The Stupidest Angel Chapter 11

Chapter 11 A SLUG TRAIL OF GOOD CHEER He might have been made of polished mahogany except that when he moved, he moved like liquid. The stage lights reflected green and red off his bald head as he swayed on the stool and teased the strings of a blond Stratocaster with the severed neck of a beer bottle. His name was Catfish Jefferson, and he was seventy, or eighty, or one hundred years old, and not unlike Roberto the fruit bat, he wore sunglasses indoors. Catfish was a bluesman, and on the night before the night before Christmas, he was singing up a forlorn twelve-bar blues fog in the Head of the Slug saloon. Caught my baby boning Santa, Underneath the mistletoe (Lawd have mercy). Caught my baby boning Santa, Underneath the mistletoe. Used to be my Christmas angel, Now she just a Christmas ho. â€Å"I hear dat!† shouted Gabe Fenton. â€Å"Sho-nufF, sho-nuff. True dat, my brutha.† Theophilus Crowe looked at his friend, just one in a whole line of awkward, heartbroken men at the bar, rocking almost in rhythm to the beat, and shook his head. â€Å"Could you possibly be any whiter?† Theo asked. â€Å"I gots the blues up in me,† Gabe said. â€Å"She sho-nuff did me wrong.† Gabe had been drinking. Theo, while not quite sober, had not. (He had shared a toothpick-thin spliff of Big Sur polio weed with Catfish Jefferson between sets, the two of them standing in the back parking lot of the Slug, trying to coax fire out of a disposable lighter in a forty-knot wind.) â€Å"Didn't think you muthafuckas had weather here,† Catfish croaked, having sucked the joint so far down that the ember looked like the burning eye of a demon staring out of a cave of dark finger and lip. (The calluses on the tips of his fingers were impervious to the heat.) â€Å"El Ni;o,† Theo said, letting loose a blast of smoke. â€Å"Say what?† â€Å"It's a warm ocean current in the Pacific. Comes up the coast every ten years or so. Screws up the fishing, brings torrential rains, storms. They think we might be having an El Nià ±o this year.† â€Å"When will they know?† The bluesman had put on his leather fedora and was holding it fast against the wind. â€Å"Usually after everything floods, the wine crop is ruined, and a lot of cliffside houses slide into the ocean.† â€Å"And dat because the water too warm?† â€Å"Right.† â€Å"No wonder the whole country hate your ass,† said Catfish. â€Å"Let's go inside fo' my narrow ass gets blowed back to Clarksville.† â€Å"It's not that bad,† said Theo. â€Å"I think it'll blow over.† Winter denial – Theo did it, most Californians did it – they assumed that because the weather was nice most of the time, it would be nice all of the time, and so, in the midst of a rainstorm, you'd find people outdoors without an umbrella, or when nights dipped into the thirties, you'd still see someone dip-pumping his gas in surfer shorts and a tank top. So even as the National Weather Service was telling the Central Coast to batten down the hatches, as they were about to get the storm of the decade, and even though winds were gusting to fifty knots a full day before the storm made landfall, the people of Pine Cove carried on with their holiday routine like nothing out of the ordinary could happen to them. Winter denial: therein lay the key to California Schadenfreude – the secret joy that the rest of the country feels at the misfortune of California. The country said: â€Å"Look at them, with their fitness and their tans, their beaches and their movie stars, their Silicon Valley and silicone breasts, their orange bridge and their palm trees. God, I hate those smug, sunshiny bastards!† Because if you're up to your navel in a snowdrift in Ohio, nothing warms your heart like the sight of California on fire. If you're shoveling silt out of your basement in the Fargo flood zone, nothing brightens your day like watching a Malibu mansion tumbling down a cliff into the sea. And if a tornado just peppered the land around your Oklahoma town with random trailer trash and redneck nuggets, then you can find a quantum of solace in the fact that the earth actually opened up in the San Fernando Valley and swallowed a whole caravan of commuting SUVs. Mavis Sand even indulged in a little California Schadenfreude, and she was a Californian born and raised. Secretly, she wished for and enjoyed the forest fires every year. Not so much because she liked watching the state burn down, but because for Mavis's money, there was nothing better than watching a burly man in rubber handling a hefty hose, and during the fires, there were plenty of those on the news. â€Å"Fruitcake?† Mavis said, offering a suspicious slice on a dessert plate to Gabe Fenton, who was drunkenly trying to convince Theo Crowe that he had a genetic predisposition toward the blues, using some impressively large words that no one but he understood, and periodically asking if he could get an ;amen; and â€Å"five up high,† which, as it turned out, he could not. What he could get was fruitcake. â€Å"Mercy, mercy, my momma done made a fruitcake look just like that,† Gabe howled. â€Å"Lawd rest her soul.† Gabe reached for the plate, but Theo intercepted it and held it out of the biologist's reach. â€Å"First,† Theo said, â€Å"your mother was an anthro professor and never baked a thing in her life, and second, she is not dead, and third, you are an atheist.† â€Å"Can I get an amen?!† Gabe countered. Theo raised an eyebrow of accusation toward Mavis. â€Å"I thought we talked about no fruitcake this year.† The prior Christmas, Mavis's fruitcake had put two people into detox. She'd sworn that it would be the last year. Mavis shrugged. â€Å"This cake's nearly a virgin. There's only a quart of rum and barely a handful of Vicodin.† â€Å"Let's not,† Theo said, handing the plate back. â€Å"Fine,† Mavis said. â€Å"But get your buddy off his blues jag. He's embarrassing me. And I once blew a burro in a nightclub and wasn't embarrassed, so that's saying something.† â€Å"Jeez, Mavis,† Theo said, trying to shake the picture from his mind. â€Å"What? I didn't have my glasses on. I thought he was a hirsute insurance salesman with talent.† â€Å"I'd better get him home,† Theo said, nudging Gabe, who had turned his attention to a young woman on his right who was wearing a low-cut red sweater and had been moving from stool to stool all night long, waiting for someone to talk to her. â€Å"Hi,† Gabe said to the woman's cleavage. â€Å"I'm not involved in the human experience and I have no redeeming qualities as a man.† â€Å"Me either,† said Tucker Case, from the stool on the other side of the red-sweater woman. â€Å"Do people keep telling you that you're a psychopath, too? I hate that.† Tucker Case, under several layers of glibness and guile, was actually quite broken up over his breakup with Lena Marquez. It wasn't so much that she had become a part of his life in the two days he had known her, but that she had begun to represent hope. And as the Buddha said: â€Å"Hope is merely another face of desire. And desire is a motherfucker.† He'd gone out seeking human company to help dilute the disappointment. In another time, he'd have picked up the first woman he encountered, but his man-slut days had left him lonelier than ever, and he would not tread that lubricious path again. â€Å"So,† Tuck said to Gabe, â€Å"did you just get dumped?† â€Å"She led me on,† Gabe said. â€Å"She tore my guts out. Evil, thy name is woman!† â€Å"Don't talk to him,† Theo said, taking Gabe by the shoulder and unsuccessfully trying to pull him off his bar stool. â€Å"This guy's no good.† The young woman sitting between Tuck and Gabe looked from one to the other, then to Theo, then at her breasts, then at the men, as if to say, Are you guys blind? I've been sitting here all night, with these, and you're going to ignore me. Tucker Case was ignoring her – well, except for inspecting her sweater cakes as he talked to Gabe and Theo. â€Å"Look, Constable, maybe we got off on the wrong foot –  » â€Å"Wrong foot?† Theo's voice almost broke. As upset as he appeared, he appeared to be talking to the woman in the red sweater's breasts, rather than to Tucker Case, who was only a foot beyond them. â€Å"You threatened me.† â€Å"He did?† said Gabe, angling for a better look down the red sweater. â€Å"That's harsh, buddy. Theo just got thrown out of the house.† â€Å"Can you believe guys our age can still fall so hard?† Tuck said to Theo, looking up from the cleavage to convey his sincerity. He felt bad about blackmailing Theo, but, much like helping Lena hide the body, sometimes certain unpleasantries needed to be done, and being a pilot and a man of action, he did them. â€Å"What are you talking about?