Working Bibliography Essay Example

Working Bibliography Essay Bering, Jesse. Intoxicating Studies: The Effects of Alcohol on Social Behavior. Scientific American 10 Apr. 2009. 28 July 2009 http://www.scientificamerican.com/article.cfm?id=intoxicating-studies. DeWit, David J., et al. Age at First Alcohol Use: A Risk Factor for the Development of Alcohol Disorders. American Journal of Psychiatry 157 ( May 2000 ) : 745-750. Hawkins, David, et al. Exploring the Effects of Age of Alcohol Use Initiation and Psychological Risk Factors on Subsequent Alcohol Misuse. J STud Alcohol 58 1997 May): 280-290. Perlez, J. Teenage drink and the responsibility in social life: Attributing change in the society. Longman publishers,   2003. (2) 22-27. We will write a custom essay sample on Working Bibliography specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Working Bibliography specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Working Bibliography specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Ramathi, R. Drinking Age of 21: Understanding the rationale behind teenage drinking. Pretoria: Longhorn publishers. 2003, 2: 75-77. Streeter, Ruth. The Debate on Lowering the Drinking Age. CBS News. (22 Feb. 2009). 28 July 2009 http://www.cbsnews.com/stories/2009/02/19/60minutes/main4813571.shtml. West Virginia University. Short-term Effects of Alcohol. www.hsc.wvu.edu. West Virginia University. 28 July 2009 http://www.hsc.wvu.edu/som/cmed/alcohol/home-fr.htm Worman, Howard J. Alcoholic Liver Disease. www.cumc.columbia.edu. 1998. Columbia University Medical Center. 28 July 2009 http://www.cumc.columbia.edu/dept/gi/alcohol.html Annotations Streeter, Ruth. The Debate on Lowering the Drinking Age. CBS News. (22 Feb. 2009). 28 July 2009 http://www.cbsnews.com/stories/2009/02/19/60minutes/main4813571.shtml. This source is credible and is available to many. It is discussing an issue that has already caused a lot of debate in the public arena. The paper quotes experts who believe that the drinking age should be lowered to 18 years as the age limit of 21.   This experts include John McCardell, former president of Middlebury College in Vermont, who started a movement entitled –Choose Responsibility, to lowering the age back to 1 8. 2. Ramathi, R. Drinking Age of 21: Understanding the rationale behind teenage drinking. Pretoria: Longhorn publishers. 2003, 2: 75-77. The source is credible as the writer deals with the drinking age of 21. The 18-year-old mind already developed to the level of an adult thus they would tend to keep in mind the pro’s and con’s of alcohol as they tend to know the consequences of defying all the rules and regulations thus if legalized harm is not bound to happen as many deaths usually caused through drunk riving or injuries caused by violence may tend not to occur as they are well aware of the consequences. Thesis Legal Drinking Age Should be lowered to 18

