gov/nchs/data/nvsr/nvsr61/nvsr61_04.pdf National Institute of Diabetes, Digestive, and Kidney Diseases. National Diabetes Statistics Fact Sheet, 2005. Bethesda, MD, U.S: Department of Health and Human Services, National Institutes of Health,

Marketing of Petro-Chemicals in a Global Economy Term Paper

Marketing of Petro-Chemicals in a Global Economy - Term Paper Example Food and water supply, transport, and mobility services require energy input. Fossil fuels are predominant in our current energy system, providing low-cost and reliable energy services. Renewable resources are used as well, especially hydropower and wind power, but also biomass resources in developing countries.† Consequently, the U.S. Department of Energy stated that a major percentage of its oil use is benefitted by the industrialized world. The petrochemical product needs are expected to occur in the transportation sector. The transportation sector has few economically competitive alternatives to oil as a source of major energy. In the developing world, the demand for petrochemical products, especially crude oil demand, forecasted to rise to unprecedented levels by all energy using sectors. The increasing need is apparent as emerging economies are rerouted from noncommercial fuels, which includes wood for home cooking and home heating, to diesel generators. In addition, Edin ger (43) reiterated several academic researches indicate the global energy demand is forecasted to heighten significantly during the next decades to come. The United States Department of Energy wrote a reliable report that the International Energy Outlook 2001 where the projected worldwide energy use will reach as much as overshooting the 600 quadrillion Btu in 2020. The reliable forecast was revised to a lower figure from its original 1998 energy projection because of the economic crises in Asia which began in 1997 as well as the declining Russian economy. The unavoidable devaluation of the Russian money, ruble, and the collapse of the Russian finance sector precipitated to the declining Russian economy. There were new petrochemical producing nations that had been set up to the local communities’ need for energy. The countries produce petrochemical products to fill the continuing and increasing energy demands of factories, homes, and other customers. Thailand is one of the c ountries producing petrochemical products prioritizing filling the local petrochemical needs. Malaysia is another new country generating petrochemical products to supply the local petrochemical needs. Indonesia is a third nation producing petrochemical goods to supply the domestic petrochemical market. A fourth country, China, discovered petrochemical products to fill the oil-related needs of its homes, and local industries. With the new country competitors in the global petrochemical market, the prior competitors, United Sates, Europe, and Japan, realized a significant decline in the demand for petrochemical products in the global market place. Consequently, the three original petrochemical product producers had to contend with a lower 37 percent demand for their combined petrochemical products Edinger (43). Petrochemical products come from fossil fuels. Crude oil is a fossil fuel. Natural gas liquids are another group of fossil fuels. Coal is a very popular fossil fuel. Natural ga s is another very salable fossil fuel. These fossil fuel products are used as a major source of energy, especially electricity needs of the homes, offices, and other places. There is an increasing demand for petrochemical products. As the population grows, the demand for the petrochemical products grows. During the 2010 accounting year, there need for petrochemical products an estimated 430 quadrillion British Thermal Gas units

Reviving the Milking Devon Essay Example | Topics and Well Written Essays - 750 words

Reviving the Milking Devon - Essay Example The embryo is a potential organism in that it has the ability of developing into the biological structures and functions needed to generate consciousness and mental life characteristic of that organism (Flynn & Dawkins 635). The frozen embryo must first be thawed. The embryos are removed from their storage canisters and are exposed to room temperature. Cryoprotectant is removed and is replaced with water, but the process should be done carefully to prevent it from bursting. The embryos are the brought to room temperature and transferred, or they may be cultured to multiply before they are transferred. Survival of embryos to the thawing process depends on their quality before freezing, effectiveness of freezing and thawing procedures. After thawing, embryos are evaluated for viability. Some may not be viable due to lack of surviving cells while others may be partial survivors with some cell injury. The damage may not prevent the embryos from resulting into live birth because it was al ready proved that even damaged embryos in the process of freezing and thawing are capable of causing pregnancy (Wassarman & Soriano 38). The best embryos are those that, after freezing and thawing, they survive a hundred percent with all parts of their cells intact, but very few embryos tend to fall in this category. Embryos are checked for the presence of abnormal chromosomes, or problems with genetic coding, which may cause, genetic diseases or miscarriage, and gender of the inborn by carrying out preimplantation Genetic Diagnosis (Shermer 365). This involves surgically removing one or two blastomeres from a six or eight cell embryo usually on the third day after thawing. Note that removing a cell at this time does not harm the embryo. The embryos are incubated for a day after thawing until they reach the cleaved stage, and then they are transferred into the uterus of another cow. Since all dairy cattle are dead, any cow including the beef cattle may be used. This process should b e done on the second day after ovulation of the surrogate cow. The cow becomes pregnant and delivers Milking Devon calf. Consequently, Milking Devon can also be revived through somatic cell nuclear transfer technology. The DNA is extracted from nucleus of frozen embryo. The DNA is then reassembled using the genome of any cattle available. Extract the eggs from the ovary of any cow; remove its genetic material from their nuclei and replace them with the genetic material from the extinct Milking Devon. Fuse the nuclei with eggs of the surrogate cow and initiate cell division by treating them with chemicals or shocking them with electric current (Flynn & Dawkins 635). When the embryos have grown to two hundred cells in size, transfer them into the uterus of the surrogate cow. The surrogate cow will become pregnant and deliver the extinct Milking Devon. The frozen Milking Devon sperm can also be used to produce a cross a breed with characteristics similar to those of the original Milkin g Devon (Perry 347). Obtain the mature unfertilized eggs from the surrogate cow and store them in BSS at room temperature. Remove the BSS from the unfertilized egg and mix them with the thawed sperms. Then incubate the mixture of sperms and eggs in appropriate temperature for around fifteen minutes. Sort out the fertilized and unfertilized eggs; unfertilized eggs are incubated with sperms again to ensure that many of them are fertilized.