† Theo asked. â€Å"Well, Lena and I have parted ways, Constable. Shortly after you and I spoke this morning.† â€Å"Really?† Now Theo looked up from the woolly mounds of intrigue. â€Å"Really,† Tuck said. â€Å"And I'm sorry things happened the way they did.† â€Å"That doesn't really change anything, does it?† â€Å"Would it make a difference if I told you that I absolutely did not harm this alleged Dale Pearson, and neither did Lena?† â€Å"I don't think he was alleged,† said Gabe, slurring at the breasts. â€Å"I'm pretty sure he was confirmed Dale Pearson.† â€Å"Whatever,† said Tuck. â€Å"Would that change anything? Would you believe that?† Theo didn't speak right away but appeared to be waiting for an answer from the decolletage oracle. When he looked up at Tuck again he said, â€Å"Yeah, I believe you.† Tuck nearly aspirated the ginger ale he was drinking. When he stopped sputtering he said, â€Å"Wow, you suck as a lawman, Theo. You can't just believe a strange guy who tells you something in a bar.† Tuck wasn't accustomed to being believed by anyone, so to have someone take him at face value†¦ â€Å"Hey, hey, hey,† said Gabe. â€Å"That's uncalled for –  » â€Å"Well, fuck you guys!† said the woman in the red sweater. She jumped up from her stool and snatched her keys off the bar. â€Å"I am a person, too, you know? And these are not speakerphones,† she said, grabbing her breasts underneath and shaking them at the offenders, her keys jingling cheerfully as she did, completely defusing the effect of her anger. â€Å"Oh – my – God,† said Gabe. â€Å"You can't just ignore a person like that! Besides, you're all too old and you're losers and I'd rather be alone on Christmas than spend five minutes with any of you horn dogs!† And with that she threw some cash on the bar, turned, and stormed out of the bar. Because they were men, Theo, Tuck, and Gabe watched her ass as she walked away. â€Å"Too old?† Tuck said. â€Å"She was what, twenty-seven, twenty-eight?† â€Å"Yeah,† Theo said. â€Å"Late twenties, maybe early thirties. I didn't think we were ignoring her.† Mavis Sand took the money off the bar and shook her head. â€Å"You were all paying her proper attention. Woman's got some issues when she's jealous of her own parts.† â€Å"I was thinking about icebergs,† said Gabe. â€Å"About how only ten percent of them show above the surface, yet below lies the really dangerous part. Oh, no, I got the blues on me again.† His head hit the bar and bounced. Tuck looked to Theo. â€Å"You want some help getting him to the car?† â€Å"He's a very smart guy,† said Theo. â€Å"He has a couple of Ph.D.s.† â€Å"Okay. Do you want some help getting the doctor to the car?† Theo was trying to get a shoulder under Gabe's arm, but given that he was nearly a foot taller than his friend, things weren't working very well. â€Å"Theo,† Mavis barked. â€Å"Don't be such a friggin' wanker. Let the man help you.† After three unsuccessful attempts at hefting the bag of sand that was Gabe Fenton, Theo nodded to Tuck. They each took an arm and walked/dragged the biologist toward the back door. â€Å"If he hurls I'm aiming him at you,† Theo said. â€Å"Lena loved these shoes,† said Tuck. â€Å"But you do what you feel like you need to.† â€Å"I have no sex appeal, a rum-pa-pa-pum,† sang Gabe Fenton, in spirit with the season. â€Å"My social skills are nil, a rum-pa-pa-pum.† â€Å"Did that actually rhyme?† asked Tuck. â€Å"He's a bright guy,† said Theo. Mavis creaked ahead of them and held the door. â€Å"So, I'll see you pathetic losers at the Lonesome Christmas party, right?† They stopped, looked at one another, felt camaraderie in their collective loserdom, and reluctantly nodded. â€Å"My lunch is coming up, a rum-pa-pa-pum,† sang Gabe. Meanwhile, the girls were running around the Santa Rosa Chapel, putting up decorations and preparing the table settings for a Lonesome Christmas. Lena Marquez was making her third circumnavigation of the room with a stepladder, some masking tape, and rolls of green and red crepe paper the size of truck tires. (Price Club in San Junipero only sold one size, evidently so you could decorate your entire ocean liner without making two trips.) The act of serial festooning had taken Lena's mind off her troubles, but now the little chapel was starting to resemble nothing more than the nest of a color-blind Ewok. If someone didn't intervene soon the Lonesome Christmas guests would be in danger of being asphyxiated in a festive dungeon of holiday bondage. Fortunately, as Lena was moving the ladder to make her fourth round, Molly Michon snaked a foot inside and pulled the chapel's double doors open; the wind from the growing storm swept in and tore the paper from the walls. â€Å"Well, fuck!† said Lena. The crepe paper swam in a vortex around the middle of the room, then settled into a great wad under one of the buffet tables Molly had set up to one side. â€Å"I told you a staple gun would work better than masking tape,† Molly said. She was holding three stainless-steel pans of lasagna and still managed to get the oak double doors closed against the wind with her feet. She was agile that way. â€Å"This is a historical landmark, Molly. You can't just go shooting staples into the walls.† â€Å"Right, like that matters after Armageddon. Take these downstairs to the fridge,† Molly said, handing the pans to Lena. â€Å"I'll get you the staple gun out of my car.† â€Å"What does that mean?† Lena asked. â€Å"Do you mean our relationships?† But Molly had bounded back out through the double doors into the wind. She'd been making more and more cryptic comments like that lately. Like she was talking to someone in the room besides Lena. It was strange. Lena shrugged and headed back to the little room behind the altar and the steps that led downstairs. Lena didn't like going into the basement of the chapel. It wasn't really a basement; it was more of a cellar: sandstone walls that smelled of damp earth, a concrete floor that had been poured without a vapor barrier fifty years after the cellar had been dug and so seeped moisture and formed a fine slime on top in the winter. Even when the stove was cranked and an electric heater turned on, it was never warm. Besides, the old, empty pews stored down there cast shadows that made her feel as if people were watching her. â€Å"Mmmm, lasagna,† said Marty in the Morning, your drive-time dead guy in the a.m. â€Å"Dudes and dudettes, the little lady has certainly outdone herself this time. Get a whiff of that?† The graveyard was abuzz with moldy anticipation of the Lonesome Christmas party. â€Å"It's highly inappropriate, that's what it is,† said Esther. â€Å"I suppose it's better than that horrible Mavis Sand woman barbecuing again. And how is it that she's still alive, anyway? She's older than I am.† â€Å"Than dirt, you mean?† said Jimmy Antalvo, whose faceprint was still embedded in a telephone pole on the Pacific Coast Highway, where he'd hit it at age nineteen. â€Å"Please, child, if you must be rude, at least be original,† said Malcolm Cowley. â€Å"Don't compound the tedium with cliche.† â€Å"My wife used to put a layer of hot Italian sausage between every layer of cheese and noodles,† said Arthur Tannbeau. â€Å"Now, that was some good eatin'.† â€Å"Sort of explains the heart attack, too, doesn't it?† said Bess Leander. Being poisoned had left a bitter taste in her mouth that seven years of death could not wash away. â€Å"I thought we agreed not to talk about COD guilt,† said Arthur. â€Å"Didn't we agree on that?† COD was shorthand of the dead for Cause of Death. â€Å"We did agree,† said Marty in the Morning. â€Å"I do hope that they sing ‘Good King Wenceslas, † said Esther. â€Å"Shut the fuck up about ‘Good King Wenceslas, would you? No one knows the words to ‘Good King Wenceslas, no one ever has.† â€Å"My, my, the new guy is cranky,† said Warren Talbot, who had once been a painter of landscapes but after liver failure at seventy was fertilizing one. â€Å"Well, it's gonna be a great party to listen to,† said Marty in the Morning. â€Å"Did you hear the constable's wife talking about Armageddon? She's definitely taking a cruise down the Big Nutty.† â€Å"I am not!† shouted Molly, who had come down to the basement to help Lena clear space in the two refrigerators for the salads and desserts that they had yet to unload. â€Å"Who are you talking to?† said Lena, a little frightened at the outburst. â€Å"I think I've made my point,† said Marty in the Morning.

