Secret Service Protection For Presidential Candidates

Secret Service Protection For Presidential Candidates Most presidential candidates are entitled to receive Secret Service protection from the federal law enforcement agency that also provides security to all U.S. presidents and vice presidents and their families. Serious presidential candidates begin receiving Secret Service protection during the primary campaigns and continue to get coverage through the fall election if they become the nominee. Secret service protection for presidential candidates is provided for in federal law. Here are answers to some of the most commonly asked questions about Secret Service protection for candidates. Which Presidential Candidates Get Secret Service Protection The Secret Service protects only major presidential candidates and only those who request coverage. The secretary of Homeland Security determines which presidential candidates are considered major after consultation with an advisory committee, according to the agency. Major presidential candidates can decline Secret Service Protection. WhoDecides Which Candidates Get Secret Service Protection The Homeland Security director makes his determination on which candidates get Secret Service protection in consultation with an advisory panel that includes the speaker of the U.S. House of Representatives; the House minority whip; the Senate majority and minority leaders; and an additional member chosen by the committee itself. Criteria for Providing Secret Service Protection Major candidates are those that have considerable prominence among the public and have raised substantial money for their presidential campaigns. Specifically, primary candidates become eligible for Secret Service protection, according to the Congressional Research Service, if they: Are publicly declared candidates.Are actively campaigning nationally and are contesting at least 10 state primaries.Are pursuing the nomination of a qualified party, one whose presidential candidate received at least 10 percent of the popular vote in the prior election.Are qualified for public matching funds of at least $100,000, and have raised at least $10 million in additional contributions.Have received by April 1 of the election year an average of 5 percent in individual candidate preferences in the most recent national opinion polls by ABC, CBS, NBC, and CNN, or have received at least 10 percent of the votes cast for all candidates in two same-day or consecutive primaries or caucuses. WhenPresidential Candidates Get Secret Service Protection Presidential and vice presidential nominees and their spouses are to receive Secret Service protection within 120 days of a general presidential election. In modern history, however, major candidates receive Secret Service protection well before that time, usually early in the primary campaigns in the late winter and early spring. Not every presidential candidate wants Secret Service protection, though. Ron Paul, 2012 Republican presidential hopeful popular among libertarians, declined Secret Service protection. The Texas congressman described Secret Service protection as a form of welfare. You know, you’re having the taxpayers pay to take care of somebody. I’m an ordinary citizen. I would think I should pay for my own protection. And it costs, I think, more than $50,000 a day to protect those individuals. That’s a lot of money, Paul said. Cost of Secret Service Protection The cost of providing Secret Service protection to presidential candidates exceeds $200 million. The costs have risen dramatically as the field of candidates has grown larger. The cost of providing Secret Service protection for candidates in the 2000 election was about $54 million. It rose to $74 million in 2004, $112 million in 2008, $125 million in 2012 and about $204 million in 2016.   Secret Service protection costs taxpayers about $38,000 a day per candidate, according to published reports. Secret Service Protection History Congress passed a law authorizing Secret Service protection for presidential candidates for the first time following the 1968 assassination of U.S. Sen. Robert Kennedy, who was seeking the Democratic presidential nomination.

Differences Between 17th and 18th Centuries essays

Differences Between 17th and 18th Centuries essays Before the Revolutionary period of politics and patriotism began in the 18th century, the last thing on the minds of the colonists of the new world was politics. These colonists of the 17th century were more concerned with their religion, religious revival, and reasonable thought. They were far more theological. Many of the first settlers of the new world made the dangerous journey to the new world to escape religious persecution. Puritans, Pilgrims, and Catholics, as well as some Jewish and Muslim peoples, came to America to flee the maltreatment that they were faced with in their homeland England, or, for the Pilgrims, Holland. The politics of England were of no concern to them. England was not yet unjustly taxing them or placing unrelenting restrictions upon them. They wanted to escape the ways of societies that did not agree with their beliefs, societies that they felt were corrupt. While the Pilgrims did draft the Mayflower Compact before disembarking, this was about as far as the concept of politics went in the 17th century. The early 18th century brought about the Great Awakening. As religious zest and appeal began to fade, some ministers strove to revive the spirit in their parishioners. "Churchgoers increasingly complained about the 'dead dogs' who droned out tedious, over erudite sermons from Puritan pulpits. Some ministers, on the other hand, worried that many of their parishioners had gone soft and that their souls were no longer kindled by the hellfire of orthodox Calvinism" (The American Pageant, page 94). Puritan ministers such as Jonathan Edwards and George Whitefield attempted to revitalize the spirits of their followers. Edwards most famous sermon, "Sinners in the Hands of an Angry God," helped in his cause. It scared many of his followers into believing that one false move on their part would result in eternal damnation because they upset God. "The wrath of God is like great waters that are dam...

Immanuel Kants Universalizability Test Essay Example | Topics and Well Written Essays - 1250 words