Music Essays English Music Hall

Music Essays English Music Hall A Short History of the English Music Hall. The term ‘Music Hall’ is used to refer to a venue, or to a form of entertainment taking place at that venue, typically featuring a number of miscellaneous acts, possibly including musical turns, comedy and acrobatics, in a relatively formalised programme. It is also often termed ‘variety’. This essay considers the early roots of Music Hall, its growth in the late 19th century, and its subsequent loss of popularity in the face of competition from other media in the 20th century. Taken into account are the socio-economic environment and also the development of musical styles within the Music Hall context. It will be shown that the influence of Music Hall is still widespread in popular culture today. Background Music Hall developed from a range of entertainments, some of which had been part of English culture for centuries. Broadsides first appeared in the 1500s (Gammond 1991: 82): they were an early equivalent of the newspaper. News stories and satire were printed in verse form with the instructions ‘To the tune of†¦Ã¢â‚¬â„¢, with the intention that the text should be sung to a well-known musical theme, typically a folk-ballad. The music itself was rarely printed, and so broadsides relied on the tradition of passing tunes on orally. In later broadsides, tunes were often popular songs from plays, with the intention of promoting shows in return for sponsorship – an early form of advertising revenue. The ballad was engrained in culture, but the demand and resources of the populus were not yet sufficient to support the growth of a performance industry. Also influential were the many fairs which were trading and entertainment events. In his diary, Samuel Pepys mentions attending Bartholomew Fair in 1661 and â€Å"seeing the monkeys dance† (Pepys 1661), and a number of Music Halls in the late 19th century featured animal acts (Gillies 1999: 31). One-man shows, such as those offered by Charles Dibdin (1745-1814), show elements of entertainment that were later developed in Music Halls. Dibdin can be seen as a key link between earlier folk-art traditions and the increasingly commercialised musical world of the 19th century (Gammond 1991: 153-5). He was a prolific song-writer, who had considerable success with light operas and by selling rights to his songs. These were the early days of copyright law, which developed in the late 19th century firstly to grant exclusivity of performance rights to singers and subsequently to effect a royalties system for composers. Two types of venue preceded Music Halls and had a particular influence on them: taverns and song-and-supper rooms. In taverns, a working-class clientele participated in singing along with their drinking. In song-and-supper rooms, the middle-class man-about-town (no women were admitted) could enjoy a meal while singers entertained. Song-and-supper rooms typically opened around midnight, and entertainment could be bawdy. Some of the early stars of Music Hall began their careers in taverns and song-and-supper rooms. Sam Cowell (1820-1864) is an example, and can be considered one of the first professional singer-songwriters. By 1850, he was earning a good living from the song-and-supper rooms, but had begun his career as an actor and had also performed in opera. In ‘Villikins and his Dinah’, regularly performed by Cowell, we see characteristics that were to become widespread in Music Hall songs, in particular the use of ‘commentary’ between sections of the song to increase its drama. Thus prior to verse 8, where the ghosts of Villikins and Dinah appear to Dinah’s father, the performer sets the scene: â€Å"Now this is the superlatively supernatural wisitation [sic] which appeared to the parient [sic] at midnight after the disease of his only progeny.† (Davison 1971: 23) The affectations in the language and pronunciation suggest the creation of the narrator as a character in his own right, and characterisation is another important element of the Music Hall song, as will be seen shortly. The growth of Music Hall was dependent on an audience able to pay for it, and with an interest in what it had to offer. The growth of a potential market is evident by the mid-19th century, when a number of Music Halls were opened (Sadie 1980: XII/832). In the mid-1840s, Evans’, a former song-and-supper room was reopened as a Music Hall. In 1849, Charles Morton, a pioneer of Music Hall, took over the Canterbury Arms in Lambeth and developed it as a venue. He enlarged it in 1856, and in 1861 opened the Oxford Music Hall in Oxford Street (Sadie 1980: XII/832). This idea of having a chain of venues gained ground in the latter part of the century. Early Developments 1850-1870 The 1850s and 60s can be considered as a first phase of Music Hall. Programmes were varied, with classical and popular music appearing on the same bill. Extracts from Gounod’s opera Faust (1859) performed in Music Halls provided the first hearings of the work for English audiences. A number of early Music Hall songs use old musical themes with new texts: for example, ‘Sam Hall’ can be traced back to a ballad about Captain Kidd. Harry Clifton’s ‘Polly Perkins of Paddington Green’ (1863) uses what appears to be a folk-tune (possibly ‘Nightingales Sing’), but its lyrics possess a humour not seen in folk music: Polly doesn’t marry a ‘Wicount’ or a ‘Nearl’, but in the punchline of the song, weds a â€Å"bow-legged Conductor of a twopenny bus† (Gammond 1991: 411). The same tune is used for another well-known Music Hall song, ‘Cushie Butterfield’, which was particularly popular in the Newcastle area. Tyneside had its own strong Music Hall tradition, giving rise to songs such as ‘The Blaydon Races’ and ‘Keep Your Feet Still Geordie Hinney’ and all three songs display a similar humour to ‘Polly Perkins’. The lyrics draw on local diale ct – Cushie is â€Å"a young lass in Gyetsid [Gateshead]† who â€Å"likes hor beor [her beer]† (Davison 1971: 31). With ‘Champagne Charlie’ (1868), the development of the character song is evident. Performed and co-written