Free Essays on The Scream

The Scream Through the fog of the cold autumn night we drove, searching for some area of sanctuary for our little ritual. Eric’s truck was cold and I could feel the heat from the tip of my cigarette warming my nose. â€Å"I know!† Eric said abruptly, â€Å"Holy Family Cemetery!† and he jerked his truck into the left-turn lane. As we meandered down Waverly Road I said, â€Å"We’re pathetic, you know. Lying to our girlfriends is not only futile but when they catch us it’s going to cause a bigger fight than if we had just told them we wanted to get high tonight.† With a sigh he says, â€Å"I know, but would you rather go to the movies tonight or fight with Jen?† I just silently nodded, not even caring if he saw me give in. The tires crackled over the gravel road leading up the hill to the old cemetery. Holy Family Cemetery is safely perched on top of a hill and surrounded by trees; it’s totally invisible from the road and very dark. The dense and dreary fog aided our disappearance and we felt secure that we had found a safe spot to puff the pipe. We drove slowly through the narrow roads of the necropolis and made our way to a nice central location. As the truck slowed to a stop Eric said, â€Å"We’ll have to suffer the cold. I don’t want Julie smelling weed in my truck tomorrow.† I said, â€Å"You know, they are probably getting high in my bathroom right now.† â€Å"Just get out, man.† â€Å"Alright, alright, I already loaded the pipe, spark it up.† I said and handed him my skull and bones pipe behind my back as I got out of the truck. We moved down to the rear and Eric lowered the tailgate to sit on. The cold metal unmercifully penetrated the denim on my derriere and made me sit up straight in surprise. After a moment I settled down and the heat from my hindquarters drove back the cold from the car. I took the pipe from Eric and again I felt the warmth on my nose. This time it was more intense and the fire felt as though it woul... Free Essays on The Scream Free Essays on The Scream The Scream Through the fog of the cold autumn night we drove, searching for some area of sanctuary for our little ritual. Eric’s truck was cold and I could feel the heat from the tip of my cigarette warming my nose. â€Å"I know!† Eric said abruptly, â€Å"Holy Family Cemetery!† and he jerked his truck into the left-turn lane. As we meandered down Waverly Road I said, â€Å"We’re pathetic, you know. Lying to our girlfriends is not only futile but when they catch us it’s going to cause a bigger fight than if we had just told them we wanted to get high tonight.† With a sigh he says, â€Å"I know, but would you rather go to the movies tonight or fight with Jen?† I just silently nodded, not even caring if he saw me give in. The tires crackled over the gravel road leading up the hill to the old cemetery. Holy Family Cemetery is safely perched on top of a hill and surrounded by trees; it’s totally invisible from the road and very dark. The dense and dreary fog aided our disappearance and we felt secure that we had found a safe spot to puff the pipe. We drove slowly through the narrow roads of the necropolis and made our way to a nice central location. As the truck slowed to a stop Eric said, â€Å"We’ll have to suffer the cold. I don’t want Julie smelling weed in my truck tomorrow.† I said, â€Å"You know, they are probably getting high in my bathroom right now.† â€Å"Just get out, man.† â€Å"Alright, alright, I already loaded the pipe, spark it up.† I said and handed him my skull and bones pipe behind my back as I got out of the truck. We moved down to the rear and Eric lowered the tailgate to sit on. The cold metal unmercifully penetrated the denim on my derriere and made me sit up straight in surprise. After a moment I settled down and the heat from my hindquarters drove back the cold from the car. I took the pipe from Eric and again I felt the warmth on my nose. This time it was more intense and the fire felt as though it woul...

Research-Based Position as to the Gun Control and Gun Ban Research Paper

-Based Position as to the Gun Control and Gun Ban - Research Paper Example Apparently, the problem lies in agreeing what particular firearms should be included within the assault weapons definition that is being proposed by the federal government for a comprehensive ban. One hereby asserts that the federal government should first assume sole responsibility and jurisdiction for imposing a statewide assault weapons ban, in conjunction with stricter gun control laws to minimize gun-related deaths and injuries. Relevant Statistics and Literature Review In the statistical information presented by Alpers & Wilson (2013), the authors disclosed that there have been alarming increases in gun-related deaths since 2000, as shown in Figure 1. It could be seen that the total number of deaths in 2000 was noted at 28,663 and increased to 32,163 in 2011, representing a 12.21% increase. This number of gun-related deaths clearly happened during times when state-governed gun control legislations were being imposed. Likewise, there are good books that provide accurate informat ion regarding firearm laws in each of the state for the citizens’ awareness (Kappas, 2013). ...1). As such, there was a clear indication that there is a strong link that related higher or stricter gun control laws to the number of firearm-related fatalities. Figure 1: Total Number of Gun-Related Deaths in the United States Source: Alpers & Wilson, 2013 The chart shown below represents the mortality rates related to firearm, the computed strength scores according to the number of legislative laws and gun control enactments, as well as the total number of fire-arm related deaths from a four-year period commencing on 2007 up to 2010. It could be evaluated that the State of Ohio has been noted to have a legislative strength score of quartile 3: from 5 to 8 laws, a mortality rate of from 8.1 to 10.1 per 100,000 population, and a total of 4,431 in firearm-related deaths. The highest number of gun-related deaths were noted coming from the State of Louisiana at 3,318 for the 4-year p eriod and the least legislative strength score of 0 to 2 laws; as well as a mortality rate of 13.1 to 18.0% per 100,000 population (Fleegler, Lee, Monuteaux, Hemenway, & Mannix, 2013). Figure 2: Firearm-related mortality rates, legislative strength scores, and total firearm deaths in the United States, 2007 through 2010.  