It Is Often Easier to Figth for Principles Than to Liv Up to Them

Adlai Stevenson once commented, â€Å"It is often easier to fight for principles than to live up to them. † Based o your reading, observation, or experience, to what extent to you agree or disagree with Stevenson’s words? Please give examples that support your point of view. One man said, â€Å"I don’t agree with what you say, but I defend with my life your right to say it†, thus, expressing the importance of the right of free speech. Many principles, for example justice, democracy and equality, which nowadays are taken for granted in the developed world, are the outcome of a long struggle through the ages. However, it is often said that people are more eager to fight for what they believe is right and just, than to live by the rules they have fought for. In my opinion, this is a solid argument which can be proven by several examples. Throughout human history there have been many examples of rebellions, which begun urged by idealism but afterwards lost their way. The most recent are the ones who took place for the sake of communism. To be more precise, communist rebels declared equal rights and a society without social classes, principles that were left aside as soon as the revolution was over and the government was a communist one. Communist leaders then, justified extreme measures as the only way to establish and maintain their ideals against capitalistic foes, depriving human rights, which were the main incentive of the rebellion. Another clue is how most people differentiate their principles and priorities as they grow older. It is mostly youngsters, especially the literate ones, who demonstrate a rebellious spirit against any violation of their principles. However, as years go by and student life is replaced by career and family obligations, these principles begin to fade away. Life is full of dilemmas and only the strong ones put aside personal interest for the sake of principles and beliefs. When someone is fighting for an ideal, he is comforted by the thought that, despite the danger, he is doing the right thing. He is doing something for the common good and that makes him feel a part of a larger group of common believers. One the other hand, when the goal is achieved and his ethical defenses are down, it is difficult and inconvenient to live by lofty principles. Priorities change and principles are considered a luxury for those with no responsibilities.

Becoming Members of Society: Learning the Social Meanings

Melvin Richardson Professor Shana Smith English 112 (D22P) March 21, 2013 Machin Rifamos (The Rise of Brown America An argument essay by Melvin Richardson) â€Å"Resistance is futile† is a resounding statement first exclaimed by the alien race called the Borg in the Gene Roddenberry long running television series Star Trek. â€Å"Why do you resist? Asked the Borg commander, Ryker replies â€Å"I like my species the way it is†! Borg commander counters with, â€Å"We only wish to raise quality of life for all species†.This is the last thing you heard before your kind was assimilated and your unique cultural and biological essences absorbed. If you have heard or read this statement before, it’s because it has been the theme of White America since its inception and so has appropriating and assimilating cultures, with racism, class warfare, and loss of ethnic identity as unfortunate by-products. The Xicano (Chicano) was able to evolve and retain their cultural identity and ethnicity by creating a border dialect or language (a Patois) which supports the view of the essayist Gloria Anzaldua’s â€Å"How to Tame a Wild Tongue. This dialect is viewed as sub-cultured jargon in their homeland (Mexico) where Standard Mexican Spanish is spoken and the Working Class English is demanded by their adopted host north of the border, America. Ultimately, the appropriation and assimilation of borderland Mexicans (Hispanic Americans) did not occur as did the Native American Indians or the African Americans that occupy the rest of the nation. However, these Hispanic Americans, who are considered second class in their native home (Mexico) and 3rd class by the U. S.For use many years use of the Spanish language declined in the Chicano Nation because of the immigration of Anglo-Americans and the brutal efforts of the U. S. imperialists to eradicate the Spanish language. Further analysis reveals, the link between language and identity with respect to c ommunity cohesiveness effects self- awareness. The focus of Gloria Anzaldua’s essay, â€Å"How to Tame a Wild Tongue,† focuses on the idea of losing an accent or native language to conform to the current environment. Anzaldua’s essay describe what it was for her, living in a English speaking nvironment, and not being an Anglo, combined with speaking Xicano Spanish and not true Spanish. Many Xicano parents did not pass the Spanish language on to their children, largely because upward mobility in America is directly connected to proper use of the â€Å"Queen’s English† with all its proper enunciations and cultural correctness’s. As substantiated in her piece she stated, â€Å"being caught speaking Spanish at recess—that was good for three licks on the knuckles with a sharp ruler and being sent to the corner of the classroom for talking back to the Anglo teacher when all I was trying to do was tell her how to pronounce my name.The Anglo teacher said, â€Å"If you want to be American, speak American, if you don’t like it, and go back to Mexico where you belong. † However by contrast, now this trend is reversing itself with the rise of Hispanic Americans, both born in the U. S. and the ones that were able to acquire U. S. citizenship. At one time, it seemed that the English language would replace Spanish as the common language of the Xicano Nation, this no longer appears likely. Anzaldua is arguing for the ways in which identity is intertwined with the way we speak and for the ways in which people can be made to feel ashamed of their own tongues.People no matter what race of culture needs a group of like kinds in which to identify their proud ethnicities and heritages. This tendency for oneness or sameness is demonstrated in an article published in the Colorado Gazette â€Å"A New Era in Race Relations? Real life say’s not so much†. William King, professor of Afro-American Studies of the University of Colorado-Boulder, â€Å"insist(s) it's just human nature to seek out people who look like them† he insists there's more to it: blacks and other minorities segregate themselves only because society has taught them that grouping together is the only way to stay safe.In support of this argument I contend that this feeling of being ashamed of one’s own native tongue is nothing less than marginalization, in order to appropriate the labor of the Hispanic Americans to keep them from assimilating into the American mainstream. In the 1960’s American society was influenced by movements that were fighting the political and social injustices of the time. The Xicano movement was no exception. During this time there were visible signs of â€Å"No Dogs or Mexicans Allowed† as well as a general sentiment of segregation based on race and economic class.As the movement started to progress in the Xicano (Hispanic) community, identifying with the term Chicano b ecame widely accepted. This is an evolutionary moment of the language. Although native Mexicans believe that the word Chicano is an ugly term to use when identifying one’s cultural background. To them, Chicano signifies a lower class of the Mexican. The term â€Å"Chicano† seemed to spring up out of very impoverished areas of the Mexican-American neighborhoods known as Barrios.Mexicans, as well as US culture connected the word Chicano with another term called Pachuco or Cholo. Despite the negative connotations and images the term sparks up youth and others (gang members) embrace being Cholo, to call oneself a child of the Mexica. In support of the position taken by Senora Gloria Anzaldua, I titled my piece â€Å"Machin Rifamos† which means â€Å"High achieving† and â€Å"We Rule†. Xicano dialect is an evolutionary event. With the rise of Hispanic Americans in every walk of American life, the â€Å"phoenix effect† is occurring.William Blaine Richardson, governor of New Mexico; Sonya Sotomayor Supreme Court Judge; Linda T. Sanchez U. S. congresswoman; with individuals that not only speak Xicano; need the support of this new powerful evolved group of Americans and potential Americans . The evidence is irreversible and ongoing. By the end of this century, Spanish speakers will comprise the biggest minority group in the U. S. , and the America that has been, conditioned by effortless assimilating, appropriating cultures and native people, miss the boat this time.

Article Review Example | Topics and Well Written Essays - 750 words - 12

Review - Article Example The major functions generally involve searching of the relevant literature for establishing the contact with the discipline for writing the relevant literature. At the time of searching of the literature, practitioners are faced with various challenges. In this regard, the practitioners search for the journals which are not accessible for everyone. Some journals are only accessible for key users, which are recognized as one of the big issues for the practitioners. The second problem relates to the accessing of the journals during the research. There are few prominent solutions, to this issue, such as many sites are provided for accessing the articles without any subscription charges and the research scholars are suggested to figure out a list of the relevant journals for the research purpose (Carr &Briggs, n.d.). The study is based upon the indirect behavioral observation. Thus, the study is qualitative in nature. Correspondingly, the research design has been established. The study can be referred to base on indirect observation as it involves reviewing the articles of others. The research design will be rated three as per the SMRS application (The National Autism Center, 2009). The measurement of the dependent variable is related to the availability of the subject related literature articles. The practitioners are engaged in exploring articles of others. Hence, they are dependent upon the availability of such accessible articles. The indirect observation also explains that the problems related to the unavailability of the accurate articles are the dependent variable of the research. On the basis of the given information, the writer will rate four by using the SMRS (The National Autism Center, 2009). The independent variable of the study is the subject of the research paper. On the basis of the indirect observation, it can be determined that approximately 80% of the literature review to be