by George Leybourne, the Champagne Charlie character is described as a ‘swell’: a well-to-do man-about-town with a taste for Moà «t. Unlike ‘Villikins’, the text is in the first person, Leybourne becoming the Champagne Charlie character in performance. The song is perhaps the first advertising jingle, and was used to promote Moà «t, with Leybourne rumoured to partial to the drink (he died prematurely of alcoholism). His salary at this time was around  £30 a week – certainly adequate to indulge in the Champagne Charlie lifestyle. However, the character was an act: Leybourne was not a ‘toff’, but a former mechanic who remained illiterate and spoke with a strong Black Country accent (Gammond 1991: 334) Concern was growing over the activities in Music Halls. Articles in The Tomahawk focus on the quality of the entertainment: it had been suggested that the Music Hall would â€Å"exercise a beneficial influence over the progress of music amongst the lower classes† but â€Å"Music Hall†¦is mischievous to the art which it pretends to uphold† (Anon 1867).   At the time, improvement of the working classes through access to the arts was promoted among some thinkers. Two years later, Music Halls are criticised for being dens of vice: â€Å"I am positively assured†¦that on certain recognised nights loose women are admitted to these places without payment.† (Greenwood 1869). The often poor reputation of the Music Halls contributed to later attempts by the authorities to regulate their activities. Heyday 1870-1900 The development of Music Halls should be seen in context of wider developments in the social and economic environment of Victorian England. Following the Industrial Revolution, workers migrated from rural communities to cities, and this pattern accelerated in the 1870s. By the mid-1880s, around half the population of London had been born elsewhere (Harris 1994: 42-3). Simultaneously, leisure time increased. In the late 1860s, a half-day holiday was introduced on a Saturday, and in the 1870s, the 9-hour working day was introduced (Harris 1994: 139). Leisure time became a larger part of life for the working classes, and Music Hall was one activity that benefited from this. Drinking had always formed an element of the Music Hall entertainment, but the ruling classes had sought to control this. In 1878, London County Council restricted the consumption of liquor to the back of the halls (Sadie 1980: XII/833), also demanding that a proscenium arch and fire curtain be installed at all venues (there had been a number of fires at Music Halls). A number of smaller operators were forced to shut down, while the larger operators built up chains of venues, with Music Halls growing in size and number. In June 1888, a House of Lords debate quoted a figure of 473 Music Halls in London alone (Gillies 1999: 23). Larger halls meant that some of the intimacy of earlier venues was lost. Instead of a Chairman introducing acts and enjoying banter with the audience, venues identified performers by use of an indicator board, with each act having a number. In this environment of larger audiences, the most successful performers were able to command substantial fees, and some became internationally famous. Up to this point, Music Hall stars had been almost exclusively male, but from around 1880, women appeared regularly at Music Halls and were among the most successful Music Hall stars. Marie Lloyd is probably the best known: by 1891, she was appearing at several venues each night and earning  £100 a week. At this time, a 2-up, 2-down house in Oldham cost  £150-180 (Harris 1994: 113). In 1911, twenty years later,   only just over 2% of the population earned over  £160 in a year (Harris 1994: 107). In comparative terms, therefore, Lloyd’s earnings were on a par with a Premiership footballer today. In her early career, she infamously fell foul of performing rights by adopting ‘The Boy I Love Is Up In The Gallery’ as a key song in her repertoire, and she is still strongly associated with it. However, Nelly Power, another singer of the day, had exclusive performance rights for the song, and Lloyd was forced to stop singing it (Gillies 1999: 18 et al). At this time, exclusive association with a particular song enabled a performer to generate bookings, as nobody else was allowed to perform it. Songwriters sold a song with performing rights to a singer, and were thereafter not entitled to any further income. They relied on writing more songs on the same basis, but campaigned for further payments and the royalties system of today developed.   Pantomime was also an outlet for Music Hall stars, who would appear singing the songs for which they were most famous. This had a profound influence on the development of pantomime, with traditional characters such as Harlequin and Columbine dropped in favour of interpretations of fairy tales built around the Music Hall personalities and their repertoires. The music publishing industry had grown alongside the development of Music Halls. By the 1830s, songs such as ‘He was such a nice young man’ and ‘All round my hat’ (a folk tune) were produced for sale at Pleasure Gardens or song-and-supper rooms. The music catalogues of publishers typically included a range of material including songs, operatic arias, hymns and dances. Charles Sheard was publishing Music Hall material from around 1852 as part of its Musical Bouquet series (Gammond 1991: 410). From 1850-1900, the price of a piano dropped and some manufacturers introduced monthly payment schemes, making the instrument more accessible (Gillies 1991: 66). This helped the Music Hall songs become firmly engrained in the popular musical culture of the time. Songs had an air of respectability about them until around 1860, after which many started to display more vulgarity. This was still subtle by modern standards: Dan Leno’s trademark song ‘The Swimming Master’ (by Herbert Darnley) makes much of the need for bodily contact with the ladies being taught to swim – if they feel they’re sinking, then â€Å"To my manly chest they cling† (Davison 1971:69) – but goes no further than suggestion. Some