DEVELOPING BUSINESS PROCESSES & OPERATIONS Essay

DEVELOPING BUSINESS PROCESSES & OPERATIONS - Essay Example In addition, operations management provides an organization with the criteria for imposing by the market where company operates, according to Slack, Alistair and Robert (2013). Bamford and Forrester (2010) define the aim of operations management to cover the process of decision making and enable organization to develop its strategies. It strives to allow the company to satisfy the needs of stakeholders, foster the long-term success and understand how, where and what for the operations should be located, its resources and relationships are established. To be effective in terms of product or service design, developing or manufacturing, delivering and satisfying customers’ needs, an organization or company needs to efficiently manage its operations that would enable it to achieve more benefit from the services and products its produces. Moreover, high quality of these products and services and cost-available position should also be taken into account. For that purpose operational management is an important line management as it helps organization to display its best performance through coordinating and controlling of the resources needed for design, production and operation of business that at the same time give a company to obtain the highest level of efficiency and value add (Waters & Waters, 2002). Operational management of Swedish company that designs and sells ready-to-assemble furniture, appliances, small vehicles and home accessories is the best example of how its effective management led to the success. One of the world’s largest furniture retailers, the turnover of the company is close to four billion dollars. The company’s major idea is to provide the high-quality furniture and accessories at a low price to enable each individual to purchase them. Ikea is also known for its sophisticated design, logistics and distribution concepts (Larcon,

Kennedys Inaugural speech Essay Example | Topics and Well Written Essays - 250 words

Kennedys Inaugural speech - Essay Example Effective writing is an important tool of expression that bridges the writer to the readers. The other essay that this account also used was that of Jams Tipton. On the first analysis, there are reasons that could account for why some writers repeat key phrases throughout their writing pieces. One reason is to make their pieces coherent. Repeating the use of keywords in an essay is an important means to strengthen its transitions, â€Å"various devices that help readers along through a document† (â€Å"Online Technical†), which are important components of an effective writing piece. On the grounds of its effectiveness, repetition is an effective factor for both comprehension and persuasion, on the part of the readers. However, such effectiveness is arbitrary due to the reason that if not used intentionally, such repetition could eventually frustrate the piece’s coherence (Lybbert and Cummings 35). In Rolly Pelovangu’s essay â€Å"John F. Kennedy Inaugurat ion Speech,† it was written in a formal manner that it is more objective, which avoided the use of contractions. In addition, the essay was more of a persuasive essay which posited the author’s emotions and which formality was appropriate for the purpose of persuasion, as it was said to be the goal of any persuasive essay. Hence, prior to Kennedy’s Inauguration speech which is a political matter, persuasive essays are likely to be developed and formality is also a distinguishing feature.

