10 Career Lessons You Should Learn in Your 20s

10 Career Lessons You Should Learn in Your 20s Every hiring manager is looking for something different- a unique combination of experience and skills. But there are also a few universal skills and values you should always work to keep sharp. Everyone, no matter what place on the job hierarchy, should check in once in a while to  dig deep and  ask yourself  if you’re working at the top of your personal game.Here are 10 of the top lessons working in the current landscape should teach you. Learn them now, and use them to keep your skills sharp and updated.1. Networking MattersYou may hate social media- and hate small talk even more- but social networks are proven to be a crucial factor in professional success. Put some time and effort into broadening yours. Stand by the proverbial water cooler, even if you hate it. And cultivate as wide and diverse a network as you can.2. Keep LearningThe second you decide you’re done learning, or know enough, is probably the second you become obsolete in your industry and in tod ay’s economy. Don’t be left behind. Be the old dog that learns new tricks, acquires new skills, reads up on all the current trends. Even if it weren’t important for success, your life will still be richer for it.3. Failure is ProductiveDon’t give up next time you fail. Think of each failure as an opportunity, or a beginning. What can you learn or improve for next time. What can you try differently? Build up the dusting-yourself-off muscle.4. Teamwork is DreamworkMost potential bosses are going to want you to demonstrate that you can be a team player. Make sure to build the ability to manage others, to delegate, and to build positive working relationships with your colleagues that help you all do your best work and achieve your loftiest goals.5. Organization  is KeyYou won’t get very far if your desk is buried under a pile of messy papers and your time management skills are nonexistent. Start working on prioritizing, systematizing, and setting you rself up to get things done in a timely and tidy fashion. Demonstrate that you can meet deadlines without sacrificing the quality of your work.6. Practice Awareness/AcumenThis is something you can beef up anytime, and might just prove invaluable. Learn what makes a company or industry tick, what works and doesn’t. What are the newest trends, the deepest seated problems? If you can show that you really get what a company is trying to do and achieve, then you’re halfway to getting hired.7. Cultivate IntegrityDon’t be petty or dishonest. Be fair and responsible in all of your dealings and activities. This is seen as a sign of maturity, self-confidence, and trustworthiness and that’s worth a lot in the hiring process.8. Problem SolveYou’ll need this skill throughout your life, not just on the job. But do find a way to demonstrate to hirers that you can attack a problem, find a solution, and get it done. Prove that you can go the extra distance, every t ime.9. Be AwareDiversity is a hugely important issue in the workplace. You should be as sensitive as possible and as aware as possible of other people and other cultures- and be prepared to demonstrate this in your job search. No excuses for ignorance or intolerance.10. Be Open to Trying New ThingsMake sure you have a willingness to try things different ways, to work alone or on a team, to work remotely, work in an office, to work on multiple things at once. Adaptability is a valuable skill that will serve you both on the job and in your life.

Examples of Radiation (and Whats Not Radiation)

Examples of Radiation (and What's Not Radiation) Radiation is the emission and propagation of energy. A substance does not need to be radioactive in order to emit radiation because radiation encompasses all forms of energy, not just those produced by radioactive decay. However, all radioactive materials do emit radiation. Key Takeaways: Radiation Examples Radiation is emitted whenever energy is propagated.A substance does not need to be radioactive to emit radiation.Not all isotopes of element emit radiation.Common examples of radiation include light, heat, and alpha particles. Radiation Examples Here are some examples of different types of radiation: ultraviolet light from the sunheat from a stove burnervisible light from a candlex-rays from an x-ray machinealpha particles emitted from the radioactive decay of uraniumsound waves from your stereomicrowaves from a microwave ovenelectromagnetic radiation from your cell phoneultraviolet light from a black lightbeta particle radiation from a sample of strontium-90gamma radiation from a supernovamicrowave radiation from your wifi routerradio wavesa laser beam As you can see, most of the examples on this list are examples from the electromagnetic spectrum, but the energy source doesnt need to be light or magnetism to qualify as radiation. Sound, after all, is a different form of energy. Alpha particles are moving, energetic helium nuclei (particles). Examples of Things That Are Not Radiation Its important to realize isotopes are not always radioactive. For example deuterium is an isotope of hydrogen that is not radioactive. A glass of heavy water at room temperature does not emit radiation. (A warm glass of heavy water emits radiation as heat.) A more technical example has to do with the definition of radiation. An energy source may be capable of emitting radiation, but if the energy doesnt propagate outward, its not radiating. Take, for example, a magnetic field. If you hook up a coil of wire to a battery and form an electromagnet, the magnetic field it generates (actually an electromagnetic field) is a form a radiation. However, the magnetic field surrounding the Earth is not typically considered radiation because its not detached or propagating outward off into space. Source Kwan-Hoong Ng (October 2003). Non-Ionizing Radiations – Sources, Biological Effects, Emissions and Exposures (PDF). Proceedings of the International Conference on Non-Ionizing Radiation at UNITEN ICNIR2003 Electromagnetic Fields and Our Health.