venues decreased the classical element of their music programmes. Dickens (1879) comments that â€Å"the operatic selections which were at one time the distinguishing feature of the Oxford have of late years been discontinued†, and evidence from Music Hall programmes from this time onwards shows a focus on popular idioms. However, other Music Halls continued to offer what might be considered as more ‘highbrow’ entertainment. The Alhambra in Leicester Square specialised in ballet, and Evans’ in Covent Garden offered â€Å"songs, glees, and part songs, executed by a well-trained choir† (Anon 1867). The ballets at the Alhambra continued to at least the turn of the century and it also staged a number of operettas. Decline 1900-1920 In its early days, Music Hall had been seen as a largely lower-class entertainment. In the early 1900s, it gained respectability, with knighthoods for some of its key personalities and the first Royal Command Performance, featuring Music Hall acts, taking place in 1912 (Sadie 1980: XII/833). A number of developments led to the decline of Music Halls. In 1914, eating and drinking in the auditorium was banned (Gammond 1991: 409 et al) and Music Halls in effect became theatres. Many continued to offer seasons of variety performances, and there was still great interest in the entertainment, but it was now required to compete with new media: first the cinema, then radio. New music styles such as jazz were also gaining in popularity. Its influence is evident in some later Music Hall songs: ‘Lily of Laguna’ (1898) uses syncopation and describes an idealised world of African Americans living in the Southern States of the US. Its use of language such as ‘nigger’ and ‘coon’ would be considered offensive today, but reflects the very different attitude to race at the time (Davison 1971: 95). The song was written by the English songwriter Leslie Stuart for Eugene Stratton, an American performer who appeared regularly ‘blacked up’ : this practice was widespread within the Music Hall, and continued for many years with The Black and White Minstrels a popular TV show as late as the 1970s. By the 1940s, Music Hall had largely disappeared. Gramophones provided musical entertainment in the home. The stars of variety diversified: Gracie Fields developed firstly a film career then focused on radio broadcasts in addition to appearances in variety (Gammond 1991: 189), and George Formby appeared in a number of films as well as continuing the work of his father (also George Formby, a popular variety singer at the turn of the century) in Royal Command performances and other revues (Gammond 1991: 203). The Legacy of the Music Hall The influence of the Music Hall is still very much evident in British culture. It played a major part in the development of stand-up comedy, and the Comedy Club, which has seen a revival in recent years with chains such as Jongleurs, owes an obvious debt to the Music Hall tradition. The variety show featured regularly on TV well into the 1970s on shows such as ‘The Good Old Days’, and the annual Royal Command Performance, with a range of acts, is still televised. Pantomimes too feature many characteristics of those in the late 19th century, with TV personalities taking the roles that Music Hall celebrities enjoyed a hundred years ago. The musical styles seen in Music Hall continue to influence artists. ‘Obladi, Oblada’ (Lennon and McCartney, recorded by the Beatles 1968) features a fourline verse with sequence-based melodies and a simple refrain, with a line repeated, reminiscent of the choruses inviting audience participation in Music Hall. More recently, Blur’s ‘Parklife’ (1994) uses the concept of performer taking on a personality, with club- and concert-goers joining in with the ‘Parklife’ motif at the end of each line, much like a Music Hall audience would have joined in with choruses. Music Hall should therefore be seen not just as a cultural phenomenon in its own right, but as a development in a long history of popular song and entertainment. Bibliography Clarke, Donald (Ed) (1989) Penguin Encyclopaedia of Popular Music (Viking, London) Davison, Peter (1971) Songs of the British Music Hall (Oak Publications, New York) Dickens, Charles Jnr (1879) Dickens Dictionary of London ‘Music Halls’, reproduced on www.arthurlloyd.co.uk Frith, Simon and Marshall, Lee (2004) Music and Copyright (2nd Edition, Edinburgh University Press, Edinburgh) Frow, Gerald (1985) Oh Yes It Is! A History of Pantomime (BBC, London) Gillies, Midge (1999) Marie Lloyd: The One and Only (Gollancz, London) Gammond, Peter (1991) The Oxford Companion to Popular Music (Oxford University Press, Oxford) Harding, James (1990) George Robey and the Music Hall (Hodder and Stoughton, London) Harris, Jose (1994) Private Lives, Public Spirit: Britain 1870-1914 (Penguin, London) Kilgariff, Michael (Compiler) (1998) Sing us One of the Old Songs: A Guide to Popular Song 1860-1920 (Oxford University Press, Oxford) Middleton, Richard (1990) Studying Popular M usic (Open University, Milton Keynes) Price, Richard (1999) British Society, 1680-1880 (Cambridge University Press, Cambridge) Sadie, Stanley (1980) New Grove Dictionary of Music and Musicians Vol. 12 pp831-834 (McMillan, London) Thompson, F M L (1988) The Rise of Respectable Society: A Social History of Traubner, Richard (1984) Operetta: A Theatrical History (Gollancz, London) Victorian Britain 1830-1900 (Fontana, London) Waites, Bernard, Bennett, Tony and Martin, Graham (Eds.) (1982) Popular Culture: Past and Present (Croom Helm, London, in Association with the Open University) Weightman, Gavin (2003) What the Industrial Revolution Did for Us (BBC, London) Websites www.arthurlloyd.co.uk Anon (1867) Extracts from ‘The Tomahawk, 14th and 21st September 1867   Dickens, Charles Jnr (1879) ‘Music Halls’ from Dickens’s Dictionary of London Greenwood, James (1869) The Seven Curses of London www.pepysdiary.com Pepys, Samuel (1661) Diary extract from 31st August 1661 Recordings Blur ‘Parklife’ (From the album ‘Parklife’, 1994, Food Records) The Beatles ‘Obladi, Oblada’ (From the White Album, 1968, Parlophone)