Generic Concept Of Authenticity In Pop Music Music Essay

Generic Concept Of Authenticity In Pop Music Music Essay This thesis and its associated research had its origins in my own fascination with the generic concept of authenticity, as it exists within life generally, and specifically within popular music. The dualities of good/bad, genuine/false, honest/fraudulent, and creative/derivative have always been present within the ranks of musicians and their performances. This thesis is intended to reconcile and explain the distinctions within these dualities, and to develop a model for evaluating authenticity within popular music. An Hypothesis on Authenticity in Popular Music As a foundation for the research and development in this thesis, I will explain my own stance on the key issue of authenticity. There are six key tenets within this proposition: Authenticity functions as a marker of quality Authenticity can be evaluated. Authenticity is not a finite concept. An Hermeneutic approach is essential in measuring authenticity Authenticity judgement requires a prior-researched description of genre Authenticity may only be assigned to a single piece of musicking. Here are some details of each one: 1.1.1. Authenticity functions as marker for Quality Whilst there are some ingredients of Authenticity that are more easily measurable, there are other criteria which are more subjective, and where evaluation of them is an activity more determined by expert consensus, or personal taste and background. Judgements made using these criteria are largely unquantifiable, and often in the form of personal assessments. Some of these judgements may be socially and culturally constructed, and are shared between groups of people, notably in the case of fans, critics, or enthusiasts of a specific type of music, or a particular performer. Students and researchers of popular music would normally adopt a more balanced and catholic judgement, so that an equally fair evaluation would be made on a piece of country-rock music, as would be made on a piece of punk music. Authenticity is a description of the provenance and integrity of a recorded, or live performance, as well as a definition of musical skill, tunefulness, and of a listeners personal gratifi cation. The judgement, or evaluation, of some aspects of authenticity of a piece of musicking may use less scientific criteria than others, wherein the measurement is inevitably affected by the tastes of the judge or evaluator. I have drawn extensively on Christopher Small (1998:2-3) and his eleven activities within musicking, in developing my own nineteen criteria for evaluating Authenticity, which operate as a hermeneutic circle, and of which the first fourteen relate to recorded songs, with an additional five criteria for evaluating live performances of songs. Here is a brief description of my nineteen criteria: The Notation This element is less important in popular music than in classical music, since the main method of transmission has not been through stave notation, but through recording, and performance. (Moore, A.F 2001:34) However, where it originally exists, or where subsequent notation has taken place on existing works, there is still value in its inclusion as a criterion, particularly where patterns of notation may be compared within several songs, or where consistent notational motifs may be identified Lyrics Whilst I contend that it is Performance and Reception that are central to the true meaning of a song, the lyrics have a strong bearing on this. It is also possible to identify common patterns in lyrics (Wall, T 2003:129) as well as everyday language in the context of performance, and collective responses and aspirations (Frith, S 1988:121) The words of the song should usually be grammatically correct and recognisable, and the overall content should be rational. Biography This element should also be twinned with autobiography as it refers to the use and influence of personal history, upbringing, nurture and culture on singer/songwriters and their eventual compositions and performances. It is an essential element to consider as far as authenticity is concerned, and in my view has been vastly under-analysed, and has been allocated insufficient importance. Recognised Influences There are undoubted connections here with my Biography element (No. 3), in that childhood and developmental influences are nearly always lasting, especially where they have been received in an emotional context (e.g. happy, sad, or painful). But in addition consideration is needed on more contemporary influences, both of musical, and of other types. Song Structure An important element in the primary text is the actual shape of the song, in terms of its musical texture, its use of instruments and voices, its rhythmic organisation and its relationship to lyrics. This is often a key factor in the determination of a genre. It is important that there is a pleasing shape to the song, with sufficient changes (verses and choruses), a comprehensible story line, and an appropriate length. There should also be a balance between familiarity and variety, and the song must have sufficient familiarity to provide comfortable reception, whilst, on the other hand, offering something new and challenging. Melody This is a pattern of pitches and rhythm that creates a tune or song, and as such, underpins the whole content of a song. It is the melody that, to a large extent, is the basis for the Emotion (No.13) element of the song. In popular music, the melody usually comprises verses and chorus, but with variety in the phrasing and lyrics. Meaning and Intellectuality The meaning of a musical piece may be interpreted in an abstract or a universal manner, and Composition may be viewed as having a subtle difference in meaning from some Performances. Such differences may also affect the meaning from the position of Reception, but it is easier to see musical works anchored to specific time, place, and cultural situations. This aspect is probably the most difficult to analyse scientifically, since the central question is whether the lyrics and/or the music stimulate some intellectual curiosity, with ultimate satisfaction. Context This broad topic is important not just for the more obvious analysis of Performance, and Reception, but also for the historical and biographical context in which a song was composed. Again there will be some interconnection with aspects of Biography and especially factors such as class, culture, gender, and politics. Instrumental The traditional rock line-up of a band is two or three guitars and drums, but in the case of country-rock and its convoluted development phase, many other instruments were involved. The exploration of the use of these instruments, and the ways in which they have contributed to the Performance and Reception of music is essential. Much has been written on the appropriate use of specific instruments and their relationship to the true membership of a genre, as well as