Immanuel Kants Universalizability Test - Essay Example According to the research findings, it can, therefore, be said that the Universalizability test checks for the contradiction of the maxim in either concept or in will. Contradiction in concept involves the fact that the maxim is unable to meet the threshold of being regarded as a universal law without it presenting a contradiction while contradiction in will involves a situation where the maximum cannot be termed as universal law because its will contradicts itself. Perfect duty is the resultant from maxims that fails the test through the contradiction in concept whiles those that fail through the contradiction in will results to an imperfect duty. The universalizability test provides a ground for determining the moral acceptance of actions. It provides that an act that contradicts itself is not morally acceptable and maxims that can be universalized are morally good. The provisions of the test are based on the generality that individuals have the same moral obligations under the sam e moral situations. The universalizability test involves three basic steps. Firstly, a maxim has to be formulated in order for it to be tested, is then universalized and finally checked for consistency. The failure of universalizability of a maxim is demonstrated by lack of consistency and vice versa. Kant mentions that a maxim that cannot be universalized consistently is ‘practically irrational’. Therefore, the maxim that embarrassment can emanate from the incidence cannot be generalized whatsoever. It is apparent that actions are motivated by either morality or the person’s inclination; the issue of embarrassment does not fall in either of these. The ultimate result of such a situation is embarrassment since the individual will not be able to fulfill what they had promised; it will be unfair and irrational to universalize such an act. Another failure by the act is that it does not have a moral worth in the maxim it is based on, but instead its morality is based on its purpose (avoiding embarrassment). This means that the act of giving false promise is not morally acceptable because of its consequences; therefore the act cannot be translated to all individuals in the name of avoiding embarrassment. It is common sense that the action of giving false information is contrary to the expectations because it is contrary to duty. In addition, their actions are not motivated by duty but instead an opportunity to avoid duty. This is why the person goes ahead to give false promise, a strategy that according to them will help in avoiding the responsibility that comes with the task ahead of them. Kant’s argument demonstrate that the act cannot be whatsoever universalized, its motivations are misplaced hence cannot be done by people under similar conditions all over the world. The motivation behind giving false promise is the fact that a person is able to avoid embarrassment for the time being. In order to demonstrate the universalizability of a n act, the maxim thereof is universalized. It must be something that is sustainable and consistent, giving false promise in itself is inconsistent, and it is a matter of time before the truth is known.

Analysis of Young Goodman Brown Essay Example | Topics and Well Written Essays - 1000 words

Analysis of Young Goodman Brown - Essay Example Hawthorne skillfully uses irony, the depiction of madness, and symbolism, to heighten the effect of his story. â€Å"Young Goodman Brown,† is replete with irony. This irony is most obvious in Hawthorne’s characterizations of the people in his story. The author peoples his narrative with Puritans, whose outward words and behavior contradict their inner motives and covert actions. Young Goodman Brown himself is the foremost example of this. The protagonist deliberately sets out on his rendezvous with the Devil. He is eager to savor the evil pleasures that await him, and makes â€Å"haste on his present evil purpose† (Hawthorne, 8). He makes several empty protestations to the Devil, and declares his intentions to terminate his evil quest. However, he does not turn back: it is only talk: â€Å"â€Å"Too far! Too far!† exclaimed the goodman, unconsciously resuming his walk† (Hawthorne, 17). He remains â€Å"conscious of the guilty purpose that had broug ht him thither† (Hawthorne, 41), but continues to travel the path to perdition. Goody Cloyse, wears the guise of the â€Å"pious and exemplary dame, who had taught him his catechism in youth,† (Hawthorne, 26) but is a witch, complete with broomstick and evil incantations. Hawthorne’s irony makes him suggest, tongue-in-cheek, that her muttering is â€Å"a prayer, doubtless† (29). The supposedly holy minster, and â€Å"Good old Deacon Gookin† (Hawthorne, 61), are equally given to vice beneath the facade of saintliness. Hawthorne paints all Puritan society with its â€Å"grave, reputable, and pious people, these elders of the church, these chaste dames and dewy virgins† (57) in vivid colors of sin and dissolution. Even the hymn sung at the satanic gathering is cloaked in â€Å"the slow and mournful strain, such as the pious love, but joined to words which expressed all that our nature can conceive of sin, and darkly hinted at far more† (H awthorne, 59). This pervading irony makes the reader acutely conscious of the incongruity between the author’s depiction of his characters, and the impression they create as the narrative progresses. This irony is further strengthened by the calm ending of the story in the town, with the characters again displaying their saintly demeanors. Hawthorne’s use of irony is very effective in highlighting the hypocrisy of Puritan life. Hawthorne paints the character of young Goodman Brown with a bold touch of madness. The protagonist’s ring of defenses against the temptations of the Devil tumble down in quick succession: his forbears, â€Å"a race of honest men and good Christians since the days of the martyrs† (Hawthorne, 17) are close acquaintances of the devil; the dignitaries of New England, who Goodman Brown thinks are â€Å"a people of prayer, and good works to boot, and abide no such wickedness† Hawthorne, 19) are revealed to be sinners; the pious t rio of Goody Cloyse, the minster and Deacon Gookin are exposed in their true colors of wickedness. Finally, when his belief in his wife, Faith, is demolished, Goodman Brown’s moral foundations crumble, and he abandons himself to despair and madness. The author uses vivid imagery to describe this development. The paragraph depicting young Goodman Brow

Wine Making Essay Example for Free

Wine Making Essay Wine-making is essentially a chemical process. It involves a chemical reaction in which sugars are turned to alcohol and carbon dioxide in the presence of yeast. There are also many other chemical processes going on which affect the strength, appearance, colour and taste of the wine. Grape Ingredients Wine is made from grapes. In addition to water, grapes contain two different sugars: glucose and fructose, tartaric acid, malic acid, amino acids and a few other chemicals. The chemical processes of wine-making involve several of these components and the amount of each is important in determining the character of the wine produced. Glucose to Ethanol The most important chemical reaction in the wine making process is the breaking down of glucose by yeast, forming ethanol and carbon dioxide as gas. There are various important factors at this stage which affect the wine. First, sulphur dioxide gas is passed through the crushed grapes to kill off wild yeasts. If this was not done the yeasts would compete with one another and fermentation would stop prematurely. Controlling pH Next the pH (acidity) of the grape pulp needs to be controlled. If grapes are too sweet, then their pH is too high (acidity too low) then less flavours are produced in the wine. The pH can be lowered by adding tartaric acid at the start of the fermentation process. Temperature Finally the temperature must be controlled throughout the process. Fermentation is an exothermic process (heat is produced by the reaction), but there are various reasons for keeping the temperature as low as possible. Yeast stops growing as temperatures increase and will die at higher temperatures. Also at lower temperatures colours and flavours are extracted from the skins and by-products such as esters and aromatic compounds are produced which add to the flavour and also the clarity of the wine. Advances in Wine Chemistry As more and more research is done into the constituents of the wine and the way they are formed, two areas in particular stand out. First is the idea that regular consumption of wine in moderation is good for you. Statistical studies have shown that wine drinkers are less prone to heart disease, cancer and other diseases. This may be explained by the fact that wine drinkers tend to have a healthier lifestyle and are in groups which are less at risk to these diseases. It may be that there are certain chemicals that combat certain conditions, for example the antioxidant resveratrol which may reduce cholesterol and the risk of Alzheimer’s disease. These chemicals can, of course, be found in other food and drink without the damaging presence of alcohol. Improving Wine Making Then there is the development of the scientific study of the process of wine making, and the technology to improve it. There are many who would desire to depend on the natural processes of grapes and fermentation. Others have studied the chemicals which make up wine, seeking to determine those that cause the flavour, aroma and appearance of wine so that these can be manipulated in the production process. This tension will continue as the desire to make money affects the love of natural processes.

