Hip Hop Fashion Statement - Free Essay Example

Run DMC quoted â€Å"All of these clothes are connected to what it means to be young and black in america†. Hip Hop fashion is also known as big fashion. Men usually wore denim jeans, hooded sweatshirts, athletic warm up pants, Mock turtlenecks, etc. Major Contributors to hip hop clothing were Marc Ecko. Marc Ecko was the founder of Ecko unlimited. Also Avirex played a part in the hip hop fashion which was considered a hip hop brand started as a military clothing brand founded by Jeff clyman in 1975. In the 1980’s heavy jewelry was very popular. While men were so focused on heavy gold chains, Women was on large gold earrings. Believe it or not but music played a big part in the way people dressed during the 90’s. Celebrities were known as fashion icons, especially rappers such as Tupac, Snoop Dogg, and even LL Cool J with the Kangol hat in the 80’s. Fashion in the 90’s slowly evolved from the 80’s as the hip hop community wore African American dressing. Bright colors, Large pants and headwear were the inspiration of dressing in the early 90’s. Now lets skip to the Mid-Late 1990’s where Tommy Hilfiger was one of the most well-known brands along with Ralph Lauren polo, Calvin Klein, Nautica, and DKNY. In the late 1990’s artists and fans went from big gold chains to platinum and silver jewelry with diamonds. Rappers such as Juvenile and the Hot Boys were largely responsible for that trend. Plenty of people did not supp ort the fashion trends throughout the years. One publicist stated â€Å"Celebrities should try showing less expensive brands so people will know that they dont have to hustle, steal or kill for flyness†. In the late 1990’s Guru of gang star was robbed of his rolex at gunpoint and prodigy was robbed of $300,000 in jewelry. Later on in the 2000’s no matter if you were hooping or not, Sweatbands were very popular. Another big fashion statement was Tall Tee’s. Tall Tee’s were so cheap you could buy a couple of them for a dollar, Literally. Most people saw Tall Tee’s as a sign of drug dealers, for that reason they was banned from clubs. Tall Tee’s were on of the most worldwide trends. The founder Henry Abadi, a syrian native who traveled to New York in 1971 to be trained as an engineer, seemed to be into Tall Tee’s. Once Abadi could not find work as an engineer he opened a clothing store for kids. The store was a success so he turned it into a wholesale store. Once he launched the â€Å"40 inch Tee’s they were a huge success. Abadi started receiving calls Nationwide for the Tall Tee’s.

Batesian Mimicry Definition and Examples

Most insects are quite vulnerable to predation. If you cant overpower your enemy, you can try to outsmart him, and thats just what Batesian mimics do to stay alive. What Is Batesian Mimicry? In Batesian mimicry in insects, an edible insect looks similar to an aposematic, inedible insect. The inedible insect is called the model, and the lookalike species is called the mimic. Hungry predators that have tried to eat the unpalatable model species learn to associate its colors and markings with an unpleasant dining experience. The predator will generally avoid wasting time and energy catching such a noxious meal again. Because the mimic resembles the model, it benefits from the predators bad experience. Successful Batesian mimicry communities depend on an imbalance of unpalatable versus edible species. The mimics must be limited in number, while the models tend to be common and abundant. For such a defensive strategy to work for the mimic, there must be a high probability that the predator in the equation will first attempt to eat the inedible model species. Having learned to avoid such foul-tasting meals, the predator will leave both the models and mimics alone. When tasty mimics become abundant, predators take longer to develop an association between the bright colors and the indigestible meal. Examples of Batesian Mimicry Numerous examples of Batesian mimicry in insects are known. Many insects mimic bees, including certain flies, beetles, and even moths. Few predators will take the chance of getting stung by a bee, and most will avoid eating anything that looks like a bee. Birds avoid the unpalatable monarch butterfly, which accumulates toxic steroids called cardenolides in its body from feeding on milkweed plants as a caterpillar. The viceroy butterfly bears similar colors as the monarch, so birds steer clear of viceroys, too. While monarchs and viceroys have long been used as a classic example of Batesian mimicry, some entomologists now argue this is really a case of MÃ ¼llerian mimicry. Henry Bates and His Theory on Mimicry Henry Bates first proposed this theory on mimicry in 1861, building on Charles Darwins views on evolution. Bates, a naturalist, collected butterflies in the Amazon and observed their behavior. As he organized his collection of tropical butterflies, he noticed a pattern. Bates observed that the slowest flying butterflies tended to be those with bright colors, but most predators seemed uninterested in such easy prey. When he grouped his butterfly collection according to their colors and markings, he found most specimens with similar coloration were common, related species. But Bates also identified some rare species from distant families that shared the same color patterns. Why would a rare butterfly share the physical traits of these more common, but unrelated, species? Bates hypothesized that the slow, colorful butterflies must be unpalatable to predators; otherwise, theyd all be eaten rather quickly! He suspected the rare butterflies gained protection from predators by resembling their more common but foul-tasting cousins. A predator that made the mistake of sampling a noxious butterfly would learn to avoid similar-looking individuals in the future. Using Darwins theory of natural selection as a reference, Bates recognized evolution was at play in these mimicry communities. The predator selectively chose prey which least resembled the unpalatable species. Over time, the more precise mimics survived, while the less exact mimics were consumed. The form of mimicry described by Henry Bates now bears his name –Â  Batesian mimicry. Another form of mimicry, in which entire communities of species resemble one another, is called Mullerian mimicry after German naturalist Fritz MÃ ¼ller.