whether there are acceptable levels of musical proficiency demonstrated in the execution of the song by the instrumentalists. Vocal Most popular music involves one or more voices, and this element is concerned with how these voices are used, singly or harmoniously, and the ways in which communication is established between singer and listener (Moore, A.F 2001: 44/5) It is arguable that, in many cases, it is the voice that is the final arbiter in establishing whether a piece of music is authentic or not. It is important that acceptable levels of musical proficiency are demonstrated in the execution of the song by the vocalist/s. Production This mainly Performance related element deals with the technical, and technological systems used to aid and enhance performance, as well as the choices made about instrumentation, vocals and, in some cases, stagecraft. There is a natural interlinking with other hermeneutical elements. The technical production of the recording should meet standard conventions of the genre, in regard to the mixing, the balance, and the volume as well as any additional enhancements. Cohesion and Balance (including Sonic Balance) This element is concerned with the extent to which the band is playing as a team with appropriate use of instruments and vocals, and to which the various instrumental and vocal elements within the performance/recording are balanced, so that a smooth and cohesive overall sound is achieved. Connectivity and Emotivity It is important that the listener/receiver, acknowledges a personal relationship with the song, lyrically and/or musically with the song exciting some form of emotion upon reception, and in which the listener/receiver is sufficiently stimulated and curious to have a desire to hear the song again. The Leader Within a band, the style of performance may be dictated or at least highly influenced by the leader who is often, although not always the singer. This inevitably affects the Reception of the music. However, the Composition of the music also needs to be considered in the light of the leader, for even if it is not he/she that is the main author, the style of the piece could be shaped by his/her approach. Repertoire This is what Christopher Small terms The Drama of Relationships (Small, C 1998:158) Each musical performance has, or should have, a recognisable narrative, or a set-list and this is most significant in the analysis of Reception. The psychology inherent within constructing a performance including many songs is important in the development of Audience Rapport, or even individual fan admiration. Stagecraft Middleton (1990:168) recognises false music and true music, where false means corrupt, manipulated, over-complex, and mechanical, and true means natural, spontaneous, and traditional. In these senses, the interpretation of drama, and a sense of theatre in the performance and reception of popular music are always important. It is inevitably connected to Repertoire, but is far more than this single item. Again, only in a live performance, the image presented by the performers through body movement, gestures, stance, and cohesion should augment the reception of the song. Planning and Organisation This thoroughly contemporary affair as Christopher Small puts it (Small, C 1998:30) includes the organisation of performances, the role of publicity and advertising, and the ways in which the audience is prepared for the Reception. Whilst they are not directly a composite part of a piece of music or its actual performance, the intricacies of the arrangements undoubtedly sway perceptions of a musical show or concert. Venue This, of course is solely a Performance/Reception element but, like Planning and Organisation, is extremely powerful, since the size, shape, location, construction, lighting and acoustics will exert major pressures on the ultimate performance. Audience Rapport This element is concerned with the intimacy, community, bonding and sharing of an audience and the ways in which they are able to persuade each other. It is also concerned with individual and group participation in the Performance and its effect on the perceptions of authenticity. In a live performance, there must be a general and universal approval demonstrated towards the song as demonstrated through facial and bodily expression during the performance and applause at the end. Having described all nineteen elements used in the assessment of Authenticity, it should be stressed that whilst Authenticity is a term that provides for a description of the integrity of a piece of musicking, this integrity is not always synonymous with attractiveness, as recognised by huge swathes of the worlds population. As I show in this dissertation there are plenty of examples of music that are authentic, according to measurement of many of the criteria, but which are not necessarily well received. Conversely there are many instances of well-received musicking that are not of a high level of authenticity as related to the other criteria. In other words, Authenticity is not finite. 1.1.2. Authenticity is not a finite concept. Authenticity has so many different components (I have identified at least nineteen) as well as many mediators, so that relative judgements on each of the items would almost certainly mean that a final decision as to whether the song was authentic, could never result in a simple yes or no, but would be a relative assessment. The more appropriate question that should be posed by the judge, or evaluator, would be: to what extent has this song/performance been deemed to be authentic? A piece of musicking may, for example, have some authentic attributes, such as a truly original instrumental performance, and the vocal qualities may be genuine, whereas its lyrical content may be mundane, and derivative, thus rendering the song only partially authentic. This particular principle relegates the rockism argument, described in other parts of this thesis, to a peripheral position, since it accommodates varying degrees of authenticity, rather than insisting on one broad form of music being superior to another, simply based on its provenance. Rockists are people who consider that there were, and occasionally still are, golden periods of Rock, illuminated by artists and performances which contain an honesty, authenticity, and value of which the mainstream of performers in pop music are both incapable and unconcerned. The differences that show themselves when evaluating Authenticity, particularly in the contrasts between the more objective criteria and those that embody the expression of values generated and constructed by the critical and fan community, mean that an evaluation of authenticity cannot remain in perpetuity, and that it has a clear temporal characteristic, wherein evaluation may change over time. Therefore, despite the fact that judgements on the Authenticity of pieces of musicking may be made, they are essentially of a relative nature. 