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Quastions ch 5 - Essay Example It thus allows for removal of tariffs and trade barriers in the bilateral trading platform. Interventionism theory has transformed international trade since its inception. It is a theory that explores the justification of economic or political interference of another partner. Historically, the difference in capital base, technology and labor supply was used as a tool of economic coercion by powerful economies to coerce developing economies into imbalance multilateral trade policies and practice. Today, modern international ethics in business have significantly diminished this form of economic exploitation. The criteria of modern intervention are purely mutually beneficial trade ties that emphasize on mutual respect, ethical business agreements and removal of economic paternalism. The principle of interventionist theory has been significantly eroded in the wake of modern economies and expansion of liberal marketing and free trade (Ruta & Venables 2012). Free trade policy has encouraged global efficiency by allowing every countrys freedom to access international markets at equal level. Unlike in the past where there were bureaucratic bottlenecks, many multilateral trades have successful in creating a platform where a range of products from different countries can interact. In addition, it has created mutual global interest in pursuing economic depressions and crises through stabilization of prices on energy and petroleum products. Besides, through free trade, there has been tariffs reduction, less restriction on goods movements and entrepreneurs have shifted from focusing on local trade to international. In addition, it has expanded export trade leading to lower prices of commodities. Global efficiency of goods movement, bilateral and multilateral trade agreements easily executable are due to removing of international trade

Business Strategy of Ryan Air Case Study Example | Topics and Well Written Essays - 1500 words

Business Strategy of Ryan Air - Case Study Example An Irish airline – it has its headquarters in Dublin and its biggest operational base is London Stansted Airport in UK. Ryanair has profited immensely due to the deregulation of the air industry in Europe in 1997and has undergone rapid growth to become on of the leading names in the industry. But its rapid expansion has been characterized by the numerous controversies and complaints about its functioning. In October 2006, Ryanair was voted the world's most disliked airline in a survey by the TripAdvisor website, and in November 2006, it was revealed as the subject of more complaints than any other airline in the EU. (Irish Examiner, 2006-11-28) But this aside, it has evolved into one of the most profitable low-cost airlines in the world. EasyJet, Monarch Airlines, Centralwings, Air Berlin etc. are the main low-cost competitors for Ryan Air. BUSINESS STRATEGY Business strategy or the long-term business plan is typically characterized by major resource issues or their allocations in an organization. there are two main categories of strategies that are usually followed by the companies ---- the Generic (general) strategies, and Competitive strategies. Some of the generic strategies are: a. Growth or the expansion of the company by purchasing new assets or developing new products. b. Globalization – Going international that is -- moving operations into more countries – becoming multinational companies. c. Retrenchment --- This is typically characterized by focusing on the core business by cutting down on ancillary plans. And some examples of Competitive strategies are : a. Lowering the prices. This is useful if the company is the market leader and can benefit from the advantages of producing large volumes of output such that the lower costs can be covered by more output. And the competitors are unable to match the lowered prices. b. Differentiation - that is position the company as providing something different from the other rivals. For e.g. The aviation industry. It is divided into two main segments --The low cost airlines such as Ryanair who offer low prices and fly on short routes without providing any special services and the high priced airlines such as British Airways that concentrate on differentiation. They offer better services to passengers such as more legroom, in flight entertainment, and more individualized attention. (Grassley, 2002) CURRENT STRATEGY OF RYANAIRAs per the official website of Ryanair, its main objective or mission is to become the Europe's leading low-fares scheduled passenger airline through continued improvements and expanded offerings of its low-fares service. (Ryanair Website). They are looking to increase their customer base by increasing their cost-effectiveness and operational efficiencies. The key elements of Ryanair's strategy are: Low Fares, Good Customer service, Frequent flights, Low operating costs, Internet advantage, Safety and Quality maintenance, Enhanced ancillary services. Basically, Ryanair is trying to achieve economies of scale by trying to increase its number of flights and keeping its planes in the air as frequently as possible in a 24 hour period. Its competitive advantage lies in its ability to keep low fares and provide frequent flights for point-to-point short distance routes. Ryanair sells seats on a one-way basis, thereby eliminating the minimum stay

Market risk Essay Example | Topics and Well Written Essays - 2500 words

Market risk - Essay Example Even with the Security exchange commission, Federal Reserve still does not grantee immunization from the insecurity that comes with risk. FI’s have faced difficulties over the years for a multitude of reasons; the major cause of serious FI problems remains directly related to lax credit standards. These problems range from borrowers, counter-parties, poor portfolio risk management, or a lack of attention to changes in economic or other circumstances. These lapses in awareness can lead to decline in the credit standing of an FI’s counterparties. This experience is common in both G-10 and non-G-10 countries (Basel 1999). When discussing market risk there are many trading activities that have caught the eyes of regulators by FI managers. For example, in September 1995, a leading Japanese bank, Daiwa Bank was forced into insolvency because of losses trading in Japanese stock futures that took place at a branch in New York City (Saunders & Cornett, pp 258). Market risk can b e define as the risk related to the uncertainty of an FI’s earning on its trading portfolio caused by changes in market conditions, such as price of an asset, interest rates, market volatility, and market liquidity (J.P. Morgan). Understanding what is at risk when trading and investing on the market is of great interest to FI managers. There are divergent types of portfolio’s, which can be distinguished on a basis of time, horizon and liquidity. Trading portfolio consists of assets, liabilities, and derivative contracts that can be bought and sold quickly on organized financial markets. The category of asset or liabilities in a trading portfolio could be a long or short position in commodities, foreign exchange, equity securities, interest rate swaps, and options (Saunders & Cornett, pp 258). The investment portfolio has assets and liabilities that are moderately illiquid and held for longer holding periods. The variety of assets and

Dqweek 7 Essay Example | Topics and Well Written Essays - 1000 words

Dqweek 7 - Essay Example to do with how the powers and privileges of society, as well as within the companies themselves, are affected by large organizations . These three, Clegg, Hinings and Greenwood feel that this sociological perspective is required in order that companies can find for themselves the most suitable ways to solve their problems, ways that are both efficient an defective. . Clegg in 2002 ( p 430) drew a parallel with the planning of the Holocaust in World War II. He describes an organization then which worked at optimum efficiency, and achieved its aims effectively, but as far as moral values and ethics were concerned was totally abhorrent. He also stresses that researchers seeking both funding and access to organisations, must focus their research on real problems faced by the businesses concerned. ( page 436) Grey (2010, p 686) and Clegg (2002, 434) point out how between Europe and America there are differences in the way universities operate with Europeans generally being more open to alternative points of view. Grey talks about the ways in which systems of ranking make the positivist/functionalist viewpoint dominant in North American academic circles. He concludes that this ranking system enables the American universities and the academic journals from that part of the world to prevail when it comes to proving the knowledge creation agenda which therefore tends to fit in with their preference for the positivist/functionalist trend. Knowledge creation cannot be allowed to remain as the select domain of an elite group of American scholars and those academic journals which are overly concerned with their own rankings. There are other ways to create knowledge as our DBA programme reveals when it shows how Critical Action Learning when used by scholars who are also practitioners will also generate knowledge. Whether or not it then goes on to publication in a high ranking American journal, it can still be used within our own organisations to