The Relationship Between Technological Change And Cultural...

Name Instructor’s Name Subject Date What is the Relationship Between Technological Change and Cultural Change? Introduction Technology has advanced rapidly over the last decade and these changes have affected all aspects of life including media. The advent of social media tools such as twitter and facebook means users do not have to wait to get to know about particular news. In other words, they have instant access to news today and this was not the case about 15 years ago. During the Pre-Internet era, people had to wait for news to get published in their local news and this news that eventually came to them were filtered and edited to ensure that people heard or read only what they should. Along with these technological advancements, many cultural changes have also happened in the way people receive news. To get a deeper insight into this issue, this paper will take on a few cultural aspects of journalism that has changed with the advent of technology. While there are many areas, this paper will specifically focus on two areas, namely, citizen journalism and changes that have occurred in the tone and style of news presentation. These two aspects were chosen because they are two of the most evident changes that have happened since people started using the Internet. These aspects have changed the way people consume and deliver news, thereby bringing about a new culture in journalism and this is why they are discussed in great detail in this paper. Cultural Changes TheseShow MoreRelatedSocial Structure And Social Structures995 Words   |  4 Pagesand Strathern (1998:22), define society as groups of people or communities that are connected by similar social, economic, political or ideological ties. These scholars state that societies are results of systems of interactions between people, known as social relationships. 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Some Words About Mirza Asadullah Baig Khan English Literature Essay free essay sample

Mirza Asadullah Baig Khan, who wrote under the Takhallus, or pen-name, of Ghalib is still the most influential poet in Urdu. Ghalib agencies conqueror . In the Urdu/Persian tradition, a Takhallus is besides a self-declaring name. At first he wrote under the name Asad , but he consulted a sher, a set of riming pairs in which he sought to epitomize his individuality. The pairs read ; Asad prayed to graven images, yet he was betrayed. Now my shers are glorious, by God s clemency. He commented Asad receives clemency, but by this rubric I am shamed. This displacement gives a critical hint to the significance of Ghalib s puzzling manner. To idolize graven images under the semblance they are God may accrue clemency, but Ghalib writes with the earnestness of one who piously prays to idols as God, non as a heathen, but as one who embraces semblance in order to seek God. Sexual love, the pleasances of drink and the risky insecurity of chancing were therefore semblances whose really contradiction embodied a desire for God. No other poet moves so fleetly from concrete life to mystical devotedness than Ghalib. Ghalib was unfeignedly unconventional as a Muslim, though this creates a job for the devout. His earnestness is embodied in his life and work. Ghalib was born to parents of Turkish blue descent in 1796 in Agra. He lost his male parent and an uncle in early young person. He began to compose early. At 13, a matrimony was arranged with an upper center category household. His married woman was a devout Muslim, who bore him three, or four kids, all of whom died immature. He so moved to Delhi, where his house still stands. Ghalib devoted his life to composing and it was to poetry that he gave most attending. His historical work is a letdown, despite its unrecorded informant of the Mutiny, though this is non a settled opinion. His letters are singular for their conversational easiness and witty sarcasm. All his life Ghalib depended, in turn on upkeep from friends, the Royal Durbar, the British Government and the Nawab of Rampur, with the stop-start consistence Doctor Johnson would hold wryly understood. Ghalib was suspected of back uping the Mutiny ( or First War of Independence ) , but reinstated his repute. His esteem of the British literary tradition was every bit strong as his disdain for the barbarous world of British regulation. He died on 15th February, 1869. Tradition implied every poet should hold a instructor. To be be-ustad was a shame. Ghalib either invented or expanded his contact with Abdulsamad, a Iranian coach from Iran. Like the modern European authors, Paul Celan and Samuel Beckett, Ghalib wrote in two linguistic communications, in his instance, Persian and Urdu. Like them, he intentionally exploited the ambiguities between the contrasting enunciation of the two linguistic communications. However the two traditions portion a similar rhetoric. The ghazal tradition was focussed on tormented love for a distant, or unachievable adult female. To this Ghalib added a broad pallet of metaphysical question, theological speculation, scenes from his practical life and an about dissident temper. While the Iranian tradition seems to hold influenced the Provencal, the European strain of courtly love espoused, valour, criminal conversation and therefore the secretiveness of the senhal, a anonym. The defeat of love prevarications in chance, w hereas in the ghazal tradition, it lies in apparent un-attainability. The similarities contrast