Comparing the Two Pictures of London, Illustrated by Wordsworth and Bla

Comparing the Two Pictures of London, Illustrated by Wordsworth and Blake in Their Two Poems The two poems depicting London by Wordsworth and Blake are in some ways similar and yet have many differences. Both observations of London are depicted through the poets' personal perspectives of London using individual experiences. We can tell that both poems are from the person's interpretations and experiences as they are said in the first person: 'Ne'er saw Ià ¢Ã¢â€š ¬Ã‚ ¦' in Wordswoths' poem and: 'I wonder through each chartered streetà ¢Ã¢â€š ¬Ã‚ ¦' in Blakes'. Both poems are well structured and use emphatic language. 'Upon Westminster Bridge' is a Petrachran sonnet which expresses strong emotion. It depicts his joy and awe of a beautiful city that is sleeping. It comes across as very optimistic with only positive things to say. The elation is built up through the sonnet using rhyme and emphatic language '... a calm so deep!' and similes are used that portray an underlying theme 'This city now doth, like a garment, wear.' I think this is where the first look at the poem is not enough to fully grasp Wordsworth's meaning. Blake's poem at first glance is very much the opposite: it too uses emphatic language and builds up the feeling through the quatrains which allow his thoughts to progress yet the feeling and emotional outbursts are of a completely different nature. This poem seems pessimistic and has only gloom and negative points mentioned.' In every cry of every man' is different to Wordsworths' depiction of serenity, beauty and calm: 'A sight so touching in its majesty'. The River Thames is used in both poems but is illustrated differently. ... ...hat people are trapped in their social status but it is only in the mind and thoughts can be changed it isn't yet a physical state. This leaves us with optimism of change. Wordsworth although his poem is very optimistic the irony is that it is only captured in one moment. His depiction is not typical. He talks about London being this beautiful thing but he is talking form the panoramic view above it all and more than that he is talking whilst London is asleep leaving us to believe that it will be different, more like Blake's poem once London re-awakens. He talks from a moment in the revolution where ' This city now doth, like a garment, wearà ¢Ã¢â€š ¬Ã‚ ¦' implying it is superficial and normally the city isn't like that. So when looking deeper in to both poems there is an ironic ulterior meaning there which connect the two.