Describe Joe leap horn Essay Example | Topics and Well Written Essays - 250 words

Describe Joe leap horn - Essay Example Thatcher came to Joe’s aid by seeking his help in investigating a heinous crime. Joe agrees to live the house and accompany Thatcher for the investigation. The chapter presents Joe Leaphorn as a complex character who accommodates the Navajo traditions and the western thinking. Joe studied at assimilationist schools where he specialized in cultural anthropology though he did not like it (Hillerman 68). He dropped his academic pursuit and joined Navajo Tribal Police to be close to his wife, Emma. He lacked a deep connection with Anasazi culture and adopted the western way of thinking. However, he respected the Navajo rituals and the society had immense respect for him. Apparently, the balance between respect for traditions and modernity depicts Joe as a fascinating character. The chapter presents Joe as an intuitive and dedicated cop who knew the terrain very well thus becoming significant in criminal investigations. Indeed, the chapter ends by showing how Joe Leap Horn succeede d in unearthing the mystery behind the Houk

I will upload picture for you Research Paper Example | Topics and Well Written Essays - 750 words

I will upload picture for you - Research Paper Example Though this theme gets strongly adopted in the play, it gets significantly mocked when every marriage faces a crisis that reduces the intensity of the phrase ‘an ideal husband’. In the beginning, Lady Chiltern brings out a marital life on worship; bringing out her husband as the ideal one both in public and private life. Sir Robert Chiltern gets painted in the beginning as a perfect gentleman and a brilliant politician (Wilde 14). He is the ideal husband for Lady Chiltern. Their marriage gets widely envied until Mrs. Cheveley appears with an intention to reveal a dark secret from Chiltern’s past. Mrs. Cheveley uses the secret she knows about Sir. Robert to try and blackmail him into supporting a fraudulent scheme and the theme of blackmail comes in early in the play. It threatens the marriage and the ideal husband as Sir. Robert agrees to do as Mrs. Cheveley wants, but also wants to please her wife who is not in agreement with the idea due to her moral inflexibili ty (Wilde 19). For Lady Chiltern, all that matters is having an ideal husband. She insists on having a model spouse that she can worship. For this matter, it is her sole priority that Sir Robert remains impeccably clean in all his decisions. This brings out the theme of hypocrisy as Lady Chiltern believes that only her husband and his deeds can ruin the image of their marriage and not her. Sir Robert succumbs to the lady’s wishes and seals his doom. The scandal begins at this point as now his secret that he so wishes to conceal gets revealed (Williams 2). Sir Robert decides to turn to his long time friend Sir Goring who apparently once got engaged to Mrs. Cheveley, but is currently the most eligible bachelor in town (Wilde 49). This also brings out a picture of the ideal husband but the picture does not last long as he soon gets caught up in a spin of lies, temptations and secret liaisons. As the play progresses, Lady Chilterns love comes out as unreasonable. This happens onc e Sir Roberts’ secret sin gets revealed by Mrs. Cheveley to his wife. When this secret gets revealed, the theme of hypocrisy comes out clear. This is the hypocrisy of the love that Lady Chiltern apparently had for Sir Robert. She refuses to accept the Sir Robert that has become unmasked. Lady Chiltern refuses to forgive her husband and denounces him. This is the height of hypocrisy in the play because originally the bond between the two got marked as unbreakable (Wilde 71). As all this unfolds, the theme of political corruption gets clearly outlined. It is the genesis of all Sir Roberts problems. This is because the scandal that he gets webbed in is a political scandal. Mrs. Cheveley’s mentor, Baron Arnheim who passed on, convinced Sir Robert numerous years ago and sold him a cabinet secret (Wilde 39). The secret suggested that he buy stocks in the Suez Canal a few days before the British government announced its intent to purchase the same stocks. Sir Robert had made his immense fortune with this illicit money, and Mrs. Cheveley had the evidence in a letter to prove his crime. Political corruption also comes out clearly when Mrs. Cheveley attempts to use this knowledge to blackmail Sir Robert into supporting the scheme to build a canal in Argentina (Wilde 26). Wilde clearly brings out that there is no one who is ideal in this play. Everyone is after some personal gain. Wilde carries through the theme of betrayal when Sir Robert

Defining Race and Ethnicity Essay Example for Free

Defining Race and Ethnicity Essay The term â€Å"race† means to me a group of people with the similar backgrounds and cultures. Race can also be defined as a species of people. Society defines race as the color of your skin but this is a myth. Race is more than the color of your skin; it is your lineage and heritage. It is who you are. The term â€Å"ethnic† means belonging to races or nations based on distinctions of race or ethnological. Ethnic is when you relate to a sizable group of people and share a common and distinctive racial, national, religious, linguistic, or cultural heritage. When I hear the word ethnic, I associate it with the race of black people. I’m not sure why but somewhere in my life, this was instilled in my mind. I have read somewhere that this word means heathens. I don’t agree with this analogy of the word but society has labeled this word to mean something bad. Ethnic has also been defined as a group of people who denounce Christianity. These concepts are important in today’s society because of the issues of racism and prejudice. People should not be classified by the color of their skin but by their citizenships. All people that were born in America should be classified as Americans alone, not White, Blacks, Latinos, Mexicans. These terms border on the issue of prejudice and racism. This is a very touchy subject and one has to be careful not to offend anyone when addressing these issues. It is important that when people are classified by race, that the proper terms are use when identifying these groups. Some black people prefer to be called â€Å"African Americans† rather than black and vice versus. Prejudice is a big issue in our nation and needs to be overcome. No one wants to be discriminated against no matter what their race or ethnic background is.