and do non meet. To understand Ghalib is to hold on foremost that the individuality of the beloved is rarely defined. It could ever be God, in which instance the properties of the unanswered relationship are upturned to metaphysical consequence. If it is a individual, the love could be brotherly, sisterly, familiar or sexual. The darling became an increasing abstraction in Urdu poesy after the Sixteenth Century. Ghalib s stylistic revolution was to retain the abstraction, yet turn conceptional desire back to the concrete. There is a singular analogue between Ghalib and his younger European coeval, Stephane Mallarme. Like Ghalib he had a devout upbringing, marred by loss of male counsel. Like Ghalib, he married a devout and inflexible married woman. Like Ghalib, he mourned the loss of an baby. Like Ghalib he used the complexness of a related tradition ( in his instance the German Idealistic tradition ) to enrich a reversal of poetic conceptional desire, focused on a construct of void, however to be discerned in the most concrete and spiritual item. Like Ghalib, his technically accomplished poesy neer reached its audience during his life-time. Like Ghalib, his manner challenges great rational sleight in its reading. Like Ghalib, his place as an influence on later poesy is powerful, though unostentatious. The theory of correspondences, stemming from Swedenborg, is a distraction here. It is the usage made by Mallarme by consecutive Symbolist, Expressionist, Surrealist, Modernist and Post-Modernist poesy than provides the existent analogue with Ghalib. I do non claim cognition of modern-day Urdu poetry, but at that place seems to be a rich vena of convergence between the European and Urdu traditions to be found in the comparing. At present, the dynamism of cultural reclamation lies more on the Eastern side than in the West. Recent attempts to understand the tradition of Mallarme seem to hold run into the sand. I quote the attempts of Jonathan Culler. In, Chapter Eight of Stucturalist Poetics, [ 1 ]he states, mentioning to Mallarme s Soupir[ 2 ] say that the adult female is to autumn as the psyche s aspiration is to its inevitable, but unmentioned failure. Yet failure is conditionalised by Mallarme. The psyche is to the sister, as fall is to the Sun. Both the psyche and fall have the power to maintain decease at bay. Winter could be no more concluding than decease. The frozen Big Dipper paths harbour seeds. The push of white H2O seeks to sow the clouds. ( la monte is a Gallic rural look for the genteelness season ) Mallarme keeps pessimism and optimism as unfastened if semi-blasphemous constructions. This is unless one prejudices the issue by claiming that no reading is possible that allows for the world of the transcendent. Jonathan Culler does this later in his dumbfounding statement that Modern critics who concur on small else, seem to hold that this side of Baudelaire- the Baudelaire of Satan, Demons and Evil with a capital E- is of small involvement or importance, non portion of Baudelaire s, or our modernness, but the stale leftover of a Gothic Romanticism which boldly invoked infernal powers. [ 3 ]In fact, the opposite defines his modernness. By taking the stale Satan of Milton, Goethe and Hugo and fusing imitation to scruples, he clears the manner for Mallarme s upside-down scruples of void. Yet even negation is unfastened to faith. A parallel position affects the relationship between Islam and secular post-Modernism. Any reading that starts with the impossibleness of religion, implies the impossibleness of a devout reading of either Mallarme, or Ghalib. One interesting way lies in the links between Jansenism in Mallarme[ 4 ]and Sufi mysticism in Ghalib[ 5 ]. Secular readings should non and make non depend on presuppositions extinguishing the possibility of religion. This is where my relationship to both poets begins. I used to read Mallarme under the desk in my A Level Gallic lessons, non that I despised the music of his coevalss, but that the adult male s undertow of unanswered love was a strong inspiration for my ain authorship at that clip. A twelvemonth or so subsequently, while assisting Fakhir Hussain edit his interlingual rendition of Abdul Harim Sharar s infusions from the Avadh Punch[ 6 ], I encountered Ghalib, in the versions of Malik Ram.[ 7 ] Like all interlingual renditions, mine are a treachery, every bit good as a interlingual rendition. A necessity for undercover agents, the dead missive bead enables the poet to pick up a revealing message from a impersonal topographic point, without bias to its location. Yet every communicating betrays some significance. The eight ghazals I present are a Mallarmean court to Ghalib ; a converse treachery would be to interpret Mallarme into Urdu[ 8 ]. The ghazal is made up of pairs, conventionally five to fifteen, in all. Each sher stands on its ain. A ghazal need non turn to the same construct. All pairs should be independent and follow the same scansion, or behr. There are many different meters in Urdu poesy. They are divided into three kinds- short, medium and long. The tradition seems to hold stopped short of presenting meter as an built-in portion of traditional ghazal pattern, which allows the author in English a necessary freedom, with free poetry off-shoots, such as W. S. Merwin s.