Catcher in the Rye Essay: Eight Early Reviews :: Catcher Rye Essays

Eight Early Reviews of The Catcher in the Rye      Ã‚  Ã‚   Published in 1951, J. D. Salinger's debut novel, The Catcher in the Rye, was one of the most controversial novels of its time. The book received many criticisms, good and bad. While Smith felt the book should be "read more than once" (13), Goodman said the "book is disappointing" (21). All eight of the critics had both good and bad impressions of the work. Overall, the book did not reflect Salinger's ability due to the excessive vulgarity used and the monotony that Holden imposed upon the reader.      Ã‚  Ã‚  Ã‚  Ã‚   Agreeing with Smith was Stern, saying "the book should be read again." There are many reasons for accepting this comment. Peterson, for example, felt that Holden Caulfield's "spirit is intact," while Stern enjoyed Phoebe's good personality.   Phoebe was important because she "preserve[d] Holden's innocence" (Jones). In the end, she keeps Holden at home with his family - after all, who knows what Holden could be up to, living by himself? He has been "trying to live up to his height, to drink with men, to understand mature sex and why he is still a virgin at his age" (Smith 13). It is because of this personality, that Salinger is able to "make the reader chuckle" (Breit). Phoebe is also important to Holden because he "finds a human warmth in [her]" (Engle).      Ã‚  Ã‚  Ã‚  Ã‚   Despite all these positives, many critics felt the book was lacking a great deal. There were many reasons given for not liking The Catcher in the Rye: the vulgarity, the monotony, and the immature personality of the protagonist. To put it bluntly, "one expects something more" out of Salinger (Goodman 21).      Ã‚  Ã‚  Ã‚  Ã‚   All through the book, Holden, as well as his "friends", uses vulgar language. Because of this, Longstreth feels the book is "not fit for children." Although vulgar language is used in the real world, it was very rarely encountered in literature. Other critics agreed with Longstreth, Peterson said the book was "obscene," while Smith warned readers "be advised to let the book alone" if they are bothered by this language. It is Jones' feeling that this language could only be mouthed by a "disturbed adolescent," and that Holden is "immoral and perverted" (Longstreth).      Ã‚  Ã‚  Ã‚  Ã‚   The language was only part of the problem. The book, in many critics' eyes, was monotonous.