Critos Argument Essay -- essays research papers

The purpose of "Crito" seems intended to exhibit the character of Socrates in one light only, not as the philosopher, fulfilling a divine mission and trusting in the will of Heaven, but simply as the good citizen, who, having been unjustly condemned is willing to give up his life in obedience to the laws of the State. The main argument that seems to entail the discussion between Crito and Socrates is the opinion of the majority on Socrates’ fate. In the "Crito" Socrates states, "Why should we care so much for what the majority think?" (Plato 45) Socrates believes that we should not care what the majority thinks because those who are reasonable people will understand. However, Crito’s counter-argument to this is that the majority can cause great harm; therefore we should care what they think. Socrates further goes on to say the majority acts haphazardly; therefore, they cannot do great good or great harm (Plato 45). Crito says that "the opinion of the many" would judge us wrong if we didn't help you (and anyone in your position would agree that you ought to escape). Socrates notes that some opinion is right and some opinion is wrong. It is not simply a matter of mere opinion, but of correct opinion. The authority in this case is the actual truth of the matter. Socrates introduces a distinction between true opinion and false opinion. And the path to the latter is through argu ment and reason. By appealing to the opinion of "the many," Crito seems to be committing the Ad Populum Fallacy (i.e., something is right, true, etc., because the majority of the population says it is). Socrates seems to pose an open argument: the opinion of the many says that escaping from jail is right – but is it right? Socrates seems to believe that although the majority believes it is right for him to escape from jail he is going against what he believes to be true. Socrates believes that he has a tacit consent with the state by living in Athens for 70 years he has accepted their laws. Furthermore disagrees with retaliation and rejects Crito’s suggestion to flee to Thessaly he will be welcomed there and free to speak. Socrates seems to have adhered to the belief that if he was born and raised in this state and had children here he must have agreed with the ways in which the state operates; therefore, he cann... ...ur country to intervene and help countries less able. South Vietnam needed the support of the U.S.—especially when the North Vietnamese forces threatened them. 	Thus, in conclusion I believe that Socrates was correct to disregard the opinion of the majority. Socrates accepts his fate, for this reason alone he is not a coward. Socrates disagrees with retaliation and has faith in the government of Athens. Although Socrates may not agree with the decision of the assembly to put him to his death, he realizes that he was done wrongly by the assembly rather than the laws of Athens themselves. I believe Socrates feels this way because he has lived under the laws of Athens for 70 years and he has raised his children under the same principles. Socrates accepts the fact that being a member of society demands a certain respect and obedience. Without the rules and punishment system Athens would not be able to function properly. As Socrates decided to become a citizen of the state of Athens he also takes along with him the responsibility of being a citizen of that state. In following the more reasonable people I believe Socrates is merely followi ng the path in which the Gods intended.

History of Immigration †Movie Gangs of New York Essay

Although Martin Scorsese’s 2002 film â€Å"Gangs of New York† purports to be an historical film which recounts ethnic based gang rivalries in 1863 New York City, the film relies heavily on poetic-license, accentuating violence and a typical Hollywood â€Å"good versus evil† story-line, rather than delving into the historical specificities and realistic detail. While it is almost certainly true that Gangs captures the flavor and mythopoetic spirit of America’s ethnically diverse past and the violence and tensions which seethed during the American Civil, it is equally true that the historical themes with which Gangs deals are of a secondary nature to its main thrust: which is to produce a slick, and profitable film. So, while the movie deals with a tremendously important historical period in American history, the historical background â€Å"is incidental to Scorsese’s larger vision of reminding Americans of their violent past† 1 and, as such, the film’s viewpoints regarding immigration are abstraction from history and not representative of history itself. That said, the film’s portrayal of immigration is to show it as a bloody, tremendously difficult process, a sort of pressure-cooker where the amalgam of cultures clashed in a violent soup, which, itself produced a unity through an altogether new culture, an American culture, born through a traumatic and protracted birth-struggle. This vision is a romantic vision which simplifies the complex realities of the history of immigration in America in the nineteenth century. Scorsese, as mentioned, is not interested in depicting history, but to use the verisimilitude of history, the details and gritty realism of historical record, to paint a dramatically believable portrait of myth: a myth describing the birth of American culture in the fiery crucible of ethnic prejudice and competition. Historical detail is a device, not a theme: â€Å"while Gangs is accurate in detail, it is distorted and mistaken in its larger characterizations and interpretation. This should not be surprising: Gangs of New York is a moneymaking enterprise. † 2 If the film’s relevance to history is not one of accurate portrayal and realistic delving into the lives and events of the era depicted, then from where does its importance to history derive? The answer to that question lies in the fact that while â€Å"Gangs of New York† may play fast and loose with historical accuracy, while it may simplify the complex sociological realities of intercultural integration — or lack thereof — in America’s war-torn past, the film remains faithful to a central, thematic idea which is also a core-reality of American history: that a nation which is ethnically diverse but upholds individual liberty must in the end cast-away the ethnic and racial barriers and competitions of the â€Å"Old World† in order to actualize the opportunities of the future. That core-idea is a core-principal of American Democracy and it is a principle by which American history, including the American Civil War, has turned on as though upon an axis. The great value, historically speaking, of â€Å"Gangs of New York† is not in its depiction of history or its re-creation of historical events, but in the film’s vision of racism of cultural division and of American Democracy as a â€Å"melting pot† and also an ideal which transcends race or specific culture. The problem in the presentation of this vision is that the Hollywood â€Å"hero and villian† paradigm, along with a stock formula of violence and greed, results in a film which buries these important themes beneath a slick â€Å"whitewash† and this is: â€Å"a foolish simplification, a stereotype, and not the business of historians. Rather, the problem with Gangs is that it wants us to think that Irish gangsters were â€Å"good† by ignoring their racism while it wants to make us think others are â€Å"bad† because they are racist. â€Å" This kind of pretzel-logic may make for an interesting and immediately understandable film, but it does little to shed light on history or on the diffusion of cultural tensions in America. The film is conspicuously incompatible with a detailed or immersive reading of history. I do not personally belive that â€Å"Gangs of New York† accurately depicts the feelings of the people at the time or even the historical tensions themselves. Instead, the film â€Å"Without the veneer of historical righteousness[†¦ ] is just another Scorsese bloodbath among white men. With that in mind, there is merit in the film’s mythopoetic imaging of the emotional energy which explodes from America’s cultural diversity. Unfortunately, â€Å"Gangs of New York† fails to depict substantive and historically accurate characters who — if shown realistically — would be comprised of multi-faceted and perhaps contradictory impulses and beliefs. In conclusion, while Martin Scorsese’s â€Å"Gangs of New York† faithfully represents the formulaic, Hollywood notion of slick, effective commercial film-making, the film fails to faithfully represent the historical period from which is ostensibly draws its setting, theme, and characters. While immigration can and should be rightfully regarded as a part of America’s mythopoetic past and also its mythopoetic identity, the historical realities of immigration and the actual historical ramifications of the cultural pressure-cooker that helped to birth America are absent from â€Å"Gangs of New York. † In their place, broad generalization, ethnic stereotyping, epic contrasts of good and evil, and the classical arc of the hero-myth are used to both simplify and stylize an aspect of American history which is too nuanced and too complex to be accurately depicted through such an approach. It is possible that â€Å"Gangs of New York† will inform a significant portion of its audience with the flavor of an historical period they might have otherwise missed observing altogether. However, in all liklihood, those who are stimulated to study this time-period by Scorsese’s poetic vision, will find themselves startled, and perhaps confused, by the amount of drama and profound thematic issue which were left out of â€Å"Gangs of New York. â€Å"