Ecosystems and Trophic Levels. Tropical Rainforest Assignment

Ecosystems and Trophic Levels. Tropical Rainforest - Assignment Example There is an estimate that approximately 20 to 86 species of trees exist per acre of these forests. Trees lies in several vertical layers named as Emergent layer, Canopy layer, under story layer, shrub layer and ground layer (Davis, 2007). So scientists consider this area as species-richest biomes on this planet that is very unique due to its complex ecosystems. Food Chain: In tropical rainforest there are hundreds of interlinked food chains those when combined result in a complex and huge food web. Tropical rainforests food chain has four levels First level is dominated by plants, fruits, leaves, planktons etc Second level is made up by the herbivores (animals which eat plants) such as insects, small reptiles, nectar eating birds and some large animals such as monkeys, apes etc. Small carnivorous animals (meat eating animals) make the third level and these include rodents, and some small reptiles. Large carnivorous animals such as snakes make the fourth level. Last and fifth level is dominated by the large dangerous carnivores such as pythons, alligators tigers etc. Symbiotic Relationships and energy transfer within various levels: Life in tropical rainforest is difficult and there is a strong competition between different species. Hundreds of species have developed symbiotic relationship with other species in order to survive in such a highly competitive environment. In a symbiotic relationship both species are mutually benefited. ... Primary producers also named as autotrophs are the only living being which use the sunlight energy to convert carbon dioxide and water into carbohydrates (Pipe, 2008). Then comes primary consumers, which consume autotrophs and utilize their energy for their living. In this way energy is transferred from one level to next level. In energy pyramid third and fourth level is occupied by secondary and tertiary consumers. Secondary consumer depends on plants as well as on primary consumers for their energy requirement whereas secondary consumers (carnivore) feed on secondary consumers (Davis, 2007). As energy is transferred from one level to another, it becomes lesser in amount as some energy is lost as heat energy. Indeed only 1.2% of energy is transmitted to the next higher level in this energy pyramid. Decomposers or detritivores form the last level of energy pyramid. Detritivore include bacteria, fungi and virus. And these are the organisms which nourish on dead plants and animals and derive energy by decomposing these dead bodies. In this way they change the complex organic substances of the dead bodies into their simpler form that is further utilized by the plants to synthesize their food. In this way decomposers serve as a link between autotrophs and consumers. Decomposers also serve to clean the environment (Pipe, 2008). Human interference: This valuable resource of earth is under threat due to human activities. Extension in human settlements, need for the more and more agricultural land, construction of roads and need of wood have resulted in quick deforestation of this tropical rainforest. As a result of this deforestation large area has lost its vegetative cover as well hundreds of thousands of other species that inhabited or

Thomas Morton Essay Example for Free

Thomas Morton Essay (1). What was the cause of the enmity that developed between Thomas Morton and his group and the Pilgrams at Plymouth? What was his major offense? The harsh reaction of the Pilgrims to Morton was explained only in part by their abhorrence of the Maypole incident. They also were offended by his open ridicule of their society and his practice of conducting Anglican services at Merry Mount. Perhaps of even greater concern was the fact that Morton traded firearms for furs with the local Indians — a practice that the Pilgrims believed was their exclusive preserve. In 1628, Plymouth authorities dispatched Miles Standish to deal with their troublesome neighbor. Morton and his associates were too drunk to resist; he was taken into custody and exiled to a small nearby island to await transportation back to England. There he was supplied with provisions by sympathetic Indians and managed to escape on his own and return to England. He reappeared in Plymouth the following year and promptly ran into difficulties with the officials. His property was confiscated and he was again sent home. Demonstrating life-long persistence, Morton returned to Massachusetts in 1643 and was promptly imprisoned in Boston. Following his release, he was exiled to Maine, where he remained for the rest of his life. (2) Morton was sent back to England to be punished, but each time he escaped punishment. Why? Thomas Morton values, and relations to the more familiar swashbuckling Cavaliers of Europe need to be carefully explained. According to his own self-description, Morton was the university-educated son of a soldier, devoted to the British crown and old English ways, and a staunch supporter of the Church of England, its liturgy, and its holy days. His portrait of the Indians and attempt to show how, despite their uncivilized state, share many values with the traditional Englishmen whom he had taken to be his audience. The Indians personal modesty, hospitality to strangers, respect for authority, and even religious views mirror those of England, and their contentment surpasses that of the English because of their greater closeness to nature. This was the reason behind escape from punishment of Morton in England. Resources: http://www.u-s-history.com

Viscosity Science Lab Essay Example for Free

Viscosity Science Lab Essay Purpose: To determine of changing the viscosity will affect the time it takes for a marble to flow through a liquid. Hypothesis: If a marble is dropped into dish soap and corn syrup, than I predict that the marble in the dish soap will travel faster than the marble in the corn syrup because I know that the viscosity of the corn syrup is thicker than then the viscosity of the dish soap. Also, the particles in the corn syrup are more compact than those in the dish soap. This makes the marble sink faster in the dish soap than the corn syrup. Apparatus: * 2 identical marbles * 250 Graduated Cylinders of 250mL * 250mL of dish soap * 250mL of corn syrup * 1 timer/stopwatch Procedure: 1. Drop one marble in the graduated cylinder of corn syrup and begin timing 2. Continue timing until the marble hits to the bottom and stop the timer 3. Record the time result in the qualitative chart 4. Record all observations in the quantitative chart 5. Repeat all steps from 1-4 fir the graduated cylinder of the dish soap 6. Clean up the work area Observations: Qualitative Observations Dish Soap| Corn Syrup| * Green * Quick * Pungent * Bubbles * Translucent * Level rose * Bright * Not Viscous| * Level Rose * Very Slow * Bubbles *  Translucent * Pungent * Viscous * Muted * Dark| Quantitative Observations: Dish Soap| Corn Syrup| 7.24 seconds| 87.25 seconds| Data: See graph attached at the end of this lab. Conclusion: Yes, my hypothesis was correct. I discovered that a marble travels approximately 7 seconds in 250mL of dish soap and approximately 87 seconds in corn syrup. Also, I found that the corn syrup is more viscous than the dish soap which is what caused the slow and fast sinking. This result occurred because the particles in the corn syrup are much larger than normal particles. These large particles within the corn syrup take up more space. Since the particles take up so much space, they tend to block each other and not let them pass through. It is very difficult for large particles to move past each other unlike small, tiny particles, like those in the dish soap. The particles in the dish soap are very small and can move more freely and quickly. In the dish soap, the particles are very small and can move past each other easily when compared to the particles in the corn syrup. Another reason also contributed to the result of this experiment. Attraction. Some types of particles tend to attract more than others and that is exactly what happened in the corn syrup. The particles in the corn syrup attracted more than the dish soap. The large particles in the corn syrup held tightly to each other, that when the marble fell in that it made it hard for the marble to pass through more than one particle at a time. IN the dish soap, the particles did not attract as much as the corn syrup which let the marble move easily and quickly through the liquid. The strength of attraction as well as the particle size is important in determining a fluid’s viscosity. Application: This viscosity experiment can be used in real-life when making sun-tan lotion as well as other cosmetic products. It is important for the lotion to be viscous because the lotion could not be applied and spread around the  body if the cream was not viscous enough to suit its use. It would drip all over you! It wouldn’t dry or stay in one place. Many well-known businesses hire highly educated scientists to calculate the right viscosity level and if it is not correct nobody would buy the product. People who once thought highly of the product would think that it has gone bad and useless. Profits would go down for the business and since nobody would by it, the business would have to be shut down. Many jobs would be lost and many businesses would have to be shut down. Jobs from the factory, the transport services, the marketers, and the retail stores would be lost and many people left with nothing but a pension. Viscosity is seen all around the world and it is very important for the measurement of viscosity to be pin-point and accurate.