Death of a Salesman: The American Tragedy

Arthur Miller’s play â€Å"Death of a Salesman† is considered by many to be a modern tragedy. In â€Å"Poetics†, Aristotle offers his description of a tragedy, and Miller’s play meets these requirements. The American Dream that the protagonist, Willy Loman, spends his life chasing, is, in itself, tragic. And that his family had the same values, the same delusions that Willy did, helps to build the case for tragedy. Aristotle defined tragedy as such:Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper purgation of these emotions. Tragedy, if one is to believe Aristotle, is something that causes fear and pity. In Arthur Miller’s â€Å"Death of a Salesman†, Willy Loman fails at the American Dream.T his is a common occurrence in modern America, and readers can see themselves in Willy’s shoes, creating fear. They feel sorry for Willy, because ultimately, he is the same as them. His failure is their failure. Not just pitiable, this thought is nothing less than terrifying. According to current research, all human brains have dopamine receptors. Dopamine (DA) is the predominant catecholamine neurotransmitter in the mammalian brain, where it controls a variety of functions including locomotor activity, cognition, emotion, positive reinforcement, food intake and endocrine regulation.If tragedy instills fear, an emotion, clearly a normal working DA is required. With the DA controlling emotions, such as fear and pity, it could be said that humans are hardwired to see all loss as tragic and the play, even as defined by Aristotle, is therefore a tragedy. Being able to see ones self failing, over and over again, is both pitiable and fearful. The average human can see themselves fai ling. Willy Loman’s failures and crushed dreams become their own. In his essay, â€Å"Tragedy and the Common Man†, Arthur Miller states: In this age few tragedies are written.It has often been held that the lack is due to a paucity of heroes among us, or else that modern man has had the blood drawn out of his organs of belief by the skepticism of science, and the heroic attack on life cannot feed on an attitude of reserve and circumspection. For one reason or another, we are often held to be below tragedy-or tragedy above us. The inevitable conclusion is, of course, that the tragic mode is archaic, fit only for the very highly placed, the kings or the kingly, and where this admission is not made in so many words it is most often implied.What he is saying is that, while outdated, tragedy still exists in some form, and no one is above or below it. Willy Loman wanted the American Dream. He wanted to be successful and he wanted his children to be successful. This dream per haps, is the biggest tragedy of all. The play begins when Willy is old, a salesman no longer working on salary, but for commission. He can no longer afford to support his family. All of his contacts from decades of selling are dead. He is the only one left, and he is far from successful.To Willy Loman, success is the equivalent of being well-liked. To modern man, success is having a house, a couple of cars, two point three children, Rover in the backyard and a white picket fence. There is no need to be well-liked as business can be done over the phone or via email while one is in his pajamas. Willy Loman was not well-liked. He had few friends and even less success. He struggled his life away, clawing for the next rung on the metaphorical ladder of life, and never reaching it. His sons were failures and destined to follow in his footsteps.Senile or not, Willy lived the last of his years in a complete fantasy, believing that Biff and Happy were doing well for themselves, when in reali ty, Biff was working as a farm hand and Happy was living with a new girl every week. Happy tried to reassure his father that he was going to get married and be successful. Biff seemed to throw his hands up in despair. He was content doing the work that he was, but Willy still thought of him as a failure.WILLY: How can he find himself on a farm? Is that a life? A farmhand?In the beginning, when he was young, I thought, well, a young man, it’s good for him to tramp around, take a lot of different jobs. But it’s more than ten years now and he has yet to make thirty-five dollars a week!LINDA: He’s finding himself, Willy.WILLY: Not finding yourself at the age of thirty-four is a disgrace! (Penguin Plays, pp 16)Biff himself tells his brother that their dad mocks him all the time. He feels inadequate and lost.BIFF: †¦And whenever spring comes to where I am, I suddenly get the feeling, my God, I’m not getting’ anywhere!What the hell am I doing, playin g around with horses, twenty-eight dollars a week! I’m thirty-four years old, I oughta be makin’ my future. That’s when I come running home. And now, I get here, and I don’t know what to do with myself. (pp22) Happy, too, in a conversation with his Biff, in clearly not content with the direction his life has gone in.HAPPY: †¦I don’t know what the hell I’m workin’ for. Sometimes I sit in my apartment—all alone. And I think of the rent I’m paying. And it’s crazy. But then, it’s what I always wanted. My own apartment, a car and plenty of women.And still, goddammit, I’m lonely. (pp 23) The severely dysfunctional Loman family is a tragedy. Biff and Happy’s constant struggle to make the grade, to be well liked, to be successful; is a tragedy. Willy, barely able to separate past from present, truth from fantasy, has raised his boys to think that the more friends they have the more successful the y will be. Willy Loman measures success in people, and he taught his sons to do the same. He is unable to understand what Biff’s problem is, though the reader finds out at a later time. The problem was Willy. Biff had it made.He was well liked. He had three scholarships coming his way. He failed math, and before summer school started he went to visit Willy on one of the many business trips he took. He finds his father with another woman and leaves, foregoing summer school, the credit and the football scholarships. Albert A. Shea considered â€Å"Death of a Salesman† to be a scathing social commentary on capitalist America. Shea wrote: Arthur Miller casts a score of darts — at advertising, credit selling, the family automobile; at the petty larceny and the subversive attitude toward sex characteristic of our time.But his main attack is against the view that a man is a fool if he does not get something — as much as possible — for nothing more than a smile, being a good fellow and having good contacts. Perhaps Arthur Miller is not casting darts at the view that man is a fool to expect something for nothing. Miller is no doubt attacking the standard good old American Dream, called a dream because that is precisely what it is— â€Å"†¦ something that somebody hopes, longs, or is ambitious for, usually something difficult to attain or far removed from present circumstances.†A dream then, that seldom becomes a reality. These hopes themselves are tragic, because, as mentioned above, they are difficult to attain. For the Lomans, they are not difficult, they are impossible. The Book Rags website writes Willy Loman died a failure by his own standards. Biff considers Willy's life a failure because he had the wrong dreams. He spent too much time convincing himself he could be a successful salesman, when what he was clear he was skilled at working with his hands.If he'd followed the right dreams, and confronted his abili ties in a realistic and honest way, he may not have been a failure, and his life might not have ended this way. Even in death, Willy Loman's plans fail; no one shows at his funeral, and his life insurance policy doesn't cover suicide. And so, at the end of it all, the reader sees, at the same time the Lomans see, that Willy is a failure. His life has consisted of numerous stories and fabrications. He has lied to his wife about how much he has sold, about how many friends he has and even about silk stockings.Willy is a perfect portrayal of the American husband in the fifties. He longs to provide for his family. He dreams about making it big. These are aspirations that he has passed on to at least one of his sons, Happy, who tells him â€Å"Pop, I told you I’m gonna retire you for life. † (pp41) to which Willy responds: â€Å"You’ll retire me for life on seventy goddam dollars a week? And your women and your car and your apartment, and you’ll retire me for life! † A summary on Homework Online offers this: Willy has lost at trying to live the American Dream and the play can be viewed as commentary about society.Willy was a man who was worked all his life by the machinery of Democracy and Free Enterprise and was then spit mercilessly out, spent like a â€Å"piece of fruit. † Joyce Carol Oates read the play in the 1950’s and now writes: His occupation, for all its adversities, was â€Å"white collar,† and his class not the one into which I’d been born; I could not recognize anyone I knew intimately in him, and certainly I could not have recognized myself, nor foreseen a time decades later when it would strike me forcibly that, for all his delusions and intellectual limitations, about which Arthur Miller is unromantically clear-eyed, Willy Loman is all of us.Indeed, Willy Loman is all of mankind, and that is perhaps the greatest tragedy of them all. Oates remarks that Willy Loman resembled none of the me n in her family when she was fourteen or fifteen, and then she realized that all of the men in her family were Willy Loman, in their own way. Aristotle’s definition of tragedy being something that creates fear and pity. Willy is both our fear and our pity.Perhaps Oates summarizes the tragic nature of Willy Loman better than anyone else:In the intervening years, Willy Loman has become our quintessential American tragic hero, our domestic Lear, spiraling toward suicide as toward an act of selfless grace, his mad scene on the heath a frantic seed-planting episode by flashlight in the midst of which the once-proud, now disintegrating man confesses, â€Å"I’ve got nobody to talk to. † His salesmanship, his family relations, his very life—all have been talk, optimistic and inflated sales rhetoric; yet, suddenly, in this powerful scene, Willy Loman realizes he has nobody to talk to; nobody to listen.Perhaps the most memorable single remark in the play is the qui et observation that Willy Loman is â€Å"liked . . . but not well-liked. † In America, this is not enough. Indeed, it is not enough in America.Works Cited:1. Poetics by Aristotle. Trans. S. H. Butcher. 21 May 2004. The University of Adelaide Library. 30 November 2006. .2. Missale, Cristina, S. Russel Nash, Susan W. Robinson, Mohamed Jaber and Marc G. Caron. â€Å"Dopamine Receptors: From Structure to Function†. Physiological Review. 78. 1 (1998): 189-225.3. â€Å"Tragedy and the Common Man†. The Literary Link. 7 October 2006. 8 December 2006. < http://theliterarylink. com/miller1. html>.4. Miller, Arthur. Death of a Salesman. New York: Penguin Books, 1949.5. â€Å"Death of a Salesman† Book Rags. 8 December 2006. .6. â€Å"Death of a Salesman†. Homework Online 8 December 2006. 8 December 2006. .7. Oates, Joyce Carol. â€Å"Arthur Miller’s Death of a Salesman: A Celebration†. Fall 1998. USFCA. 10 December 2006. .