An Analysis of the soundtrack from “The Girl Can’t Help It”

The Girl Can't Help It was released in 1956, and was directed, produced and mainly written by Frank Tashlin, who was formally a Looney Tunes auteur. The film is a classic Hollywood comedy, which broadcasts a musical line-up of mostly contemporary teen-favoured rock hits set against a narrative background of the popular music industry. The storyline follows the scenario of a backstage musical where an alcoholic press agent Tom Miller (Tom Ewell) is ordered by former mobster Fats Murdoch (Edmund O'Brien) to turn girlfriend Jerry Ann (Jayne Mansfield) into a pop music sensation. Tashlin uses the film music in such a way that it shows clear cartoon like traits; these will be explored in greater depth along with a look at the main characteristics that the soundtrack provides for the film. Anahid Kassabin suggests that most music in narrative film functions to create a mood (2001, p. 56). The film's musical references are made up of both composed and compiled scores; both donate to the mood of the scene. The composed score is non-diegetic and in this instance it does not compete or interfere with the spoken voices. Claudia Gorbman supplements this by suggesting there is ‘subordination' to a story. Subordination means ‘classic narrative sound' films are constructed in such a way that the spectator often does not consciously hear the film score. This is based on the idea that the spectators' attention is focused on the narrative events in the film. (1997, p. 31) However there is still a reason why composed scores are used. In this case they create an atmosphere which makes it easy for the audience to relax, it also guides them on what direction the mood of the film is going and also how they should be feeling. The compiled score operates quite differently; the music is diegetic and it mainly functions as an insight into rock ‘n' roll of the fifties. The mass of compiled music is one of the main attractions of the film and also acts as a narrative; this will be discussed in greater detail later. The music also identifies the film in terms of era and location with the presence of the band or singer in most musical compiled scenes. The film starts with one of the main characters (Tom Miller) in evening clothes appearing in the centre of a shrunken screen. The picture is in black and white with a composed score in the background, which stops as the narrator starts to speak. As the narrator tells the viewers that this is to be â€Å"a story about music,† the music begins again, â€Å"but first†, the narrator stresses â€Å"this was photographed in the grandeuer of Cinemascope†¦ † the narrator pauses, expecting the screen to expand, as he does, the music copies. He then sighs and takes it upon himself to flick the screen into widescreen, and the music ‘mickey-mouse's' his actions with sound effects. He then carries on his speech, as does the music, and he continues to say â€Å"†¦ n gorgeous lifelike colour by Delux. † The narrator and the music then pause, waiting as the screen turns to colour contrasts. Kassabian makes the conclusion that composers consider music as background to dialogue and should be kept simple, subtle, and soft. However she also argues it depends on the importance of the dialogue to the film. (2001, p. 55) In this opening narrative scene the composed music is imitating the speech of the narrator. Miller often pauses to stress fairytale technical difficulties, whilst consciously (but supposedly unknown to the audience) boasting their new technical advances. Hanns Eisler argues how film music was forced to serve as what he identified as ‘hyper-explicit' illustrative function, where two or more happenings such as image, music, sound effects, and dialogue may mimic each other. (Cited in Flinn, 1992, p. 34) Rudolf Arnheim has labelled this as â€Å"paralleling†. An extreme example of this is ‘mickey-mousing' a technique that, as the name suggests, appears frequently in animated films. (Cited in Flinn, 1992, p. 34) In this scene the classical music mimics the character as it would in a cartoon. The narrator continues to inform the audience that the picture is about contemporary music, expressing â€Å"the culture, the refinement, the polite grace and the present day†¦ † the camera pans to a lit jukebox as Little Richard's title song, â€Å"The Girl Can't Help It,† (1956) blares, drowning out his remarks. The opener praises and mocks new conventions in one brief sequence. Throughout the film, new versus vis-a-vis values, lifestyles and music are the sequence. The story begins with the ever present musical accompaniment and the heavy drinking agent, Tom Miller, who spends a lot of time in night spots listening to rock acts. He receives an invitation by Fats Murdock which he accepts. In order to elevate himself into newsworthiness, Fats wants Ewell to make his girlfriend into a star. Obtaining a $10,000 advance, Miller accepts Fats' challenge. He celebrates in another nightclub with a band blasting â€Å"Ain't Gona Cry No More. † Here the lyrics relate to the narrative of the film, the song has just conveyed in simple terms the emotions of Tom Miller. The music also interacts with other aspects of the scene as the band is also playing in the night club whilst Tom Miller dances along. This is one of the main musical features of the film, where the lyrics mimic what a character is feeling or doing. This is also shown in the next scene where diagetic music is used to accompany Jerry walking down a street. On her travels ice melts, milk bottles burst open and reading glasses split as Jerry walks by three men to the title song â€Å"The Girl Can't Help It†. Again cartoon behaviours appear in this scene. As the song â€Å"The Girl Can't Help It† appears in the title credits and later in the film, it is functioning as a kind of leitmotiv. Leitmotiv is a Wagnerian term where music refers to other musical events within a film and is memorable because the scene is structured to give a great deal of attention to the music. (Schroeder, 2003, p. 75) Theme songs are generally given a high degree of attention and often become attached to a film. This then creates audience connotations where a particular emotion or image becomes attached to a song. Identifying music often marks other features of a film. For instance, setting is often identified by quoted source music. Here the connotations of Jerry walking down the street are attached to this song as later in time it is used in the film â€Å"Pink Flamingos† (1972) where a transvestite is seen strutting down a street in the same way Jerry did. In the storyline, as a marketing ploy, Miller escorts Jerry on a nightclub crawl, displaying her to bistro managers. Little Richard is seen performing â€Å"Ready, Ready,† plus â€Å"She's Got It† where Jerry is strutting across the floor to