1.1.3. Authenticity can be evaluated There are many different hypotheses on the topic of musical authenticity, many of which have been reviewed and assessed within this thesis, all of which, without exception, explain the concept in notional terms, whilst avoiding any attempt to develop, or impose, a quantitative measurement of judgement. The decision on the authenticity of a piece of musicking, has been derived from a qualitative evaluation, left to the complex devices supposedly inherent within the intellectual abilities of a few senior musicologists and experts, or socially and culturally constructed values. I propose that, with the application of a list of authenticity criteria, built into a hermeneutic framework, there are a number of activities that can move the efficacy of the judgement towards a more accurate qualitative assessment, albeit still with strong elements of discrimination within it. 1.1.4. A hermeneutic approach is essential in evaluating authenticity Since each evaluation criterion has influences upon, and from, each of the other criterion, the idea of a circle is used so that ones understanding of a piece of musicking, as a whole, is established by reference to the individual criteria and ones understanding of each individual criterion by reference to the whole. Neither the whole piece nor any individual criterion can be understood without reference to one another, and hence, it is a circular process. Strictly speaking, hermeneutics was originally conceived as means of cultivating the ability to understand things from someone elses point of view, and to set aside ones own predelictions and tastes. So the whole evaluation exercise must be considered in full awareness of the evaluation conclusions which may have been reached by the relevant community practice, before and during the judgement process. Using the tools and procedures that I have developed to make an ultimate judgement on both authenticity, ensures that the decision will be as informed, researched, and analytical as is possible. 1.1.5. Authenticity judgement requires a researched description of genre Whilst I have described in some detail the general nature of a range of criteria that I have allocated to Authenticity [including Quality], it is important that the Authenticity criteria are enhanced and made more explicit. This should be done through a close examination, and subsequent description, of the genre that one is analysing (in this thesis, my exemplar is country-rock music). There have been major academic debates on the nature of genre, and in particular whether genre is a stable item rather than a temporal one. My position is based on the assumption that genre may be fixed and stationary, if one is, firstly, prepared to accept the existence of a continuum of a multitude of popular music styles, within which many different genres and sub-genres reside. Secondly, and perhaps paradoxically, it is important to acknowledge that the detailed description of any single genre, or sub-genre, is not universally acknowledged and is, therefore never canonically explicit. The nature of both of these conditions will be influenced by the beliefs and convictions of individual researchers. This means that genre definitions will inevitably vary, albeit within boundaries. Nevertheless, it is essential to generate a broad genre template through which authenticity may be evaluated. It is important to note that authenticity may be a validity descriptor of a piece of musicking, both in general terms, in the sense that the song has been composed, performed, and received in an authentic manner, but also in genre specific terms; so that a song may be classed as being authentic blues or authentic country-rock. The significance of this lies in the need to define genre-parameters when attempting to evaluate authenticity within a genre; hence the statement: Authenticity Judgement Requires A Researched Description Of Genre. 1.1.6. Authenticity may only be assigned to a single piece of musicking Within Popular Music, I propose that the evaluation of authenticity may only be made as far as a recorded or performed song is concerned. Authenticity comprises a number of attributes of composition, performance and reception, but is largely concerned with sound, rather than the characteristics of a human being. Therefore, authenticity cannot be assigned to an artist, other than in a general sense, through a judgement of his/her individual performance of a song. It may be seductive to contemplate the authenticity of an artist, as has been done frequently over the history of popular music, and as argued forcibly by the Rockists. Indeed, many rock artists have been accorded that epithet, including Bob Dylan, Bruce Springsteen, Bono, Leonard Cohen, and Lou Reed. However, human authenticity is a complex and hugely debatable concept. For example, it is arguable that even these notable performers could only be described as authentic, if they were to have totally eschewed commercial gain, desire for glory, or other forms of psychological reward during their long and successful lives. This has patently not been the case. Of course, it is arguable that human authenticity could be assessed on the basis that it is not a finite concept (as I have professed is the case for musicking). However, the study of authenticity of individual human beings, would be a multi-faceted, and almost impossible task, since there are so many variables and criteria, which would need to be taken into account, such that even a relative evaluation would involve an extremely complex decision-making process. It is most certainly not within the remits of my research within this thesis. It is also important to stress that the epithet of authenticity cannot be assigned to a body of work, rather than a single song or piece of music, but is only related to individual performances/recordings of songs. It would be possible, however, to make assessments of a number of individual songs performed by one artist or even an assembled group of artists, wherein it might then be possible to offer an overall measurement of the degree of authenticity of that particular set of songs but it would be an average, or mean, of the total assessment. On the same basis, it would be technically possible, albeit extremely arduous and time-consuming, to carry out such an exercise on the entire output of a particular artist. It should be stressed that even so, the eventual conclusion would still be an evaluation of the performance of the music, rather than the person. At this point I should also restate that my position holds that the evaluation of Authenticity of a live performance of a song may be made, even though this will inevitably differ from the recorded version of the same song. All of the criteria used in the evaluation of a recorded song will apply to a live performance of a song, but there will also be a few additional elements that should be applied. These are listed under an earlier principle (Authenticity functions as a marker for Quality)