[ 9 ]The pairs stick to the rhyming form set by the first sher, or matla. The rhyme strategy begins with a rime word or qafia followed by a chorus or radif which may be a word or set of words. The first pair has the rime in both lines and the others, merely in the 2nd lines. If the radif is Iˆ and A B C are qafias, the form of the ghazal would be AIˆ and BIˆ in the first pair, and CIˆ , DIˆ , EIˆaˆÂ ¦ etc in every 2nd line of the others. The last pair is called the maqta and the poet can include his takhalus. Like Mallarme s early verse form, many ghazals are written in the first individual. Too near an attachment to this strategy sounds insistent in English. Ghalib uses about 19 of the quantitative meters used in the Urdu tradition. In Ghazal 4, I have chosen a single-minded signifier of Chapman s 14 syllable meter. In the others I have chosen the irregular meters of Tennyson and Clough s imitation of Roman quantitative meter. As in the rime strategy, I have used the construction slackly, but I hope recognisably. I have given either a page mention in Malik Ram, or a day of the month to place the original. In the terminal my Homage to Mirza Ghalib demands to be judged as a verse form in its ain right. Ghazal 1 ( p225 ) Your expression s flight surged through bosom and psyche. Both now hired retainers, whom your beauty stole. Your absence is a welcome lesion that Burnss. Sweet gustatory sensation of night-time joy, you vanish whole. Get up now. Bedded forenoons lose their temptingness. My ashes swirl across pathwaies her pess assure. State the zephyr I m happy she neer ran off. See how curving, how graceful her soft pace, so demure. The beat of her walking has shattered all my hopes. Now every man-about-town at her chic communion table gropes. Praise for the brave falls on deafened ears. My eyes turn at a lacing drape s splash. See, it copes! The drunken oculus s excitement clouds your face. What was and shall be clip will now obliterate, for the cleft of day of reckoning came on the dark you left. So Master, times like this clasp you in inexorable embracing! Where so are the daydreams immature work forces hold in topographic point? 24/02/1975-14/08/03. Ghazal 2 ( 1819 ) Recently so strong my now far fallen bosom will shout no longer in unschooled art. Run through by curst hope in a jambon battle, I crawl, vile, to the wings, a exhausted upstart. Rehearse a lesser function, a amusing lover s decease, and hang no more on my miss s enraged breath. Six entrywaies make sense. The floodlighted phase, where light-years mingle at my twentieth. The organic structure of my loved one stands undressed. Merely my sightlessness shames her truth expressed. My contract bosom is signed to circumstance, yet ever seeks her in desire s hurt. I have cancelled the hope of religion s crop Crops gathered from decease s Fieldss are non best. Immune to more hurting, I make unafraid my name. Yet a once-strong bosom lies incapacitated under my chest. The hero of love unrequited falls into love s dark uninvited. Ghazal 3 ( 111 ) Few dead carnival faces come alive once more in fresh tulips or the rose. The remainder prevarication sunken in a quag of slender lips crushed in rest. I remember the public violence, the sheer carouse of festival assemblages. Now silence shelves their forms in limbo none would expose. A secret in the daylight sky, the dazzling girls shine seven fixed visible radiations at twilight ; who taught them to deprive in chorus line? None brought Judah newss of captive Joseph s slumber. His eyes made opened walls see and stone seeded fanlights redefine. My challengers anger me, though Zulaika neither mourned nor raged, when Egyptian misss were fainting for her Moon of Caanan caged. Blood should spring from my eyes, for I lie apart in partitioned dark. In foreign darkness and tearful visible radiation, two tapers burn encouraged I shall happen those providential misss and be avenged their attenuation bangs. Peace now and pride. Night s arm strewn tresses soothe my ailments. Is this a grove? The Luscinia megarhynchoss would hold a cantabile school Birds mimic my calls. This one thinks it s a ghazal she trills. The bosom of her looking is to lance my bosom, O God. It beats a downcast pulsation, under wretchedness s and bad luck s rod. Endlessly these suspirations good up my pharynx. I gag them back. They swell as stitches, torn from my unfastened neckband as I nod. I went to her house, but could I reply her contempt? I wearied her doorkeeper with eternal supplication. I woke him at morning. Now wine elates me. The manus that holds the cup is running with venas, in jugular blood it has sworn. I believe in God, yet spurn all rites to take them up devout, when religion across the universe is dead and all faith s out. When a adult male had carries every bit much as I, such loads are light. Passion becomes a void, a shadow of a uncertainty. Ghalib if you go on like this the people will take attentiveness and small towns and towns will neglect, the land will blow so. 30/11-1/12/1975-14/08/2003 Ghazal 4. ( p.486 ) To emancipate life s torpidity, I have blent another universe of life visible radiation and aroma. Though the austere would take no pleasance, I would tumble the forenoon star and invent a plaint that would so travel my girlfriend s bosom that her weaponries would wither and her watchbands portion. and hurtling snake pit s fury to humanity, I would long to capture the rational art. A date-palm, I ripen with macaws strident hilarity. A cloud, I summon hailstorms of pearl to the Earth. That would state soldiers of chagrin, should agitate up their arms, put blades in their position. I censure the prayerful their dogmatism that even the faithless