Comment on how Baz Luhrmann uses video Essay

â€Å"Romeo and Juliet,† is a play written by William Shakespeare in the late sixteenth century â€Å"in fair Verona. † This is an ultimate love story between the only children of two powerful enemies â€Å", both alike in dignity†¦ † These two households bear an â€Å"ancient grudge. † Within this hate â€Å"Romeo and Juliet’s† love cannot survive, and they are driven by this hate to death. From this 1595 classic play, Baz Luhrmann got the job of wielding it in to a twentieth centaury blockbuster. He did this by using many different techniques, and even though he keeps the original dialogue, he changes many classic features of the play to give this modern feel to it. Such as horses to cars, Swords to guns and villages to cities are several examples. As the film starts, the opening shot is of a modern day television. It is shown speaking as a newsreader, speaking as a chorus would on stage, giving background knowledge to the audience watching. This television reflects Luhrmann’s modern setting, showing how the film will be set, rather than the one in which the written play was set. The TV represents the media, as our main source of information. Just as the chorus would be, stood on stage, addressing the audience, giving them required information. The headline upon the TV reads â€Å", Star-crossed lovers,† and above a picture of a ring split in two, showing both the themes of love and hate. How the pair had love enough to marry, though within their families there was hate enough to drive the couple to take their lives. Their love was doomed to die, the ring shows how they could not be together as reflected in one of the chorus’ lines â€Å", death marked love. † One extremely short though effective camera shot, zooms down the middle of a main street, with many high raised buildings, until focusing upon a large statue of Christ. Showing that religion will play some part within the play/film. Here loud dramatic music kicks in. This music tells us that the play is going to be very powerful and dramatic. The chorus’s first line appears white upon black, â€Å"in fair Verona. † White and black are usually associated with good and bad. Showing two main features of the film. Again the image of Christ’s face appears, a close up camera shot, recoiling to show two large skyscrapers dominating the skyline. Each bearing separate names, Montague and Capulet, showing the large gap between them, they are different. The sheer size of the buildings tells us they are wealthy families, but separate. The statue of Christ is stood in the middle, showing again the religious society in which the film is set. Still with the dramatic music playing building up aura, images of police vehicles- cars and helicopters burn across the screen. Quick images. Images of conflict, linking the families with violence and ultimately the law. The music quietens, though still strong and menacing, as a voice over man speaks the same lines as already spoken by the ‘chorus. ‘ Now the images are shown slower, â€Å"two households both alike in dignity†¦ † showing the two families, again separated by Jesus, sour looks upon the head’s faces; hate and malcontent, though smiles upon the children’s; happy, contented faces, with no worries. Leading on to images of flames, representing hell, hatred and death. Headlines of newspapers flash upon the screen, linking again with the theme of the media and the modern setting. Showing there must be public interest in the growing feud between the two families, and again highlighting the conflict between the two families. Extremely short images are shown of police helping civilians escape the troubles caused by this abhorrence between the Montague’s and the Capulet’s. The music had died down up until the point of â€Å"take their life,† where it picks up again adding atmosphere and letting the audience know there is great tragedy within the film. Another modern technique is then used. Just as characters on television programs are introduced or how western wanted posters are displayed, some of the main characters are initiated. These images build great suspense though shows a building power within the play/film. Two important images from later on in the film flash upon the screen, though they are very insignificant at this point, just adding suspense and wonder at this early stage. The music reaches a peek as the now familiar words of the prologue flash upon the screen. The words white on black, suspense, power, the words showing love, lust, hatred and tragedy. Followed by random images shooting across the screen, fireworks, choir boys singing in a loud wild fashion. Guns, characters, light and dark images showing good and evil. Loud bangs of gunshots, police helicopters, blood, raging images demonstrating excitement and apprehension to the audience. Now with the music at a climax, the words in bold print of â€Å"Romeo + Juliet† linger upon the screen. The â€Å"+† in blood red symbolising bloodshed and conflict, it is also shaped like a cross, to continue the religious theme of the film. The words are white upon black, illustrating good and evil. Here the music changes and a bouncier, more funky, modern tune kicks in as â€Å"the boys† come on to the screen. These three wear brightly coloured shirts- reds and lime greens, indicating good and ‘to me’ fun. Though with the first line spoken you realise the Montague boys hate the Capulet’s. â€Å"The boys† are presented whizzing down a highway in an expensive looking yellow convertible, again suggesting warmth and fun. They are cool, with open shirts, brightly coloured hair, shades on heads and tattoos over their bodies. They are excitable, casual and looking at them they would not pose any threat. The car has a personalised number plate, â€Å"Mon-005, Verona beach† again showing wealth. The camera shot is at the front of the car as it comes in to the gas station, here there is a sound of screeching tyres, the piping of horns and basically excitable boyish behaviour. â€Å"Benvolio- Romeos cousin† does not come across as uncompromising, he tries to detach himself from the quarrel between the two families â€Å"masters. † Where as the other two â€Å"Montague boys† are very eager and want to be involved this is sown in their faces as a face close up is shown. Here Benvolio turns and another facial close up is shown, his face twisted almost looking in disgust as he turns and walks away. Here the camera turns moving across to another pump as an expensive looking blue car pulls calmly in to the station. Blue suggesting coldness and the slow speed suggests that the driver is not excitable like the Montague boys but serious. The music suddenly changes from hip to a western style tune as another personalised number plate is shown † Cap-005, Verona beach. † The camera is swung around with a whooping sound and rests upon a close up of the bottom of the car door opening and a pair of western style cowboy boots stepping from the car. Here the frame freezes on the boot touching the ground, Cooley and calmly and in this freeze frame he displays the words â€Å"The Capulet boys† with western style music playing to continue the western style theme. The boots walk away through a door the sound of spurs following, tension building as the camera shot moves again from the western boots to shoes and tights and the giggling of little girls over the western music. Leading back to more dark cowboy boots with spurs. The shoes belong to a Nun with a class of children and each side of their people carries resides a car of each of the two families. The two families torment the nun and her party in a very cocky sort of manor, exceptionally intimidating. So as the nun and her party speeds away to escape further torment, the two families are revealed to each other for the first time. The fun and idiocy of the Montague’s turns to fear, as â€Å"Abra-Capulet† is revealed. Here another facial close-up is shown. Abra wears dark menacing colours (oranges, blacks and reds- colours associated with hell. ) He has a goatee beard an earring and a silver chain with cross hanging around his neck. He has the look of a typical gunslinger, someone