Talkin the Talk: An Examination of Black English in the American Education System :: Free Essays Online

Talkin the Talk: An Examination of Black English in the American Education System How many people here believe that schools should require the use of standard English at all times? That schools should respect all languages? How many people believe that Ebonics is a legitimate language that should not be compared to standard English? Most of you are probably wondering why I am interested in Ebonics. Obviously I’m not black. But, that does not mean that I can’t take an interest in the success of my friends and classmates. I attended Amherst Regional High School in Amherst, Massachusetts. My town is supposedly a liberal, open-minded place. But I always wondered why there were very few black students in my advanced-level classes and how come some of the black friends I had in the beginning of the year were no longer around at the end. I talked to one of my friends about this once. She told me that many black students in our school had moved from a nearby city and that they were not used to the academic standards of the school. Many of them became discouraged due to the lack of support of the teachers and some students even dropped out. This is a problem. In my opinion, many teachers do not respect students’ cultures if they are not a part of the mainstream, white culture. Although language is on ly one part of this respect, it is a large part of every student’s culture. Even though there has been a movement to improve inner-city schools and increase the success of black students, these programs would benefit any school around the country. Although the debate over the legitimacy of Ebonics as a language had been burning out, the Oakland school board decision in 1996 re-sparked this debate. Every marking period, in the Oakland school district, many African-American students brought home report cards singed with bad grades. In a school district where 53% of the student population is African-American, what concerned the school board was that these black students accounted for 71 percent of "special needs" students and received an average GPA of 1.8, compared to the average of 2.4 for all other students (Perry xi). It was time to correct that problem. The school board of Oakland, California organized a task force to do just this. The Ebonics Resolution, as the plan was called, recognized Ebonics as a legitimate language that deserved respect within the classroom.