would follow me. My wickednesss convey me here on high to the Kaaba. She so stretched her supplication, I curled up sleepily Here I would rest and travel no farther, strengthen my drink and chastise my excitement. I would toss off the liquefied goblet in one spell, the entryway to paradise being my loot. Into the sacred spring, I pour my wine-filled glass. I am the heresiarch of the God entirely category. I am he who raises the call, I am God s king of beasts. No pearl more cherished than one I fling at the Imam so crass. Maestro I have founded new words to praise Your tallness. Worship like mine puts ennui to flight. Ghazal 5 ( From Persian ) ( pp 483-4 ) Cruel heathen, she strips my bosom of grace. She is tall and her robe lays bare her face. Hell is the ferociousness of her Acts of the Apostless and paradise the icon of her face. She wears you to torpor with her reserved ways. The quicker your death: the Oklahoman her congratulations. A Parsee, she worships those ungratified fires, keeping green subdivisions to the old God she prays. Harsh as sudden decease, she is as faithless as the joys of this life we live in surplus. She blesses like an covetous Lord. A obstinate hobo, she d steal your bosom for less. She spurs audaciousness, but orders wretchedness. Hard, she is a lonely, wasted district. A cloistral garden is her stamp attention. Her curlscurtained temptingness appeals enigma. A glance of her organic structure varnishes her gift, She sings Isolde to herself, yet she will raise me down to play Tristan when she s miffed. Ghazal 6 Freed from conclusiveness, cornet glad newss, your hilarity, fling your shadow to the Sun, your H2O to the sea. Bare your dorsum to the head covering of her temptingness. Wine s fire suffices. Your chest wounds all can see. Give flints to jewelry makers ; your bosom to her furies. From the beginning of your cryings soften lover s pages. Regret our moans, comfort and admit her appeals. Dew-wakened blooms, brimming with balm and sage, the rain-clouds and reapers mature your aroma. Do non disperse your favors from a high acclivity, but do me, unknowing, your wrath s exclusive purpose. Shoots informed of spliting out, florescent, learn her lissome, fascinated alder how to walk. Though she forbid my stolen, tearful bosom to speak Allow me the right to condense its passion, the right to maintain a silence she can neer resist. You who envy my joy so absurd, travel cut the wings of the humming bird. Ghazal 7. ( 22 ) ( 1847 ) Beloved our brush shall non be. Given epochs, no hope lives of you and me. Yet I feed on where hope is light. Death lies certain, for you must be. Fragile, your comeliness, your word, retrieve, with watchbands fixed, you might give up. Ask me to claim your expression s tight bow. Had the bolt struck, no hurting would it render. What times are these when friends make me take a firm stand and non to simmer down my passion s effect? The deep stone s venas would hold bled abundantly, were my afflictions triping my psyche to its schist. Mercilessly, my grieving seeps out. Not sorrowing your loss, grieves addition as uncertainty. Should I talk of the long dark s yearning? I d sooner speak of decease if it had some clout. Yet others would dish the dirt of cowardliness so I ll submerge with no organic structure or building. Who can see God, the lone unique one? Mysticism now, what accomplishment, what office! We d canonize you were you non a rummy! You d be our saint to whatever deepnesss you d drop. Ghazal 8 ( p196 ) Your silence non to be breached by the mouthed word ; merely the lesion s natural lips can express ideas non erred. The universe is all that lover s moans have listed on Laila s forehead, an endless enchantment, infinitely heard. Passion and grief invite no gaiety. These you will non detect, to my hurt. But deeper torment may spur compassion. Do nt reprimand my heartache ; to this quandary all turn at length. The rending of my bosom gives no entree. Why rupture your shirt apart and be the butt of those who jeer? How much longer can this digest start from the fragments of my scattered psyche and H2O wastes to do the thorn shrub whole? Ageless loved-one, you hide in your blaze fire. The earthly oculus can non gestate your function Insane, I am the cesspool of the universe. Break unfastened my caput, with the rock you hurled and you will happen pearls with a tear s luster. If such is my addition, what loss if my humor s unfurled? The promise of ecstasy shortens my life with its fire. Who has the hours to incorporate such a pyre? This cruel, wild hungering for truth forces affliction that new things transpire. My effusions are spent. They have shattered my caput. I have merely my custodies what can I do alternatively? I shall raise a visible radiation that the faultfinders can non see. I shall inflame a fire that the Phoenix has fled. The unaccessible morning of this poet s joy felt wages excessively high a monetary value ; for his bosom would run. Duncan McGibbon was born in Greenock Scotland in 1949. He lived in Wolverhampton, Middlesbrough, Kent and Twickenham. He attended St Mary s College, Strawberry Hill and King s College London. He was a member of the Poet s Workshop which ran through the Sixtiess to the Nineties where his wise mans were among others, the late Philip Hobsbaum, George MacBeth and Leonard Clark, and Peter Porter and Alan Brownjohn. He began printing in diaries in the 70 s. He presently lives and works in Geneva, transposing between his British and Genevan workshops.