get noticed by the manager. As Richard sings the lyrics â€Å"She's Got It† the camera cuts between Jerry and the reaction of the manager. The lyrics of â€Å"She's Got It† act as a narrative to the scene, also the manager mimics it in dialogue and says â€Å"she's got it all. † Throughout the night many musical acts are shown including The Three Chuckles, featuring Teddy Randazzo, performing â€Å"Lollipop Lies†; Eddie Fontaine performs â€Å"Rock Love†; and Abby Lincon sings the gospel tune â€Å"Spread the Word†. Kassabian stresses the drawbacks of using popular music in films and comments: â€Å"with their range of complete songs used just as they are heard on the radio, they bring the immediate threat of history. (Kasabian, 2001, p. 8-9) However in this particular film that is what was intended, the film acts as a type of historical document. Not many people of the Fifties got to see bands or singers so the cinema created a gateway for rock ‘n' roll music. Ernest Lindgren in The Art of the Film makes the point that â€Å"The use of well known music is†¦ distracting, and has the additional disadvantage that it often has certain associations for the spectator which may conflict entirely with the associations the producer wishes to establish the film. † (Cited in Flinn, 1992, p. 7) A certain level of distraction occurs in the film as one of the main reasons to see it was for the popular acts and when songs where cut short it left viewers wanting more. The dialogue, visuals and other elements are often scarce when such acts appear on screen, which makes it seem a deliberate ploy for attention to be on the music. The volume of the music is often lowered and the camera cuts to the characters when dialogue starts. The leitmotiv is used again in the film when Miller is in his apartment and he discovers a vision of Julie London (a former love) singing â€Å"Cry Me a River† (1953) which is about a lost love. Miller tries to escape her presence yet she appears wherever he goes but disappears as the music fades. This scene identifies he is in love with Julie London and again the music mimics the emotions of the character. Music used for identification does not always rule out the same music all together. Identifying music can convey or evoke all of the things mentioned in the definition of leitmotiv. The song â€Å"Cry Me a River† appears later in the film where Miller is looking for the hallucination of Julie London but instead sees Jerry. This conveys that the song not only has character recognition but the emotion of love also attached to it. The Girl Can't Help It presents teenage rock ‘n' roll in ‘adults only' venues. In a kind of variety show format, the rock ‘n' rollers are inserted into the narrative and given their one moment on screen. Interestingly, none of them are integrated into the plot. Stephen Heath, Ed Branigan, and Kristen Thompson have pointed out that in â€Å"historical enquiries on early cinema, color, and animated film, respectively, new technological developments in dominant cinematic representation do not contribute solely to greater â€Å"realistic effect. These inquiries suggest that it is the novelty of the technology that is celebrated for a while. † (Cited in Gorbman, 1997 p. 44) This is clearly the case in this film as many rock films in the Fifties put more emphasis on the use of popular bands to promote the film rather than the greatness of the plot. Kassabian suggests that there are uses of film music that link directly to other musical events. She calls this â€Å"quotation† which is the â€Å"importing of a song or musical text, in part or in whole, into a film's score. (2001, p. 49) David Shumway has suggested that the roots of these contemporary compiled scores can be found in early rock scores. (Cited in Kassabian, 2001, p. 49-50) In the mid 1950's teenagers' tastes in music were introduced as a separate segment of the mainstream, with rock ‘n' roll being the genre for that taste. The movie producer Samuel Z. Arkoff states â€Å"the oddity was that old people were afraid of rock ‘n' roll†¦ I don't know why but all adults thought that rock ‘n' roll was immoral. † (Coleman, 1997, p. 41) The Girl Can't Help It contributed to changing this, perhaps half of the featured performances such as Little Richard, Gene Vincent, Eddie Cochran and the Coasters are concessions to the teenage audience; the remainder Ray Anthony, Julie London, and Abby Lincoln are for the adults' tastes. The film premiered â€Å"attracting a large adult audience, the movie gave the much maligned rock ‘n' roll some respectability, though Films in Review it called it â€Å"a showcase for the leading purveyors of the jungle caterwauling known as rock ‘n' roll, and†¦ hereby a cultural debilitator our descendants won't forgive us for†Ã¢â‚¬  (Coleman, 1997, p. 141) The Girl Can't Help It showed that Hollywood was taking rock ‘n' roll seriously. In conclusion, the music was not only used to set the right ‘mood' using the composed score but to also set the scene with the compiled. Caryl Flinn suggests music reveals glimpses of a better, more unified world. It allows film to open doors to exotic locations and fantasy. It can also capture a sense of lost integrity and grandeur. 1992) As the film features mostly popular and jazz acts of the Forties and Fifties, Billboard reported on July 15 that the film â€Å"may lend an aura of rock ‘n' roll† to the movie. (Cited in Cloeman, 1997, p. 164) However the films reality is partly distorted from using such functions as ‘mickey-mousing' and ‘paralleling' yet the style of music does reflect the genre of the film. The storyline and music attracted both teenagers and adults by bringing adult themes and popular culture together, and portraying it in a way they could both enjoy. This was uncommon in the Fifties and Tashlin used Little Richard's music to â€Å"send up American attitudes towards sexuality and racism. † (White, 2003, p. 81) This film most probably would not have been a success without the rock ‘n' roll. Gorbman suggests that an argument runs that â€Å"sound, in the form of music, gave back to those â€Å"dead† photographic images some of the life they lost in the process of mechanical reproduction† (1997, p. 39) and in this case the film would be ‘dead' without the popular acts. Leonard B. Meyer argues â€Å"while the image itself is relevant to the music, the significance that it has for the particular individual is purely personal. (Cited in Kassabian, 2001, p. 56) Not only has the soundtrack shown clear musical technical advancements, but it also has a higher role to play in social advancements. It helps adults to understand the preferences of teenagers and offers a common ground between the two age groups. Rock ‘n' roll films also have a deeper meaning and start to touch on racial inequality by including black musicians as America's popular culture.