The Opera Singer As An Actor Music Essay

The Opera Singer As An Actor Music Essay In this dissertation emphasis will be placed on the marriage of three concepts namely: good voice singing technique, musicality and acting for opera (building the character) in the training of a successful opera singer hereafter referred to as the singer-actor. The purpose of the study was to explore and describe the essential skills that needed to be acquired by the modern opera singer. The rationale therefore, is to provide guidelines for the minimum requirements for the training of the opera singer as singer-actor. Taking into consideration the demands on opera singers when taking part in an opera, the study was guided by the following question: How does the knowledge of good voice (a sound singing technique), musicality and building a character role benefit the opera singers performance? Evolving from the main research question, the following sub questions were formulated: What is a good voice within classical voice training methods? How can musicality contribute to an opera singers performance? What are the demands to build a character role? General and specific aims: The general aim of this study was to determine how the knowledge of a good voice, musicality and building a character role, benefit the opera singers performance. Specific aims: The specific aims of this study are: to define a good voice To define musicality to determine how building a character role contribute to an opera singers performance. Due to the limited nature of this study, only a literature study will be done. As an extension of this study, the researcher would follow an interpretivist paradigm with a qualitative approach which strives to comprehend the important skills an opera singer should have according to contemporary South African opera singers and their view of the importance of acting ability for successful opera. The study will be conceptualised in terms of and based on the following frameworks: The voice Musicality Acting ability Relationship between music and text For opera to retain its artistic relevance to, and impact on, the fabric of arts and culture, it can be argued that there are three fundamental elements to the performance of opera which need to be addressed, and which require academic input (herformulering), discipline regarding musicality as well as focussed tuition and practise (sweeping statement. Wie se so?). In a world of ever-increasing media coverage of artistic and musical artists and events, together with an ever-increasing sophistication of a wider audience, it is becoming increasingly challenging for the artist, and in particular, the opera singer, to be successful in his career. Key to this challenge is that the opera singer is left with no choice other than to develop skills beyond the purely technical expertise. It is imperative that, in order to be extraordinary and thereby successful, the opera singer has to master three co-functioning disciplines, namely the good voice, musicianship and acting ability (sit bronne in). Singers tend to take acting classes separate from their vocal training in order to improve their acting skills. However, they mostly discover that taking classes in spoken drama and dialogue helps up to a certain point, but when going back to singing opera, the acting strategies learnt in the drama class do not always migrate to the performance of the aria (cf. Bean: 2007:167). This lack of transition is a result of the unique relationship between the music and the stage character in opera, which is not taken into account in the training of purely spoken (non-musical) drama. Thus, the one aspect that separates the acting of a spoken drama from that of opera is the music that is performed by instruments and the human voice. (Bron) (Prof. Jak: kommentaar is dat dit self evident is, of vroeà «r genoem moet word). The argument specific to this dissertation is that the preparation and development of the opera singer (or singer-actor) has to facilitate three equally important, inter-linked and overlapping platforms of the Good Voice (singing technique), the discipline of musicianship and The Ability to Act (building the character). ( dink dit is aan die begin gesà ª) In order to deliver a masterful opera performance, the singer actor needs to depict a character successfully. The opera singer needs to be a singer-actor who has mastered the following three pillars (Good Voice, Musicianship and Acting Ability) of the craft and art of Opera Performance. Each of these pillars deserves equal attention with particular reference to the input, mentoring/development and training curriculum of the opera singer (Bron) Further to the intention of the dissertation, it will be important that there are appropriate and comprehensive definitions of these three equally important elements that are based on the relevant literature and which build on the existing body of knowledge in this field. Specifically, this study will integrate the definitions of A Good Voice, Musicianship and Acting Ability in terms applicable to the Singer-Actors optimal performance of Opera. Furthermore, in this dissertation emphasis will be placed on singing techniques, the elements of musicianship, and various relevant acting strategies in the training of a successful opera singer. This dissertation will also include the identification of relevant areas of scholarly attention and future academic research that will add to the existing body of knowledge in this arena. An in-depth literature study of relevant and contemporary sources on these topics have been done to guide the research. Method of research The following methods of research were used to answer the research questions: Consulting of the following databases: JSTOR, Google Scholar, Periodical archive online and IIMP; Literature study Interpretation of information and conclusions A study of Largo al factotum from Puccinis Il Barbiere di Seviglia on the basis of the score and recordings, in order to ensure a common understanding of how the study could apply to the aria Before the conceptualized terms will be discussed, a concept clarification of the relevant issues at hand, will be provided. 1.1 Concept clarification The Good Voice / The self-amplified singing voice The good voice can be defined as the ability of the opera singer to project the voice in a way that its heard over and above the full orchestra accompanying the singers. This view correlates with the description of Gilfrey (2007:1) who describes the voice as a classical technique, a manner of singing that projects the voice over a large orchestra in a large theatre. Four elements are essential to produce a sound, namely a vibrating object, a power source to make the object vibrate, a medium through which the vibrations are transmitted and apparatus to receive the vibrations (McKinney,1999:20). The self-amplified singing voice as described by Gilfrey (2007:1) is the single most important element of opera; the one that distinguishes opera not only from spoken drama, but also from rock and pop music, from jazz and from musical theatre (as it is performed today). Optimal Acoustic Output Acoustic output refers to the optimal projection of the voice to enhance the correct and optimal usage of the voice as an instrument. According to Titze (2002: 367 376) mean glottal airflow (or, alternatively, glottal resistance) has been a target for optimising vocal output power in voice therapy and singing training. Glottal airflow refers to the space between the vocal cords (the fleshly parts of the air passage inside the throat) which produce the sound of the voice by fast or slow moments, in which this space is repeatedly opened and closed (Longman, 1980:484). Generator / Breath Management / Breath Breathing is a natural process which begins at birth an ends with death. This is a natural process for which no training is acquired. The rate of breathing is governed by the bodys need for oxygen and needs no conscious controls. The essential difference between breathing to live and breathing to sing, lies in the amount of conscious control exerted (McKinney, 1994: 46). In other words, the breathing process is a spontaneous event for the normal person, but a skill that needs to be mastered by the opera singer to optimise breath control and support for the voice. Vibrator The word vibration of the voice refers to The function of the vibrator is to set the column of still air in the throat and also that in the windpipe in vibration. The vibratory element of the larynx consists of a highly skilful compromise on the part of nature which enable the opera singer to phonate without interfering with the breathing capacity (Kelsey, 1950: 66). This vibration is a function of the larynx; a device similar to the diaphragm of a sound-system speaker, is the anatomical device through which the sound is created while simultaneously allowing the singer to continue breathing through the same gap (or slit) by which the airflow is controlled. This control is the output of extensive skill learning, disciplined practise and deliberate conscious control (Kelsey, 1950: 66-67). Structure and Function Resonator / Supraglottic Activity The word resonator refers to an apparatus for increasing the resonance of sound (Longman, 1980:942). For the purpose of this study, the word resonance can be defined as secondary vibrations produced by sound waves from another vibrating body (Lessac, 1997:13). He also distinguishes between two types of resonance, namely direct or enforsed resonance and indirect or sympathetic resonance. Direct resonance occurs when a vibrating body is placed in direct physical contact with another substance. For the opera singer direct resonance could be the sound resonating with the outer surfaces of your teeth. Indirect resonance occurs when the sound waves of a vibrating body set up vibrations in a substance some distance away. Sympathetic resonance occurs as the vocal sound waves, travelling through air space from the vocal folds, make contact with the hard pallet and then with the nasal bone (Lessac, 1997:13). The ability to resonate can therefore be described as the amplifying of the human voic e. This amplifying can be divided into three sections, including the air contained in the lungs and windpipe, the air contained in the throat and, that contained in the suprapalatal cavity. Each of these can be seen an air-conditioner. Classical Technique (sit nog iets in of haal uit, PL) In popular usage, art or serious music as opposed popular music The Harvard Concise Dictionary of Music and Musicians. CHAPTER 2: The Good Voice in Classical Singing Before the good voice can be discussed, the anatomy of voice production needs to be clarified in short. Lessac (1997:14) defines the term voice box of human sound box as the cavity or enclosure where the tone is strengthened, amplified and enriched by resonance and wave reflection. According to Lessac, the voice box comprise two areas: a major adjustable area right above the larynx and the oral cavity and nondadjastable area in the pharynx, the nose, the forehead and adjacent structures. This soundbox can be describe as the singing meganism of which all the parts interdependent of each other, eah of which plays a crucial role in producing the good voice. The good voice as defined in par 1.1 takes years of concentrated training. This focus on singing technique is the primary focus of most singers studies (Gilfrey, 2007:1). A whole voice approach is beneficial for both singer and actor; however actor training programs dont include singing, and vice versa. Acting is becoming increasingly important for the opera singer, but is seldom supported by the prerequisites of theatre voice and movement (Melton Tom, 2003:135). Sà ª nog iets oor hoekom training belangrik is. Singing is both a science and an art. Most teachers have at least some appreciation for a scientific singing method and those who dont often claim to have discovered some long-lost piece of wisdom. This wisdom is generally already incorporated in the teachings of a well-trained singer. There are some fads that come and go but a singer with good technique and access to his or her emotions will please any audience and have a much broader career with greater longevity (Brown, 2004: 97-104). Technique is central to singing opera, but singing is also an art form, and no art form can be realised by the use of technique alone. Merging voice technique, musicality and emotion through competent acting skill is something that must be taught from the very beginning of the Opera Singers development of his/her career. This is because, when occupied in the emotion of the moment, the good voice will acquire nuances that are quintessentially important to conveying the emotional elements of the opera and will thus elevate the singer to a higher level of performance and riveting engagement with the audience. Gebruik onderstaande as daar nog inligting daaroor is, anders voeg saam, PL Every aspect of the voice, used directly of indirectly affects the whole mechanism. For example alignment and breathing are integrally connected to the performers range, resonance and articulation. For this reason, some of the relevant aspects affecting the good voice, will be discussed below. 2.1 Vowel modification Vowel Modification and Primal Sound Christy (1961) means that an important criteria for good singing habits is the homogenic shaping of vowels, in other words, they should sound as if they fit together, the vowels must be consistent with each other. Many professional singers never master the art of even vocal production. This can be ascribed to vocal coaches not fully grasping the concept of vowel placement. When this concept is fully understood it is impossible for a singer to not produce vowels freely and comfortably. In the first volume Christy states that once a single vowel is mastered the singer must focus on uniting the remaining vowels in accordance with that of the first. He means that the different vowels should attain a similar sound without losing its distinctive character. à ¢Ã¢â€š ¬Ã‚ ¦this is another way of saying vowels have to be equalized by having a common, fundamental tonal characteristic. The fundamental tone of the human voice is the huh sound. According to Christy this sound should be considered the basic reference to vowel placing because the uh sound is the most natural sound that can be produced, as the pharynx is relaxed and in its natural position. Oren C. Brown concurs with Christy, but describes the uh sound as the primal sound: Primal sounds are involuntary. They are the sounds you were born with. In Beijing , Basel or Boston, a babys cry at birth is his primal sound. In 1963, Peter F. Oswald mad a phonetic analysis of the babys cry. He labeled the initial sound as a schwa [Éâ„ ¢], (uh as in about), which linked the cry to a babys first word, mama [mÉâ„ ¢mÉâ„ ¢]. Mama is the first word spoken by babies throughout the whole world. In Korea the word is ama, with the vowel preceding the consonant. (Brown 1998) p. 1 The sound identified by both Brown and Christy can therefore be described as the primal- or natural relaxed sound. As practical advice Brown suggest testing the sound through a range of exploratory exercises: making the huh sound in a short repetitive sequence (as if laughing), or a long relaxed sustained huh (like a sigh). He also suggests sliding the huh up and down the vocal range noting that the sound becomes lighter in the higher range and darker in the lower range. He means that this is natural and advises the singer to note his or her voices natural inclinations. Judith Litante also mentions in Natural Approach to Singing (p32) that the vowels used in Italian forms a basis for the study of vowels in singing. She believes that they are pure. The reason for this is that Italian vowels are a compact basis for both English and other non Latin based languages. In English one finds many diphthongs. She means that employing these pure vowels or primal sound, as previously mentioned would eliminate the distorted pronunciation of diphthongs; for example extending the last syllable when singing say, it becomes sayee or kind becomes kieend. When the vowels are aligned and the vocal structures are in a natural posision, these kinds of distortion is eradicated. 