Will The World Starve Essays - Population, Environmental Issues

Will the World Starve? Looking out a window upon a barren desert, a dry wasteland unfolds as a carpet to nowhere. Abandoned cities dot the horizon, as the ruins speak volumes to the once populated extravagance of a country which lived on wealth and opportunity. The vision just described is not one out of a Hollywood movie script, but one that is not only possible but probable. Currently, the world population numbers over six billion, with China alone cradling over one-sixth of the world's total population. With the world population increasing at a rate of one hundred million a year, the numbers are expected to hit ten billion by the end of 2040. Most scientists agree that the maximum number of people that the earth can sustain is fifteen billion, leaving the earth in a quandary before the end of the twenty-first century when the total world population is expected to reach a staggering sixteen to eighteen billion. The consumption of the world's natural resources due to this exponential growth could result in worldwide famine, a complete breakdown in the world market, uncontrollable outbreaks of disease, and widespread crime and disorder. Currently, the ratio of land which can be used for agricultural endeavors is estimated to be one in nine acres. The world's produce producer is only a small sliver of a total land mass apple pie sliced into nine equal, yet tiny slices and as the amount of soil suitable for agriculture dwindles, the slice with which the world relies on continues to shrink. Considering the little amount of available farmland, it should be expected that there would be more of an effort to conserve this vital resource, but unfortunately the issue has not yet risen to a level of global importance. The amount of fertile topsoil is becoming more and more unusable for agriculture. Water, used for the irrigation of the world's life giving crops, contains naturally dissolved minerals and over time the minerals from the irrigated water supply collect in the topsoil. After many years of constantly farming a particular region, the soil begins to become less and less fertile. This process, known as salinization, has affected many of the farms around the world. Once this process is complete, the soil becomes totally useless for any kind of farming. Over long periods of time, salinization, combined with the erosion of the topsoil due to wind and rain, starts to cause the world's farmlands to exponentially dissipate. Ethiopia is a prime example of how salinization, combined with overgrazing and erosion, has affected every aspect of the economy. Food shortages, lack of domestic trade products, and low incomes for farmers and agricultural workers are all bi-products of a land ravaged by overuse and abuse. With the people scrambling to find a quick fix solution to this problem that has been building for decades, the economy along with the people's only domestic food source, is slipping further and further into a seemingly unrecoverable disaster. The earth's industry is expected to produce enough manufactured materials to support the world's current six billion people. The list of finished products includes food (from agriculture), clothes and all other luxuries which most of the world has become accustomed. If most scientists are correct, the maximum capacity of which the world can sustain is estimated to be fifteen billion people. Maximum capacity is described as the amount of people that can be sustained without causing a complete breakdown in society. Numerous scientists have speculated that many of the world's natural resources used to support current life such as clean water and air, gasoline, oil, and even coal will almost be completely depleted up by the end of the century. With decimated natural resources, a lack of topsoil, and a completely over-populated planet, anthropologists have agreed that the end of the century, if not before, will culminate in a complete breakdown of industry in the world market. With this extinction of resources looming, it is obvious that new methods of energy and topsoil conservation need to be discovered. Speculation has been made that it is too late to turn back the dependence which humans have developed for natural resources. How can anyone be expected to turn away from their gas-powered cars and their electric houses? If, however, the current rate of consumption continues, then there is no doubt what the future will hold. Since 1950 half of the world's trees have been cut down and every day six square acres of rain forest are lost to the hum of a

The Classical Western Essays

The Classical Western Essays The Classical Western Essay The Classical Western Essay Essay Topic: Classical Film genres vary from a range of different aspects such as categories, classifications or groups of films that are persistent and have similar or common identifiable patterns. For example syntax, filmic techniques or conventions. This includes one or more of the following setting, content and subject matter, theme, period, plot, central narrative, motif, styles, structures, situations, recurring, icons, stock character and stars many movies overlap quite a few film genres. Westerns are the main significant genre of the American film industry. They are one of the oldest, generally lasting genres with extremely recognisable plots, elements and characters, (Six guns, horses, dusty, towns and trails). Since the olden days, western have been reconstructed in many ways and drawn out. It portrays the conquest of the wilderness and nature. Western movies also refer back to the colonial period, this gives us a chance to interpret different context and develop our own view of modern movies to western. It is most definite one of the most artistic exploration of the Western time, as it redefines its past aspirations and ideas. High Noon One of the most popular, carefully shot and highly stylised movies is High Noon .It owes its popularity to suspense in the real sense which is very extraordinary and appealing to audiences and also its theme tune. The cultural form of this movie symbolises the western atmosphere. Features such as the photograph of the old civil war are a sign of reflecting the historical subjects of western time. The Pro-Filmic Codes are everything that happens in front of the camera. Such as the setting of the scene and features which are included in the scene. In High Noon the pro filmic codes include the tumbleweed, which is a representation of how deserted the area was in western times. It highlights the fact of isolation. Guns portrayed the action/violence of the characters and everyone was influenced of the fact that if you possess a gun you are a cowboy. So, there were basically influenced by wanting their position in society and reputation. Dress Code included the typical cowboy hats, boots and coats. The heros will wear light colours and outstanding ones however villains will be in darker colours to outline their negative role. Women wore