Free Essays on Teen Preg

Teen Pregnancy Adolescent pregnancy has long been a societal concern, but in the past decade, this issue has become one of the most frequently cited examples of the perceived societal decay in the United States. About 560,000 teenage girls give birth each year. Eight in ten of these births resulted from unintended pregnancies. (McCuen 16). Sorting out cause and effect would be easy if pregnant teens all lived in the same area with the same disadvantages or if these women chose to become mothers early in life. But such mothers are not randomly dotted across the social landscape. Increased rates of sexual activity, illegitimacy, and welfare receipt raise public concerns. Although the onset of pregnancy may occur in any teenager, some teens are at higher risk for unplanned pregnancy than others. Despite the recent decline in the teen birth rates, teen pregnancy remains a significant problem facing our nation. Social problems, a vast amount of emotional and psychological problems often contribute to teen pregnancy. Promiscuous is defined as careless, casual, or even aimless. Teens are being promiscuous more than ever before. Teenagers are participating in the new world of sexual freedom. Social behavior is no longer restricted to the higher class. Today, teens become sexually active not when they move out of the parental home and into a family of their own, but while they are still considered as children. Young women are just as likely as young men today to be sexually active before marriage. With more and more teens having casual sex, the risks of pregnancy goes up. They do not weigh their options and take into consideration the consequences of their behavior that could possibly change their entire life. They do not realize that it could happen to them. They only see it as something that happens to other people. They feel they are invincible. We should recognize that sexual behavior is a matter of c... Free Essays on Teen Preg Free Essays on Teen Preg Teen Pregnancy Adolescent pregnancy has long been a societal concern, but in the past decade, this issue has become one of the most frequently cited examples of the perceived societal decay in the United States. About 560,000 teenage girls give birth each year. Eight in ten of these births resulted from unintended pregnancies. (McCuen 16). Sorting out cause and effect would be easy if pregnant teens all lived in the same area with the same disadvantages or if these women chose to become mothers early in life. But such mothers are not randomly dotted across the social landscape. Increased rates of sexual activity, illegitimacy, and welfare receipt raise public concerns. Although the onset of pregnancy may occur in any teenager, some teens are at higher risk for unplanned pregnancy than others. Despite the recent decline in the teen birth rates, teen pregnancy remains a significant problem facing our nation. Social problems, a vast amount of emotional and psychological problems often contribute to teen pregnancy. Promiscuous is defined as careless, casual, or even aimless. Teens are being promiscuous more than ever before. Teenagers are participating in the new world of sexual freedom. Social behavior is no longer restricted to the higher class. Today, teens become sexually active not when they move out of the parental home and into a family of their own, but while they are still considered as children. Young women are just as likely as young men today to be sexually active before marriage. With more and more teens having casual sex, the risks of pregnancy goes up. They do not weigh their options and take into consideration the consequences of their behavior that could possibly change their entire life. They do not realize that it could happen to them. They only see it as something that happens to other people. They feel they are invincible. We should recognize that sexual behavior is a matter of c...