2.2 Breath management Breathing techniques need to be considered holistically and consciously controlled until it becomes an unconscious competence. Sufficient and natural supply of air is needed for voice production. A good posture is an essential part of breathing and should be developed to support the opera singer in his breath management (Brown, 2004:17). This view is supported by Mckinney (1994:46-64) who state that there is a direct and positive correlation between correct posture (diaphragm control, and muscular movements of the chest, back and abdomen) and effective breathing in singing. According to McKinney (1994:48) breathing has four stages, namely a breathing-in period (inhalation), a setting-up-controls period (suspension), a controlled-exhalation period (phonation) and a recovery period. These stages should be repeated till the opera singer has the ability to go through the stages unconsciously. This process can be compared to the person who learns to drive a motorcar and has to concentrate on each step till he gets the ability to perform all the steps automatically. For the opera singer this refers to preparing to breathe, preparing for the phrase, physically singing the phrase and recovering in order for the process to repeat. 2.3 The vibrator 2.4 The resonator 2.5 The articulator Classical Opera training and singing versus Singing pop or secular music The single most important element of opera, the one that distinguishes opera not only from spoken drama, but also from rock and pop music, from jazz and from musical theatre (as it is performed today), is the self-amplified singing voice. This is a voice produced with a classical technique, a manner of singing that projects the voice over a large orchestra in a large theatre. The learning of the singing technique this voice requires, takes years of concentrated training. This focus on singing technique is the primary focus of most singers studies. CHAPTER 3: Musicianship How the Classical Singer Accesses Demonstrates Musicianship To acquire musicianship a high level of artistic interpretation of songs and knowledge of repertoire is required through years of training. One can not over emphasize the importance of musicianship. It is simply not suffice for a musician to have a musical ear, theoretical and musical knowledge, play an instrument or respond emotionally to music. The artist must be a musician i.e. a singer (Christy Vol 1: 7). According to Miller (Principles of singing p1) a singer can acquire musicianship through classes, studying an instrument (ex. Piano), performing in choirs or through private study and the self-exploration of music. Even though a singer that has exceptional vocal talent, he should receive professional music training and the participation in solo or choral ensembles especially in the first year of study. Many vocal teachers might disagree with this statementà ¢Ã¢â€š ¬Ã‚ ¦ A singer with a natural talent and an ear for music must be able to imitate sounds and pitches and not just h ear this internally, for example; in a singing lesson the student listens to the vocal teacher and then imitates the vocal sound of the teacher. The same principle applies with rhythm. A sound inner sense of rhythm will contribute to the holistic musicianship of the singer. Besides musicianship, there is also the interpretation of music. According to Christy (1961: Vol 2:110) Interpretation is the emotional and artistic portrayal; the summation of all music. According to Christy (1961:Vol2:110) Musicianship is the science of music and interpretation . A good singer should be familiar with all styles of music and song literature. The singer must be trained in a style and in the interpretation of songs in a particular style. A song has a style that must be established and followed through to the end. It is possible for a singer to become comfortable with a particular style that he can do well in, but he will not realise that what he steers clear of could be very valuable for his musical development. Therefore the teacher should analyse, guide and discuss the songs with the singer, in order to identify the accompanying details of expression. (Christy 1961:Vol2:110-111). The basis of musicianship include the abilities to read and interpret rhythms and intervals, playing the piano accompaniments, acquiring knowledge of the basics of theory and harmony, music and musicians in terms of vocal and instrumental style, schools and song literature. (Christy 1961:Vol1:7) According to Christy 1961:Vol:109, (quoting Curt Atler in the art of accompanying and coaching: 1965: 219) interpretation may be defined as the singers act of expressing and communicating meaning, mood and epic, a comedy, or just an expression set to music all in capsule form. To interpret music is to express or reproduce it intrinsically by the singer, in the score. Due to the limitations in music notation, it is the responsibility of the singer to interpret and express the fine distinction between tonal colour, tempo and intensity of the composers interpretation. The expression can be found in the text and in the setting. According to Christy 1961:Vol2:112, when the same song is sung by two sensitive artists, it is highly unlikely that the general style, tone, colour and mood will be markedly different; however, dynamics, tempo, word accentuation, and innumerable details often are. Thus, the keys must be studied by the singer in order to express and keep the interpretation on trac k. The two requirements for interpretation include the fidelity to the composers intent and that it must contain an essentially creative element of the interpreters own making, illuminating the subject with fresh light. (Christy 1961:Vol1:190). Furthermore, the expression must be honest, sincere, simple and direct, which means that nothing must be added or placed over the music that will distract attention from the work itself. Also, the singer must reproduce the music with insight, imagination and vitality in his own unique way it must not be copied from others. Interpretation has four main factors including appropriate and fervent mood or emotion, eloquent diction, adequate technique and a natural, sincere stage presence. (Christy 1961:Vol1:190). EMBELLISHMENTS Embellishments comprise of, but are not limited to the appoggiatura, acciaccatura, mordent, gruppetto or turn, trill and the portamento. These are techniques that are of vital importance in the interpretation of music. In the appoggiatura, the singer usually has to apply his own taste due to its indeterminate value. There are some accented notes in a melody that form the bass of the intervals since they lean on the next note to which they descend. The appoggiatura was used by singers long before it was written down, because of the enjoyable sound and is often absent in the score. (Shakespeare: 115). The acciaccatura and mordent is different from the appoggiatura as it is written with a stroke through the stem and tail. This does not have an affect on the value of the next note but it is sung much quicker. The acciaccatura is usually a small note where as the appoggiatura is written as a whole note. (Shakespeare: 115). The gruppetto or turn is a group of three or four notes. If the higher interval is a tone, the lower tone is a semitone and if both intervals are semitones it is known as a chromatic turn. (Shakespeare: 115). Sung in rapid alternation with the note of the scale above it, the trill is an embellishment that has a principle note that belongs to the harmony of the composition. A trill is usually finished with a turn. (Shakespeare: 115). The portamento carries the voice from one interval to the next, then passing lightly through the intervening tones. It also indicates a phrase and the Legato rendering of a passage. (Behnke: The technique of singing: 99) Legato Slur Intonation Colour in the voice timbre (emotion) Following the conductor Discuss the concept of DISCIPLINE Technical aspects According to Hayward (see 1994:205) style can be interpreted in many different ways. Interpretation can be defined as communicating understanding. Interpretation can best be expressed in a persons own language according to James Nolan in his book Interpretation, Techniques and exercises. Expression and conveying of meaning, feeling and idea through sound can be defined as interpretation (Christy 1967:109). CHAPTER 4: Acting Within the South African context, this integration of The Good Voice, Musicianship and Acting is deficient. There are various reasons for this lack of attention given to the development of acting skills with singer-actors. One is that there are not many qualified tutors in South African institutions that combine the field of acting and musical performance. Another reason is the absence of appropriate development programs and relevant material in curriculums. As a result, there is less interest from students to pursue a career as a singer-actor. In support of this argument, Knobel and Steinert (2002:155) claim that the acting teacher should be just as important to you as your singing teacher and can be of great help to you throughout your singing career. Interestingly enough, contrary to this understanding are the arguments of authors such as Bean, Goldovsky and Balk, who posit that acting classes à ¢Ã¢â€š ¬Ã‚ ¦ are very often of little benefit to the singing actor Bean (2007:167). These two opposing views illustrate that there are no consensus among academics about the importance of acting skills (al dan nie) of the opera singer. This statement is underpinned by the neglect of some higher education institutions offering voice training, where little or no training in acting is provided. In the quotation below, Bandelj truly captures the spontaneous physiological, psychological and emotional reactions which authentic acting can bring about in the actors performance. When a singer acts and sings in a mechanical way, it often comes across as disjointed or in some cases ridiculous. It is the emotion that breathes life into the song and makes it relevant, connecting with the audience and transcending facial contortions (Bandelj, 2003:393-394). To avoid that, an actor should utilise the all the involuntary muscle contractions that emotions evoke in the body, either by recalling their own past experiences or imagining themselves personally going through what the character is experiencing. This makes the whole action more believable. Gilfrey, Bonavia agrees that the ability to act, though considerably under-estimated, is not the only or the most necessary qualification for the operatic stage. Acting in opera is a comparatively modern accomplishment (Bonavia, 1915:79). This observation, by Bonavia, pays homage to the deeply rooted tradition of well-respected opera singers being famous for their magnificence of voice; but of their skill in acting there is hardly any mention to be found anywhere (Bonavia, 1915:79). ( Dink hier aan enige ou opera wat opgevoer is en waar daar slegs aandag aan die sang gegee is) Ultimately, Bonavia contradicts (to some extent) the previous argument by identifying an exception. That is Chaliapin who, according to Bonavia, provides the audience with ever-changing shades of facial expression à ¢Ã¢â€š ¬Ã‚ ¦ the whole character left vividly impressed à ¢Ã¢â€š ¬Ã‚ ¦ Chaliapin is the ideal actor (Bonavia, 1915:80). In terms of the attempts made at acting within the Opera world, there is a history and tradition of operatic gesture and the surprising persistence of melodramatic effects and gestural overstatement (Smart, 2004:26). While this is certainly applicable to the Nineteenth Century, we need to be cognisant of how this tradition of gestural overstatement may be (erroneously) assumed to be the only acting required of the singer actor in the twenty-first Century. That is, even in the times of Verdi, the role of gesture à ¢Ã¢â€š ¬Ã‚ ¦ (grew) à ¢Ã¢â€š ¬Ã‚ ¦ as formal conventions loosened (Smart, 2004:136). The appropriate question therefore is, to what extent have formal conventions loosened further, particularly in a world hallmarked by electronic media and social networking? As indicated in the introduction, Television and DVDs, have provided unrestricted access to Opera to an ever-increasing sophisticated and demanding audience in the entertainment space. This view is further reinforced by the writing of RePass (1953:10-18) who states that à ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦(PL). Building the Character The creation of a character role by the singer-actor is the basis and starting-point of the combination of singing and acting. While it cannot be doubted that an excellent singing technique à ¢Ã¢â€š ¬Ã‚ ¦ (viz., The Good Voice and Musicianship) à ¢Ã¢â€š ¬Ã‚ ¦ is essential to the success of any opera singer, other skills required for a convincing performance, among them acting, are often given less attention by singers and their teachers (Gilfrey, 2007:1). Innate talent is not the sole factor as the ability of a singer-actor to create a character role is severely impacted by the cultural beliefs of what acting is and also how it is measured. When keeping this in mind it becomes evident that the creation of a character, especially in the case of singer-actors, are based on the teachings of Konstantin Stanislavsky better known as the method acting technique. The method acting technique is an approach that the Russian actor developed to whose approach stresses the internal preparation of actors (Bandelj, 2003:393). This focus differs from that of the other schools of acting namely The English School of Acting, The Bertold Brechts epic theatre and Japanese Noh Drama. The interaction experienced by the singer-actors on stage and the director with the constant feedback assures a more lifelike portrayal. The fundamental driver of method acting is the wish to reproduce reality. All (acted) behaviours and interactions need to be seen to be psychologically, emotionally and socially authentic and plausible, while concurrently acting as an integrating mechanism to the plot and to the other cast members. Drawing on his/her own experiences and observations the actor needs to appear spontaneous while using objects in both a symbolic (or metaphorical way) and a literal way (Bandelj, 2003:393). This, and the additional use of props to facilitate the portrayal of the situation, are all tied together by the passion of the actor and the pursuit of truth as art imitates life or indeed verisimilitude (Bandelj, 2003:394). The quality of the voice has much more to do with the correct training and technique, rather than the singers natural endowment, especially later in life as the singer ages. *The W questions to build a character role (also mentioned in the PowerPoint) Who? What? Where? When? Why? And HOW? Contributing Elements to Building a