dresses covering themselves mostly, however they had a very forward and bold look to them as of their tight braziers, which reflected more of an open look towards them. I think their look was the first change since the Elizabethan women and what the y used to wear. Saloon was one of the most socializing places of western towns. As the men used to drink, play cards, fight and pay visits to the whorehouses mostly situated upstairs. Church is the place of worship, which existed for Christians. The people in High Noon would mostly use it for confession and to wash away their sins. In High Noon, the sheriffs office was one of the most seen places in the movie as it came into a lot of use because of the villains. Also because the Sheriff was the hero and everything mostly revolved around his actions. Stables, horse posts and coaches were the most used transportation in the Western times. Another main place in High Noon is the train station every larger city had a station. The barbershop and general store are not shown in the movie much but was essential to a westernised movie. It was more of a socializing place as people used to gossip about others. In the movie Kanes wife Amy awaits her husband in the hotel, where she find out more gossip about her husband from one of the hotel workers. High Noon has one hero, one main villain and his helpers. Filmic Codes are technical Codes such as dialogue. One of the interesting techniques used in this movie was in fact to have the sequence of events occur in the real time. When a clock is shown in a scene, an event the audience expects to occur at another given time will occur that number of minutes later in the movie. This particular factor time is a filmic code of the movie. The colour of the movie, which is Black and White, is there to capture the atmosphere of old civil war photographs. The Theme and the music are based on the western image. It has a theme tune which persistently whines its way into the subconscious. The Southern Dialogue is an identifying tool of the characters; it helps us understand the nature of the people and their upbringing. A further filmic code shines all the way through at the station, when Helen Wills mature mistress boards the train. She notices the coming of Frank Miller-first seen from behind to build curiosity and enlarge tension and anticipation an d then seen with a close-up of his acne-scarred face. Establishing shots includes the crane shot, just before the final gunfight. The shot backs up and raises, and we see the character totally alone and isolated on the street. The entire town has deserted him. Through this event normal life has been disturbed .All of the given technical Codes are organised one after the other to create an abrupt feeling of a westernised movie. They all follow through an important role to fulfil a western genre. It probably works best as a thriller as it builds to a climax, but the ending of this is a bit unsatisfactory. The Theme of this movie includes the basics of a western movie. Violence, conflicts, marriage, sacrifice, death and love. The Sheriff gets married but after feels that he wants to give up his status as he wants to move on in life and enjoy his life. He is to weak to fulfil this wish, it is a story of a man who was to proud to run .The Villains get out of prison and after the sheriff is isolated as the town folks want him to leave. However, he cant because he has got responsibilities like his own wife and the societys protection. Many of the frightened, self-servicing and gutless townspeople are leaving in order to be absent when Miller shows up. The Showdown includes the high-awaited climax, which was a bit disappointing. The Hero wins, he disdainfully looks around reaches for his tin badge, takes it ff and drops it into the dusty street and turn to leave. He not only throws way his badge but his responsibility of the people. Magnificent 7 The Story of this movie is very similar to a Chinese film called Seven Samurai. A peasant village in Northern Mexico hires American gun fighters to fight off Calveras forty thieves. Pro-filmic codes, its a village, which is set in Mexico. There are Farmers who are dressed in white to show their innocence and no mean for harm to others .A Church, which is worn out, and old just like the rest of the village. This shows the poverty and their living standards. A pub, which is not like a saloon in the normal westerns. It was more like an open aired space, where people could sit anywhere in peace mostly outside on the terrace. Only the Magnificent 7 or the bandits used horses. Then we have the dress code of the Magnificent 7, which were all different as it reflects their individuality. Yul Brynner (Chris) is dressed in black portraying his dark past. Vin, dressed in white/ brown clothes showing more of a positive background. There are 7 heroes and one main villain with his fellow bandits. Filmic Codes, the movie is in colour. The wide shot used at the start of the introduction of the village is very informative as it shows what the features are of the village and gives us a clear idea of the village. Spanish language, this reflects the context and the dialogue. The theme music is by Elmer Bernstein. There is one theme tune played for the heroes and a different one for the villains, this reflects the difference of character. Chris, a leader, probably a noble fighter who comes across danger a lot. This is why he has earned the confidence in understanding his emotions and problematic situations. Vin, a competent person with a weapon he is defiantly similar to a cowboy. He likes the fact of being independent but wants to settle down and live his own way. Chico, he is the youngest of the seven also the most innocent and inexperienced. He wants to forget his past, which revolved around farming and wants to prove himself of being a fighter like the others. Bernardo, is a brawny solitary man that is a lot like Chris however does not seem to be as eager to lead. He is a very intriguing character and very unique. He has earned a bit of money from his past but has nothing now. The concentration he gives to the local community gives us an idea of his goodness and that he can part both violence and decency. This is what becomes a very important issue near the end as he runs to save the village children but unfortunately is killed by doing so. Lee is a very tricky character to understand. He seems to be the hard and strong gunman who used to be selfish and arrogant. But after so many years having understood life in a different way makes him realise his weaknesses. He really wants to do the right thing but finds it so hard to do it when it comes to the time. Britt is an outsider who is plainly misunderstood. He is someone whos thinking remains to him. Harry is a decent man but lets tings influence his decisions easily. He is like someone who is so close to get what he wants but always makes the mistake to step back. Its always like he has got it but refuses to take it. The chief of the bandits is Calvera who is