Definition and Examples of Titles in Composition

Definition and Examples of Titles in Composition - In composition, a title is a word or phrase given to a text (an essay, article, chapter, report, or other work) to identify the subject, attract the readers attention, and forecast the tone and substance of the writing to follow. A title may be followed by a colon and a subtitle, which usually amplifies or focuses the idea expressed in the title. Examples and Observations It is important to know the title before you begin- then you know what you are writing about. (Nadine Gordimer, quoted by D. J. R. Bruckner in A Writer Puts the Political Above the Personal. The New York Times, Jan. 1, 1991)The title comes afterwards, usually with considerable difficulty. . . . A working title often changes. (Heinrich Bà ¶ll, interview in The Paris Review, 1983) Catching the Readers Interest At the minimum, titles- like labels- should accurately indicate the contents in the package. In addition, however, good titles capture the readers interest with some catchy phrasing or imaginative language- something to make the reader want to buy the package. Barbara Kingsolver uses the title, High Tide in Tucson to catch our interest: What are tides doing in landlocked Tucson, Arizona? Samuel H. Scudders title is a good label (the essay is about looking at fish) and uses catchy phrasing: Take This Fish and Look at It. (Stephen Reid, The Prentice Hall Guide for College Writers, 2003) Tips for Creating Catchy Titles Titles catch the attention of readers and provide a clue to the papers content. If a title doesnt suggest itself in the writing of your paper, try one of these strategies: Use one strong short phrase from your paper Present a question that your paper answers State the answer to the question or issue your paper will explore Use a clear or catchy  image  from your paper Use a famous  quotation Write a one-word title (or a two-word title, a three-word-title, and so on) Begin your title with the word  On Begin your title with a  gerund  (-ing  word) (Toby Fulwiler and Alan R. Hayakawa, The Blair Handbook. Prentice Hall, 2003) Metaphorical Titles Is there a factor that above all others contributes to making a title intriguing and memorable? Ive studied the titles that have captured the public imagination during my lifetime. Add to The Heart Is a Lonely Hunter, The Red Badge of Courage, and The Blackboard Jungle the following titles that almost everyone seems to like, and ask yourself what they have in common: Tender Is the NightA Moveable FeastThe Catcher in the RyeThe Grapes of Wrath All seven of these titles are metaphors. They put two things together that dont ordinarily go together. They are intriguing, resonant, and provide exercise for the readers imagination. (Sol Stein, Stein on Writing. St. Martins Griffin, 1995) Selling an Article or Book An effective title is to your article or book what a good preview of coming attractions is to a movie. It announces what your manuscript is about in such a way that it compels your reader to sit up and take notice. And if that reader is an editor who possibly will buy your material, an enticing title can open doors for you. (John McCollister, quoted by Jim Fisher in The Writers Quotebook: 500 Authors on Creativity, Craft, and the Writing Life. Rutgers University Press, 2006) Subtitles To the prospective reader, a subtitle is to a book what a carnival barker is to a midway: the step-right-up pitchman who peddles a mixture of awe, enlightenment and- no less important- bang for the buck. The marketing-savvy Galileo appended to his volume of heavenly observations, The Starry Messenger (1610), a prose banner that stretches nearly 70 words. In it, the Florentine astronomer promised readers great and very wonderful sights- the moon, sun and stars, literally- and even tossed in a paean to his Medici patron. Modern-day subtitles are generally shorter, yet they continue to tantalize us with invitations to learn the surprising secrets of Americas wealthy, tag along in one womans search for everything, or craft a life of well-being, wisdom and wonder. (Alan Hirshfeld, The Limit of Reason. The Wall Street Journal, May 3-4, 2014) Nick Hornby on the Lighter Side of Titles My advice to young writers: never begin a title with a preposition, because you will find that it is impossible to utter or to write any sentence pertaining to your creation without sounding as if you have an especially pitiable stutter. He wanted to talk to me about About a Boy. What about About a Boy? The thing about About a Boy . . . Are you excited about About a Boy? And so on. I wonder if Steinbeck and his publishers got sick of it? What do you think of Of Mice and Men? Ive just finished the first half of Of Mice and Men. Whats the publication date of Of Mice and Men? . . . Still, it seemed like a good idea at the time. (Nick Hornby, Songbook. McSweeneys, 2002) More on Composition Sentence Case  and  Title CaseWhich Words in a Title Should Be Capitalized?Lead