Expressions in Horror: Dr Caligari and Nosferatu Essay

Two of the earliest examples of German Expressionism in film, The Cabinet of Dr. Caligari and Nosferatu are classics remembered as some of the best horror films of all time. These two films, directed by Robert Wiene and F. W. Murnau respectively, share several key aspects in common, while still retaining their own uniqueness that has left people debating which film is paramount, even nearly a century after their releases. This paper will examine these similarities and differences, and will seek address them in light of the German Expressionist movement they each resonate. The Cabinet of Dr. Caligari and Nosferatu both tell the story of a young German man’s subjection to the madness of a dark overlord with seemingly supernatural powers. In Caligari, a young man named Cesare, who is a somnambulist (or sleep walker) is controlled by the powers of a crazy doctor, who orders him to kill innocent victims. In Nosferatu, a young man named Thomas Harker is sent to sell property to Count Dracula, a vampire who comes to haunt his life and town after becoming obsessed with Hutter’s wife, Nina. Though while these films share some key components in common, no one could ever call the two films the same. Robert Wiene’s The Cabinet of Dr. Caligari is defined by the films stage-like quality, due mostly to the unique set it is shot on. An example of German Expressionism, the director creates a world of stark lines, sharp angles, darkness, and shadows bringing the viewer into a surreal world. Unnaturally angled houses line crooked cobblestone roads. Misshapen rooms contain demented furniture. Rooftops are acutely angled to the sides. It is radically warped scenery, and helps create a genuine expressionist set. F. W Murnau’s Nosferatu, however, is shot in real world environments, but employs shadows to make small rooms appear larger then life, adding suspense and a feel of supernaturalism to the movie. The Count’s castle perhaps best conveys the expressionistic form, with its gothic architecture and abundance of shadow. Or, better still, the Count himself embodies the expressionist form, with his exaggerated features. His ears, chin and teeth are all pointed, and his stature is unique, hunched and very thin of frame. His eyes, much like Wiene’s Cesare, are darkly shaded, and his nails are long giving him a distinctly monster like quality. Both films successfully impress a dark mood by exaggerating the film’s dark aesthetic, drawing viewers into the mindscape of German Expressionism. The films also share in common a sleepwalking theme, and perhaps it was just Murnau paying homage to Wiene’s Caligari. Partway through Nosferatu, Harker’s wife Nina is described as being in a sleepwalking trance, specifically calling it â€Å"somnambulistic†. In fact, the character Nina looks surprisingly similar to how the character Jane looks in The Cabinet of Dr. Caligari. I don’t believe it is too extreme to suggest that perhaps Marnau played off certain motifs created by Wiene in wanting to create a horror film. However, Marnau’s depiction of Count Dracula is unsettling to this day, and many still believe that it remains the most terrifying portrayal of the character ever on film, perhaps only second to the iconic Dracula played by Bela Lugosi. Murnau certainly created his own sort of horror, so it could not be suggested Nosferatu is unoriginal. The use of shadows, especially when it comes to scenes involving the Count, create a horrifying imagine on the screen. While having never seen Nosferatu before deciding to write this paper, I immediately recognized a scene towards the end of the film, when the Count ascended a staircase to Nina’s room. Perhaps one of the most iconic scenes of early horror films, you see the shadow of the Count as he makes his climb up the staircase, hunched form, long fingernails, offsetting movement and all. It is his shadow you see climbing the steps, never his actual form, which may possibly hint at a metaphor. The German Expressionist movement was born out of the anguish following the Great War and before the birth of Hilter’s Germany. Perhaps, as suggested by James Franklin in â€Å"The Shadow in Early German Cinema†, shadows acted as a sort of â€Å"visual metaphor for evil or for the dark and threatening forces that allegedly lurked in the pre-Hitler German psyche or soul† . Both films use music to add suspense to the plot, however each film approaches it’s use in separate ways. Caligari is distinctively jazzy in nature, where as Nosferatu is more classical. Both films, however, create music that mirrors and changes with the action on the screen. In Nosferatu, music creates a terrifying feel to the movie, shaping the most horrific scenes remembered from the film. There are several instances throughout the film where silence is broken by a quite sound, almost like a heartbeat in the background, yet more off putting. While I am in no position to argue which film is the better, both have come to be the best examples of horror films to come out of this time period. Classic examples of German Expressionism at work, The Cabinet of Dr. Caligari and Nosferatu play with the presence of shadow, the distortion of nature, and the imaginations of audiences, even today.