who could be extremely dangerous. The music is now changed, as a more electric tune plays more menacing and threatening than before, highlighting the danger of this man. Fear is shown in the Montague’s faces, shocked by the appearance of a known enemy. This man alarms them and with this abrupt entrance one of the boys makes a quick movement to reveal the butt of his pistol. A fast frightened movement, followed by the facial shot of a frightened face and the sound of a reluctant gasp, signifying the fear and tension between the two families. Here there is a shot of the face of Abra moving down his body and showing the slow movements of his hands to reveal the butt of his own pistol, engraved with the word Capulet, just as the Montague’s gun was engraved with the word Montague, reflecting wealth yet again. The movements are menacingly slow, so calm and cool. Then suddenly a loud hissing sound like a serpent as Abra snarls revealing the word sin engraved on a silver plaque on his teeth. The camera is at a straight close up angle. The shot is both threatening and frightening. Here all the sounds stop as the Montague’s sink back in to the car relieved that no harm has come to them. Though the Capulet’s are amused by the impression they have made upon the Montague’s and laugh profusely showing they do not feel threatened at all by their presence but take them more as a joke than any thing else. The Montague’s took this wind up a little too lightly and decide to make a second move. Here one of the Montague’s bites their thumb at the Capulet’s. This is shown as a close up with a silly sound coming from the mouth of the offending Montague. Now there is anger and hate starting to show as the montages reverse the car, with the noise of screeching tyres, and the sound of a quick furious sounding, loud blast of music showing anger. The caplets sling loud though slow angry words at the Montages who return fast frightened words trying to calm the situation. Though as the camera shot goes to the toilet door, the quick shocking music picks up again and Benvolio appears-an image of a peace maker leading to a close up of Benvolio’s gun with a change back to western music. Here with gun drawn, a close up of Benvolio’s apprehensive face fills the screen and silence falls. Here only the sound of an old creaky sign is heard blowing in the wind, un-nerving Benvolio further and continuing the western theme. The camera swizzles around to an image of a close up cigar being lit and a match being dropped to the ground by â€Å"Tybalt-the prince of cats. Juliet’s cousin† Landing close to his feet, though still burning. The music playing slowly and quietly, adding tension and atmosphere. Now there is a major close up of tybalts face. He has the look of the devil, slick black hair with tiny matching beard. He has pointed teeth that only a close up would enable us to see properly. He wears the colours of the devil, Reds and blacks showing hate, fire, torment and death. Also his face shows no fear, no feelings but pure untamed hate. He is just so slick and calm and as he speaks, there is a close up on his eyes. These ooze confidence and hold great hate and rage towards the Montague’s. The camera then focuses on Benvolio’s eyes, which are the complete opposite to Tybalt’s. His eyes show a great fear of the other man, apprehension. All adding tension to the opening scene. On a half of body shot, Benvolio is seen putting away his sword (which in this 1997 film s actually a gun,) and in an effort tries to avoid conflict by stating â€Å"I do only to keep the peace put up my sword. † His voice shaky in the eerie silence. Then another facial close up on Tybalt, as he says, â€Å"Peace, peace, I hate the word. As I hate hell. All Montague’s. And thee. † With no quivers only confidence and raw hate. The burning match is finally stamped out with the sound of the metal healed boots grinding at the concrete ground. This long gap between lighting the match and putting it out shows a great danger. This man means something; he alone stands for power and danger. Now a small boy, symbolising innocent bystanders at the market place, interrupts the silence. The boy just playing, shouting â€Å"bang, bang† triggering the attack. Tybalt draws, the music screeching. The shot looking up the barrel of tybalt’s gun as the word â€Å"bang† is said again. Showing he is willing to harm fellow citizens if need be. Now there is a range of many different camera shots, with electric music playing in the background. Tybalt does a lot of flamenco style movements, flowing, professional movements, as though he was fluent and skilled in the art. Very dramatic and serious movements, with no fear of being harmed. The Montague’s begin to try to fight back, though not really succeeding. They are frightened; you can see it in their eyes. Tybalt moves almost fashionably, where as the Montague’s don’t really know what to do. They shoot, showing no passion or drive. Unlike Tybalt who shows both. Tybalt is calling the shots, and in a swift movement he throws down his coat and fits an aiming device. Kissing his gun with a loving passion. People are running, frightened. The Montague’s flee, leaving Benvolio and Tybalt in the petrol station. Music still flaring giving added depth to the scene, petrol covering the ground. Tybalt zooms on to one of the fleeing Montague’s, taking the shot, and injuring him. The camera looking down the guns barrel as the shot is fired, pointing into Tybalts eyes. With a flickering smile he drops the cigar from his mouth, landing in a pool of petrol and igniting it immediately, which during the whole scene showed how contented he was with conflict. Here Benvolio flees with Tybalt in pursuit. The flames escalate, symbolising the devastation to come. The flames show hate and anger. Every body around is affected by the fighting as symbolised by the flames. Affecting people’s livelihoods, every body is effected by these civil brawls. There is very dramatic music playing now, escalating the feeling of hate and friction between the two families. A poster is shown burning, once stating â€Å"Montague’s and Capulet’s 2nd civil brawl. † This shows that it is over; hate has ended that, and born a third brawl, more powerful than the previous ones. A sign is also shown burning, â€Å"Add more fuel to your fire. † Showing that the public are affected, and that hate is the road to all evil’s, symbolising the devil and hell. The camera follows the flames upwards showing things will get worse, still with the music blasting. It moves up and through the smoke screen, the two houses can be seen dominating the skyline, with the image of Jesus between them. Still looking extravagant and wealthy after the brawl. Nothings really changed. The fire is burning as strong as their hate, causing public panic and confusion. Now short images are shown of police helicopters and vehicles flying between and around the towers and statue. The music still blearing. Shots are shown from alternate angles showing news reporters reporting the third civil brawl, again linking with the media. Ted Montague (the father-head of the house) rushes to the scene in his limo with registration plate being â€Å"Montague, Verona beach. † Again representing wealth and power. Once more fast flickering shots are shown of the fleeing public, panic stricken, confused. Police swarming to the scene in different kinds of vehicles now, and here with the music breaching a climax the shots slow down and return to facial close-ups. Tybalt and Benvolio are screaming at each other hate in their eyes, with no more fear left in Benvolio’s body only hate. Cars spread upon the road, utter havoc breached by the two feuding enemies. Guns are pointed at the couple from air and ground. They have no choice but to both walk forward and admit defeat, dropping their weapons to the ground. There is no music now just a loud ‘boom’ as the weapons fall. Adrenalin at an ultimate climax for anybody watching. The range of shots along with the series of different sounds and music create an unforgettable opening, showing many of the different themes and aspects of the play/film to anybody watching.