Major changes in family forms and structures that have taken place in Essay

Major changes in family forms and structures that have taken place in Australia since Federation - Essay Example Gilding (1995, p.8) contends that the family form is a ‘social ordering of kinship and co-residence’ that is politically asserted with the aim of attaching relations based on reliance and commitment but that the family members alter and modify that form to meet their own needs and demands. The historical definition proposed by sociologists and anthropologists was the ‘nuclear family’, which was thus considered as the norm to the extent by some that the construct was a universal ‘basic living unit’ (Baker, 2001, p.7). Today the term ‘nuclear family’ is still under contention, with some believing the ideal is a myth (Eichler, 1997, cited in Baker 2001) to which very few households have and do actually adhere; for others it is the norm but declining (Briggs, 1994; Gilding, 1995). Bittman & Pixley (1997) believe the fact that the nuclear family is declining at the rapid pace as proposed by government statistics and researchers, is itsel f a myth. While they agree there is a diversity of family units, they assert that the measurements are invalid because they are taken at a particular point in time and that people move via a succession of changes wherein they move in and out of a nuclear family structure. What is apparent however, despite the myth or reality of a nuclear family being the norm within Australian society, is that the family structure and form has changed and become more diverse, particularly over the last four decades, for a number of reasons. Since the post war period more Australians have been marrying later and divorcing earlier; marrying partners from different ethnicities; making choices on whether to have children, how many and when; living in de-facto relationships (cohabitating) with and without children, living within homosexual or lesbian partnerships, with or without children, and mixing their family roles (Briggs, 1994). It is quite common to find Australian children living in sole parent f amilies, step parent families, extended families, same-sex families and foster families (Saggers & Sims, 2004). This diversity has been a progressive process over the last century due to the changes in fertility patterns, with women giving birth to 6 children on average pre-Federation to the current day average of 2 children per woman; increasing lifespan resulting in an aging population and an increase in the number of divorces and people choosing not to marry (Bittman & Pixley, 1997). Family diversity in Australia can also be attributed partly to immigration resulting in cultural and ethnic diversity. Immigrants bring a plethora of different beliefs, ideals, behaviours and languages, together with their family structures and relationships, and the roles each member plays within those family forms. Cultural diversity also incorporates Australia’s indigenous people, who again bring their own family structures and values to the stage. Thus the Australian family now incorporate s those that are not only diverse in terms of size (single parent, nuclear or extended families); they are also diverse in terms of organisation (Saggers & Sims, 2004) and the way in which children are raised, how elderly parents are cared for, and they are diverse in expectations of gender. Social changes and

How does a transnational approach modify New Zealand's cultural Essay

How does a transnational approach modify New Zealand's cultural history is it useful Refer to at least 3 course thems - Essay Example The Waitangi treaty recognised the British Sovereignty in NZ and also offered protection to the interests of Maori’s in their traditional lands.The preamble of this treaty in Maori spotlights the creation of a government that would safeguard the interest of tribal community rangatiratanga. As per Brooking and Rebel (1995), NZs immigration policies customarily gave preference to European settlers especially from UK , Protestant Anglo-Celtic origins. NZ due to foreigner settlements , developed a new culture that materialized over centuries of relative separation, leaving from pacific cultures and adopting into the social cultures of hapu, whanau and iwi. This research essay will discuss about the culture , media , the urban society , the missionary and literary that prevailed in New Zealand in 1950 and will analyse how transnational culture has impacted the NZs culture . Culture Cross breed between Maori and Europeans were known as Pakeha. The signing of Treaty of Waitangi can b e regarded as the founding stone of modern citizenship. The NZ was transformed into a major agricultural producer for UK due to the ingress of Pacific citizens in the late 1950s. Later , settlers from Asia also ingressed into NZ1. Maori pre-European culture was oral and footed upon small independent sub-tribes residing in harbours ,valleys , ridges and sculpted hills. Armed conflict stories are much available in the Maori tribal history.Both polygamy and cannibalism were the common features of Maori culture. Tools were made from stones which was known as pounamu and tuhua. For weaving and other purposes , flax was employed. Initial trade in these products was in the barter system. Natural resources like sea, forest and waterways were regarded as sacred and exploitation of these natural resources were under strict supervision namely tapu (holiness),and manna carried over by tohunga.(priests)2. Edward Ned Kelly was the leader of the Kelly Gang.Nel Kelly story was very popular in New Z ealand through the ballads , folklore which praised the bush proscribers as the compelling character of freedom fighters and confrontation to the British authorities in NZ. In the 19th century , bushrangers were regarded as outlaws who frightened the bush country in NZ and Australia. The kelly gang was considered to the last generation of bushrangers in NZ3. â€Å"Cinemas, TVs & Radios† As per Department of Statistics (1975), there were about 600 cinema houses and 36.4 million cinema visitors in NZ in 1950.In 1950s, cinema admission rates were 2 shillings and 10 pence whereas today it is around 9.06 dollars4. Government owned TV New Zealand channels namely TV One and TV2 is free –to-air channels whereas Australian –owned TV 3 and its music channel is in operation in NZ. Some appealing foreign films and documentaries along with Maori subtitle and locally produced programs in Maori are being telecasted through Maori TV channel in NZ. In 1950, Kiwis paid an annual licence fee of more than ? 1 to the post office as the fee for such service as radio was under the state control then. Radio Sport is very active in sports news and commentaries. Radio New Zealand broadcasts current news and cultural programms and is available all through NZ. Local gigs are being broadcasted by the bNet, the student managed radio station,and new alternative music is being broadcasted by the Auckland’s 95Bfm. Tribal radio station namely Waikato’s Radio Tainui which has the country-wide network in NZ. Further , there are other players