not a contrasting fellow. He believes that his job is to steal and rob in order to provide himself and his men. The theme of this movie is a conflict between farmers and bandits, the farmers hire gunfighters. Seven heroes are hired to protect the village, first invasion of bandits is not successful and the heroes succeed. Bandits find another access to the village. The Bandits prepare a trap, which the heroes fall for. Heroes pride is hurt. This encourages them to fight back; it leads onto the showdown in the village. The Heroes win although 4 die and 3 survive. Village is saved, and then we are portrayed with the theme of love. As one of the heroes, Chico stays as he has fallen in love with one of the farmers daughters. Chris and Vin leave the village. Once upon a time in the West It is a spaghetti western as it is influenced by an Italian culture. The director himself is Italian too. It tells a story of five characters all entangled by possessions just prepared valuable by the railroad. Pro-Filmic Codes. Deserted Train Station this is ironic as it is a public place and hardly ever is deserted. There is a house, which is situated away from the town itself, The McBain property. Which the villains, Frank and Morton plan to take it. Harmonica and Cheyenne are the two heroes, as Harmonica is trying to get revenge on Frank and Cheyenne is blamed for killing the McBain family and for its own goodness he wants to try to find out who the real killer is. The real hero of the movie is in fact Jill McBain who is the beautiful prostitute who married Bratt McBain. To take revenge for her familys outcome she stays in the house and does not leave the town. She even has sexual contact with Frank but only to get closer to her enemy. Filmic Codes, this movie is in colour. The cinematography is excellent. Wide shots of the stunning, open rural area lends to the impressive classical feel. To portray feelings and emotions, close ups were used rather than dialogues. The movie travels very gradually and in a very spectacular and heroic way. We are presented with 3 men with weapons s the train station with backgrounded noises for example the creaking of the windmills. There is a zoom in on the mens faces as the train arrives at the station. The theme music include the Harmonica, this again outlines the western influence also the guitar, banjo and romantic theme. The use of natural sounds is very good for example the flight of birds and the horses. The theme includes death, revenge and nature. Long opening scene introducing the 3 villains and 1 hero. Villains kill McBain family except the wife who is not present. After death, the townsfolks gather around the McBain property. Jill McBain arrives at her house seeing the people of the town surrounding the dead bodies. She swears revenge. Cheyenne is introduced as the second hero and he encounters with Jill at her house. He also meets Harmonica. They think of a plan to save the property, this links onto the showdown where eye shots are used frequently. Heroes win and the 2 villains die. Revenge comes to an end. Over the time, we have developed our understanding of movies which are very different in many ways whether it be the way the characters are introduces, how long the introductory scene is and what other things such as noises we should take into consideration. There is something in every movie, which is unique; there is always one aspect of what difference it makes to others. That is why every movie varies because they advance from each other, which develops, into a more and more altered way of viewing cinema. The Generic Conventions and themes influence the characters, plot and themes. It is what makes the movie, a movie. Without these things there wouldnt be an understanding between the features so it wouldnt flow. This develops through language, music, characterisation and classifications.

Partnership Building for Social Capital Essay Example | Topics and Well Written Essays - 2000 words

Partnership Building for Social Capital - Essay Example (Whelan, 1999) Various organizations like the London Sustainable Development Commission are of the belief that there are a number of gaps and issues that need to be looked into in order to provide more comprehensive facilities for these areas. These issues and gaps are in respect of the regular provisions that are made for the people on a day to day basis. Lack of resources is a major problem apart from faulty resource allocation of already scarce resources. (Elsdon, 1998) This is where partnership building comes into play. Manpower acquisition and allocation is another major issue for which widespread recruitment of volunteers and other employees needs to be carried out with a special focus on interns from the creation of awareness and psychological field. Further, apart from the financial problems, there is a lack of specialist services that will cater to these issues and find out the key problem areas that will help curb the problem of lack of development and focus on the detrimental effects of such lack on the region as a whole. (Whelan, 1999) These services must be available to carry out widespread work with the families and other people related to the region. Further, these services must have the strong backing of management tools so as to develop the plans and implementation process in a strategic fashion. This points strongly to partnership building. (Lsdc, 2006) Further, these strategies for partnership building need to operate at a regional and local level so as to bring maximum benefit to maximum people, owing to the fact that most people from socially deprived areas in East London, are unaware of the national policies in most matters. Purpose and Advantages of Instigating Partnerships: Placement of the right man at the right place, at the right time. A study of the motions and material handling practices within the organization or situation, so as to find the fastest and easiest way of carrying out an activity. The implementation of cost accounting in all areas of operation, tactical and strategic activities. De centralization of responsibility and authority so as to place a group of men under the supervision of one commander per area of operation. To create room for four to eight functional officers who will take care of various aspects of the overall task, so as to ensure that each sub task is carried out as regards minimum motion and cost per person. (Ervitt et al, 1994) The creation and use of partnerships in an effective manner can be furthered through adequate training and development tactics even when there is no incident. This can be done as follows: ( i ) Definition of specific knowledge requirements - this stage to examines the skills and knowledge level that is required to be developed within the overall social system in order to meet the new objectives identified by the training needs. This helps the management gain perspective as to which kind of training strategy will be the most effective one when adopted for the situation at hand. (Lsdc,