The Bush Doctrine and the Iraq War: Neoconservatives vs. Realists – Review

I intend to review â€Å"The Bush Doctrine and the Iraq War: Neoconservatives vs. Realists† by Brian C. Schmidt and Michael C. Williams. The reason for choosing this article for review is simply because of its relevance today throughout the Middle East and how the American foreign policy is drastically changing the dynamics of the world. Schmidt and Williams use the elements of the neoconservative Bush Doctrine to show the direct contrast between realists and neoconservatives. The authors use the Bush Doctrine as an anchor to demonstrate realists’ anti-war views as the Bush Doctrine â€Å"provided the key rationale for the Iraq War. This is the main theme of the paper and the authors express this throughout the paper in a fascinating, enthralling fashion. The previously supported neoconservative project has been fatally wounded through its invasion of Iraq. The Bush Doctrine does in fact â€Å"represent an abrupt and unprecedented shift in American foreign policy. â⠂¬  The United States of America had been the most influential nation in the entire world (â€Å"land of opportunity†), with its huge military force and dominate economic position, but with this doctrine came a wave of unexpected anti-Americanism.Schmidt and Williams make reference to Morgenthau and his struggles to â€Å"to convince American foreign policy officials of the dangers of conceptualizing the national interest in universalistic moral terms. † I agree with his mind-set that the Iraqi invasion was â€Å"national-suicide† and bruised the image of America worldwide. His vision that spreading democracy would result in disaster may have been pessimistic but was completely accurate. American realists were right from the offset; they believed that it was â€Å"unnecessary and counterproductive to invade Iraq. † And in hindsight they were extremely correct.However they failed to â€Å"steer America away from the road to war. † If all the eviden ce was weak, vague, and â€Å"baseless† , why did realists fail to persuade the public that the invasion would prove to be disastrous? This is what Schmidt and Williams set out to solve. One of the most chilling yet accurate quotes of the article is: â€Å"their wisdom only taking flight at dusk—when most of the damage has already been done. † It was important to publish these ideas to demonstrate how gullible the American public (and even Congress) were in following the Bush administration to war and to ensure that this aggressive strategy is never repeated.It was also important to publish this article to illustrate the future implications of the Iraqi war on the U. S foreign policy. Schmidt and Williams use different methods throughout the article to reach their conclusions. They state and evaluate the arguments that realists adopted in order to defer America from invading Iraq. They also demonstrate the tactics used by neoconservatives to undermine and defeat realists in the lead up to the war in Iraq. The authors engage in these different methods to reach conclusions as to why realism ultimately failed in the Iraqi debate.The subjects in this article are visibly neoconservatives and realists. It is clear from this article that neoconservatives and realists share a very different outlook. One of the most accurate yet sombre quotes is: â€Å"As Mearsheimer sees it, realism quickly unravels the neoconservatives' faulty logic and explains the current reality of the Iraq situation. † This statement oppresses me as it was too late to materialize and fight against the decision to invade Iraq. The authors draw on John Ikenberry and his belief that terrorists â€Å"â€Å"cannot be deterred because they are either willing to die for their cause or able to escape retaliation. This is a brilliant quote used by Schmidt and Williams in this article as it shows the apparent ruthlessness of these ‘terrorists’. They use elements o f the Bush Doctrine to demonstrate the tactics used by neoconservatives to persuade the American public towards supporting the invasion of Iraq. Drawing on these elements is a very intriguing technique and draws the reader in. The authors point out from the offset that the Bush Doctrines goal was for the United States â€Å"to preserve its hegemonic position for the indefinite future. † This is a brash statement demonstrates neoconservative’s belief in a unipolar America.By referring to the Bush Doctrine in this article the authors demonstrate the idealistic notions of neoconservatives and their belief that America â€Å"leadership as a prerequisite for an orderly and peaceful world. † The authors use a brilliant quote to depict the neoconservatives ultimately naive and unipolar view that ‘one-size fits all’: â€Å"American hegemony is the only reliable defence against a breakdown of peace and international order. † The authors cleverly repro duce a metaphor used by Mearsheimer: â€Å"Wilsonism with teeth† which brilliantly depicts neoconservatives’ absolute belief in unilateralism and America being the sole superpower.It captured my attention as a reader drawing me in to the article. Schmidt and Williams make reference to Walt’s argument: â€Å"how can other states be comfortable and secure when U. S. decisions affect all of their interests, and when the United States is strong enough to act pretty much as it wishes? † This is a brilliant rhetoric question which draws the reader in. Through the use of rhetoric question the author’s emphasis their point that the United States do in fact pose a huge threat to the rest of the world. The authors use impeccable language to express their point that neoconservative and realist views are in direct contrast.Alliteration (‘p’ repetition) is used in the following sentence which, in my opinion as a reader, draws the audience in becaus e of its dramatic and memorable effect: â€Å"Rather than a prescription for peace, as most realists maintain, neoconservatives view balance-of power politics as both unnecessary and a hindrance to achieving American national interests, while America's preeminent position in the world obviates the need for traditional balance-of-power diplomacy. † Schmidt and Williams state that realism â€Å"lacks any view beyond narrowly strategic material calculation, narrowly pragmatic judgment, or pluralist competition. I agree with this statement, realists to carry a very pessimistic, strategic view. This is not suitable in modern politics due to globalization. In my opinion the major weakness of the article is that Schmidt and Williams fail to give a solid resolution to the problem and how to restore America’s image abroad and how to improve the future of the US foreign policy. In the conclusion Schmidt and Williams ask the all-important question: â€Å"can realism make its an alytic positions politically powerful? † In my opinion the answer is yes but only if realists develop their ideas to suit the modern world today.Traditional realism has most definitely surpassed, however, following the full failure of the Bush administration, realists will be called upon in order to guide the American foreign policy and restore its pride and glory that took centuries to build. In my essay I reviewed the article â€Å"The Bush Doctrine and the Iraq War: Neoconservatives vs. Realists† by Brian C. Schmidt and Michael C. Williams. I decided to illustrate the main theme at the start of my essay and explained why I thought it was important that these ideas were published.I followed by explaining the author’s methodology and described the basic results from their research. I proceeded by declaring the articles strengths and weaknesses, particularly focusing on the writing skills used by Schmidt and Williams. Finally, I reviewed the conclusion. I found t his article particularly interesting and thought provoking. I have always been exposed to the heroic attributes of America because of the propaganda media broadcasted; however, Brian C. Schmidt and Michael C. Williams illustrate a quite unbiased view of the nation and the possible future implications of the U. S foreign policy.

Bernard Cornwells Sharpe Books in Chronological Order

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