The Jungle †by Upton Sinclair

The Jungle – by Upton Sinclair Free Online Research Papers Upon first reading Upton Sinclair’s â€Å"The Jungle,† I was quite disturbed to see what was going on with the meat packing industry. It was disgusting and unbelievable that there were no sanitation rules and regulations required during this time. I am glad that Sinclair was able to bring this problem to everyone’s attention. The fact that diseased animals were knowingly accepted truly disturbed me, â€Å"†¦where men welcomed tuberculosis in the cattle they were feeding, because it made them fatten more quickly.† I don’t understand how the health and well being of the consumer and the workers were not a concern. TB was a dangerous and deadly disease at that time and was not easily cured; I am sickened to know the meat industry played a role in the deaths by TB. â€Å"These rats were a nuisance and the packers would out poison they would die, and then the rats, bread and meat would go in the hoppers together.† The fact that consumers had no idea they were purchasing rat remains, rats, and poison to feed their family is ridiculous. This place was disgusting. I’m surprised more people weren’t killed from the food. The workers I think bothered me a lot, it seemed they were all diseased or sick. Who would want someone like this handling their food with no protection This is disgusting! â€Å"†¦the workers in each of them had their own peculiar disease†¦Ã¢â‚¬  The fact the workers were all sick made no sense to me Congress should have been on top of this, con sidering the fact that these are the people handling our food. Jurgis’ experience at this time showed the American Culture to be on of a third world culture. It seemed as if we had no morals to tolerate such behavior from the meat packing industry. I am aware that it was not at first brought to the President and Congress’ attention but it should have been something that was regulated anyway. I feel Jurgis’ experience were very significant to the development of our new regulations. In Sinclair’s book he opened our eyes to the unseen world of the meat packing industry and helped develop many sanitation rules. After reading Upton Sinclair’s â€Å"The Jungle† President Roosevelt sent two agents to Chicago to investigate, and when they arrived back they confirmed Sinclair’s story. Roosevelt and Congress then created the meat inspection act of 1906. This law required federal inspection of meats and gave the agriculture department the right to enforce sanitation standards in processing plants. Along with this, the Pure Food and Drug Act was also enacted on the same day. Research Papers on The Jungle - by Upton Sinclair19 Century Society: A Deeply Divided EraGenetic EngineeringTwilight of the UAWDefinition of Export QuotasMarketing of Lifeboy Soap A Unilever ProductAssess the importance of Nationalism 1815-1850 EuropeThe Masque of the Red Death Room meaningsThe Effects of Illegal ImmigrationWhere Wild and West MeetThe Spring and Autumn

Cyberstalking and Internet Harassment - Then and Now

Cyberstalking and Internet Harassment - Then and Now The first federal prosecution of cyber harassment in the United State was in June 2004 when 38-year-old James Robert Murphy from Columbia, South Carolina, pleaded guilty to two counts of Use of a Telecommunications Device (the internet) with Intent to Annoy, Abuse, Threaten or Harass. According to investigators, Murphy was sending anonymous and uninvited emails to Seattle resident Joelle Ligon and to her co-workers as early as 1998. Murphy and Ligon  had dated on and off from 1984-1990. As time went on, the harassment increased and along with dozens of obscene emails each day, Murphy also began sending sexually  explicit faxes to Ligon and her co-workers. Cant Get Away When Ligon moved to different states and changed jobs, Murphy was able to track her through malware he had placed on her computers and continue his attack. For over four years Ligon tried to ignore the messages by deleting them, but Murphy began making it appear that Ligon was the one sending the sexually explicit materials to her fellow workers. Murphy also had special email programs in order to hide his identity and he created the Anti Joelle Fan Club (AJFC) and repeatedly sent threatening emails from this  alleged group. Ligon decided to start collecting the materials as evidence and went to the police who enlisted the help of the Northwest Cyber Crime Task Force, composed of the FBI, United States Secret Service, Internal Revenue Service, Seattle Police Department, and Washington State Patrol. The NWCCTF investigates Cyber-related violations including criminal computer intrusions, intellectual property theft, child pornography and internet fraud. She also managed to identify Murphy as the person harassing her and she obtained a court order barring contact. When Murphy emailed her, denying that he was harassing  her, he violated the court order. Murphy was indicted in April 2004 on 26 counts of sending harassing emails and other violations between May 2002 and April 2003. At first, Murphy pleaded innocent to all charges, but two months later and after a plea agreement was reached, he pleaded guilty to two of the violations. No Remorse From Murphy In court, Murphy told the Judge what he did was stupid, hurtful and just plain wrong. I was going through a bad patch in my life. I want to take my lumps and get on with life. In sentencing Murphy Judge Zilly noted that he was surprised that Murphy made no effort to indicate your remorse to the victim, to indicate you were sorry. The Judge noted that he had received a letter from Joelle Ligon unlike any he had ever received from a crime victim. In it Ligon asked the Judge to impose an effective and compassionate sentence. Judge Zilly decided to impose 500 hours of community service instead of the 160 hours requested by the government. Zilly also sentenced Murphy to five years of probation and more than $12,000 which was to paid to the City of Seattle to compensate the City for 160 hours of work time lost by employees dealing with the harassment. The Crime of Cyberstalking Continues to Grow It used to be that news reports such as Murphys case were an oddity, but with the increase of people managing several aspects of their lives online, both at work and in their personal lives, it has created a vulnerability that attracts criminals including cyberstalkers, webcam blackmailers and identity thieves. According to a poll released by Rad Campaign, Lincoln Park Strategies and Craig Newmark of craigconnects, a quarter of the American population has been bullied, harassed or threatened online and that number almost doubles for those under the age of 35. A third of the victims of online harassment are afraid that the situation may spill over into their real lives resulting in embarrassment and humiliation, loss of jobs, and many are scared for their lives. Reporting Online Harassment and Cyberstalking Many victims of cyberstalking do like Joelle Ligon did when Murphy first harass her, she ignored it, but as the threats grew she sought help. Today, it appears that the response by social networks and law enforcement is improving, with 61 percent of the reported cases resulting in the social networks shutting down the accounts of the offenders and 44 percent of reported cases to law enforcement resulted in an effort to track down the offender. If You Are Threatened Threats should never be ignored - report it. Keeping a record of the date and time of the threat, a screen shot, and hard copies is evidence. It not only can help authorities, social networks, ISPs and website host figure out the identity of the offender, but it also helps prove the level of the harassment which is the deciding factor on if, or if not, a complaint gets investigated.