3 Causes of Deindustrialization

3 Causes of Deindustrialization Deindustrialization is the process by which manufacturing declines in a society or region as a proportion of total economic activity. It is the opposite of industrialization, and therefore sometimes represents a step backward in the growth of a society’s economy. Causes of Deindustrialization There are a number of reasons why a society might experience a reduction in manufacturing and other heavy industry. A consistent decline in employment in manufacturing, due to social conditions that make such activity impossible (states of war or environmental upheaval). Manufacturing requires access to natural resources and raw materials, without which production would be impossible. At the same time, the rise of industrial activity has done great harm to the very natural resources on which industry depends. In China, for example, industrial activity is responsible for record levels of water depletion and pollution, and in 2014 more than a quarter of the countrys key rivers were deemed unfit for human contact. The consequences of this environmental degradation are making it more difficult for China to sustain its industrial output. The same is happening in other parts of the world where pollution is on the rise.A shift from manufacturing to service sectors of the economy. As countries develop, manufacturing often declines as production is shifted to trading partners where the costs of labor are l ower. This is what happened to the garment industry in the United States. According to a 2016 report by the Bureau of Labor Statistics, apparel experienced the largest decrease among all manufacturing industries with a decrease of 85 percent [over the last 25 years]. Americans are still buying as many clothes as ever, but most apparel companies have moved production overseas. The result is a relative shift in employment from the manufacturing sector to the service sector. A trade deficit whose effects preclude investment in manufacturing. When a country purchases more goods than it sells, it experiences a trade imbalance, which can reduce the resources needed to support domestic manufacturing and other production. In most cases, the trade deficit must become severe before it begins to have a negative effect on manufacturing. Is Deindustrialization Always a Negative? It is easy to view deindustrialization as the result of a suffering economy. In some cases, though, the phenomenon is actually the result of a maturing economy. In the United States, for example, the â€Å"jobless recovery† from the financial crisis of 2008 resulted in deindustrialization without an actual decline in economic activity. Economists Christos Pitelis and Nicholas Antonakis suggest that improved productivity in manufacturing (due to new technology and other efficiencies) leads to a reduction in the cost of goods; these goods then make up a smaller relative portion of the economy in terms of overall GDP. In other words, deindustrialization is not always what it looks like. An apparent reduction may in fact just be the result of increased productivity relative to other economic sectors. Similarly, changes in the economy like those brought about by free trade agreements may lead to a decline in domestic manufacturing. However, these changes usually have no adverse effects on the health of multinational corporations with the resources to outsource manufacturing.