CROSS CULTURAL NEGOTIATION MGT Essay Example | Topics and Well Written Essays - 1750 words

CROSS CULTURAL NEGOTIATION MGT - Essay Example Consideration of cultural values of other nations forms a very strong background upon which the operations of any international business can be based which the Americans did not consider in the first instance. Basically, consumer behaviour in most cases is influenced by various factors such as perception, needs, motives and attitudes and these in most cases are either directly or indirectly influenced by the individual’s cultural background (Kotler, Brown, Adam, Burton and Armstrong 2007). Against this backdrop, the four main differences between the cultures in United States and France will be explored according to the various cultural dimensions propagated by Hofstede in view of Trompenaars’ study which will attempt to highlight the major differences between them for the sake of easier understanding. This analysis will as well attempt to bring to light especially three mistakes that are believed to have been made by Disney Company during its stint while at the helm of Euro Disneyland. The study will finally attempt to analyse the lessons that could have been learnt by Disney Company with regards to the aspect of the need to consider diversity in any such kind of a deal. Culture influences the attitude of the consumers which in turn influence their attitude towards something as aptly highlighted by Hofstede’s cultural dimensions which explicitly illustrate mainly four different dimensions between the cultures of United States and France (Kotler, Brown, Adam, Burton and Armstrong 2007). According to McShane and Travaglione, (2007), the degree to which people accept and believe that there is inequality of the distribution of power in their respective societies is referred to as power distance. Comparatively, the United States’ power distance is 40 points as shown in Table 1, which by any standard is lower at the world level (Thomas, 2003). Given a situation

Analysis Essay Example | Topics and Well Written Essays - 2500 words

Analysis - Essay Example this control system through the employment of two theoretical perspectives, thus demonstrating the differences between the outcomes arising from the two. For starters, Collier has identified the role of the entrepreneur as regards the social control he exercises over the employees, as a crucial factor in the control system that influences the overall operations of TNA. The success and credibility of this exercise of control on the entrepreneur’s part depends largely on the recognition of the importance of a set of beliefs and boundary systems that will decide what elements the control system will consist of as a package. A management control system essentially consists of various elements including the management accounting practices employed by a particular organization. In this regard, it is imperative to state that the control systems employed by the management are a result of evolution of various systems and beliefs over a period of many years. This is what formalizes and assists in the quantification of various information – financial and other. In doing so, the management identifies various elements of the control system that have to do with the external information relating to markets, consumers, competitors and their decision making mechanisms. This helps the management take decisions of its own. According to Collier, the organization’s control mix and the strategic choices arising out of the implementation of this mix to real time operations in the organizations are the basis of the various frameworks under which the organization’s management control system operates. While there are various frameworks for studying this management control system, Collier uses his paper to describe the 10 year old longitudinal field study of TNA through the frameworks laid down by Simons (1995) and Ferreira and Otley (2005), where both deal with formal systems based approaches as opposed to the informal, social or cultural forms of control. To begin with the