Geography of the Rocky Mountains

Geography of the Rocky Mountains The Rocky Mountains are a large mountain range located in the western part of North America in the United States and Canada. The Rockies as they are also known, pass through northern New Mexico and into Colorado, Wyoming, Idaho, and Montana. In Canada, the range stretches along the border of Alberta and British Columbia. In total, the Rockies stretch for over 3,000 miles (4,830 km) and form the Continental Divide of North America. Additionally, because of their large presence in North America, water from the Rockies supplies about  ¼ of the United States. Most of the Rocky Mountains are undeveloped and is protected by national parks like the Rocky Mountain National Park in the U.S. and local parks like the Banff National Park in Alberta. Despite their rugged nature though, the Rockies are a popular tourist destination for outdoor activities such as hiking, camping skiing, fishing, ​and snowboarding. In addition, the high peaks of the range make it popular for mountain climbing. The highest peak in the Rocky Mountains is Mount Elbert at 14,400 feet (4,401 m) and is located in Colorado. Geology of the Rocky Mountains The geologic age of the Rocky Mountains varies based on location. For example, the youngest parts were uplifted 100 million to 65 million years ago, whereas the older parts rose 3,980 million to 600 million years ago. The rock structure of the Rockies consists of igneous rock as well as sedimentary rock along its margins and volcanic rock in localized areas. Like most mountain ranges, the Rocky Mountains have also been affected by severe erosion which has caused the development of deep river canyons as well as intermountain basins such as the Wyoming Basin. In addition, the last glaciation which occurred during the Pleistocene Epoch and lasted from about 110,000 years ago until 12,500 years ago also caused erosion and the formation of glacial U-shaped valleys and other features such as Moraine Lake in Alberta, throughout the range. Human History of the Rocky Mountains The Rocky Mountains have been home to various Paleo-Indian tribes and more modern Native American tribes for thousands of years. For example, there is evidence that Paleo-Indians may have hunted in the region as far back as 5,400 to 5,800 years ago based on rock walls they constructed to trap game like the now-extinct mammoth. European exploration of the Rockies did not begin until the 1500s when the Spanish explorer Francisco Vasquez de Coronado entered the region and changed the Native American cultures there with the introduction of horses, tools, and diseases. In the 1700s and into the 1800s, exploration of the Rocky Mountains was mainly focused on fur trapping and trading. In 1739, a group of French fur traders encountered a Native American tribe that called the mountains the Rockies and after that, the area became known by that name. In 1793, Sir Alexander MacKenzie became the first European to cross the Rocky Mountains and from 1804 to 1806, the Lewis and Clark Expedition was the first scientific exploration of the mountains. Settlement of the Rocky Mountain region then began in the mid-1800s when Mormons began to settle near the Great Salt Lake in 1847, and from 1859 to 1864, there were several gold rushes in Colorado, Idaho, Montana, and British Columbia. Today, the Rockies are mostly undeveloped but tourism national parks and small mountain towns are popular, and agriculture and forestry are major industries. In addition, the Rockies are abundant in natural resources like copper, gold, natural gas, and coal. Geography and Climate of the Rocky Mountains Most accounts say that the Rocky Mountains stretch from the Laird River in British Columbia to the Rio Grande in New Mexico. In the U.S., the eastern edge of the Rockies forms a sharp divide as they rise abruptly out of the interior plains. The western edge is less abrupt as several sub-ranges like the Wasatch Range in Utah and the Bitterroots in Montana and Idaho lead up to the Rockies. The Rockies are significant to the North American continent as a whole because the Continental Divide (the line which determines whether water will flow to the Pacific or the Atlantic Ocean) is in the range. The general climate for the Rocky Mountains is considered highland. Summers are usually warm and dry but mountain rain and thunderstorms can occur, while winters are wet and very cold. At high elevations, precipitation falls as heavy snow in the winter. Flora and Fauna of the Rocky Mountains The Rocky Mountains are very biodiverse and has various types of ecosystems. However, throughout the mountains, there are more than 1,000 types of flowering plants as well as trees like the Douglas Fir. The highest elevations, however, are above the tree line and thus have lower vegetation like shrubs. The animals of the Rockies the elk, moose, bighorn sheep, mountain lion, bobcat and black bears among many others. For example, in Rocky Mountain National Park alone is populated by about 1,000 head of elk. At the highest elevations, there are populations of ptarmigan, marmot, and pika. References National Park Service. (29 June 2010). Rocky Mountain National Park - Nature and Science (U.S. National Park Service). Retrieved from: https://www.nps.gov/romo/learn/nature/index.htm Wikipedia. (4 July 2010). Rocky Mountains - Wikipedia, the Free Encyclopedia. Retrieved from: https://en.wikipedia.org/wiki/Rocky_Mountains

Poem Essay Example | Topics and Well Written Essays - 500 words - 1

Poem - Essay Example This essay will explore some of these elements and see how they add to the poem. In stanza one, the speaker tells that even though those who discriminate against her, have written damning things in history; it matters not, because she knows the truth about herself and her ancestors. Therefore, she will continue to move forward and rise above the false allegations. In line two, assonance is used â€Å"bitter twisted† to describe the lies that have been written about the African-Americans. The harsh sounding â€Å"i’s† in the two words demonstrate how cruel these false stories were. So, when the speaker says â€Å"I’ll rise† at the end of the stanza, the liberating feeling is enhanced by the previous harsh sounding â€Å"bitter twisted†. The most common form of figurative language found in the poem is the simile. For instance, in stanza three the speaker likens herself to the moon and the sun â€Å"Just like moons and like suns†. This si mile reveals to us that the speaker constantly rises, again and again, no matter how she is oppressed and put down by others; for, the sun and moon rise each day and night, and so shall she. Just like nothing can prevent the sun and moon from rising, so nothing can prevent her from rising above her circumstances, causing her to provide the light of hope for others through her actions and words.

Voltaire's Candide Essay Example | Topics and Well Written Essays - 1000 words

Voltaire's Candide - Essay Example The author’s own perception of God is presented in the work where Voltaire expresses his hatred for the churches abuse and lust for power. The work also presents the author’s atheist views. There are various aesthetic reasons why the novel is of great readership. The novel is an attempt to question the supposed inexorableness of vice, evil and anguish. Among them, one serious consideration is the dualism of optimism challenged all through the novel, by pessimism. This dualism of concepts is one of the significant reasons that make the novel aesthetically enjoyable. What Voltaire is interested in is a satire of philosophical optimism put forward by Leibniz. Voltaire is successful in countering the belief that God, in his immeasurable wisdom, created the best sufficient world. In challenging the concept of optimism, Voltaire works through the characters and their experience in life. Anti-heroism is the tool used to the best effect of mockery against the philosophy of the Enlightenment. The hero of the novel, Candide, wanders around the world with the Enlightenment ideas. Doctor Pangloss’s (a caricature of Leibniz) theory that â€Å"everything is for the best† (2) drives him forward. During his journey, Candide comes across various difficulties. But, he does not give up his search for Cunegonde, with optimism learned from his master. Voltaire challenges the logic of the optimistic theory of the world. The utter illogicality of the doctrine is clear in the words â€Å"if Columbus had not caught, on an American island, this sickness which attacks the source of generation†¦ we should have neither chocolate nor cochineal† (2). Candide is a novel that tells a pleasing story. At the same time, the novel is also a satire that mocks the t heory of optimism that believes in a better world for human existence. Voltaire presents his version of optimism through the idea of society. "When he [Voltaire] wishes to seriously justify a moral precept he does