Will the European Union Survive? Essay -- European Union Essays

"Europe must prevent Greece from becoming an out-and-out catastrophe and make sure that the same fiscal 'remedy' is not applied to other weak economies" -- Franziska Brantner Europe is a powerhouse of Western culture and science. It possesses an economy with an annual Gross Domestic Product of over sixteen trillion dollars.1 Europe’s global economic connections are worth billions to developing countries and even the United States of America.2 Regrettably for the global economy, the European Union may collapse very soon, the cost of allowing incompetent politicians to run an economy on bad policy.3 A fiscal union is necessary to prevent the destruction of the Eurozone. The whole objective of the initiation of the European Union was to create a European economy, a greater European stability and society, all with a greater altruistic attitude.4 This may all have been for naught if the Europeans cannot adopt a preservative tendency. All sides of the table agree that a solution must be met. After all, to do nothing could risk the contagion of the primarily Greek, Portuguese, Spanish, and Italian crises to more internationally relevant economies, like France and Germany.5 However, the four most affected countries, Greece, Portugal, Italy, and Spain; known collectively under an umbrella pejorative â€Å"the PIGS†, already combine for 24.5% of the entire European economy.6 This means a loss of these states from the economy could already amount to sizeable damages. In spite of the potential for such a negative outcome, the sovereigns simply cannot agree to what this solution might look like, and all the solutions thus proposed have appeared to be unsatisfactory.7 Debt is a long term problem and accordingly, it makes sense to employ... ...Dec. 2011. . 14. "Why E.U. collapse is more likely than the fall of the euro - The Washington Post." Washington Post: Breaking News, World, US, DC News & Analysis. N.p., n.d. Web. 11 Dec. 2011. . 15. "ECB: ECB decides on measures to address severe tensions in financial markets." ECB: European Central Bank home page. N.p., n.d. Web. 11 Dec. 2011. . 16. "European fiscal union: what the experts say | Business | guardian.co.uk ." Latest US and world news, sport and comment from the Guardian | guardiannews.com | The Guardian . N.p., n.d. Web. 11 Dec. 2011. .

Essay on Gregor as Catalyst for Metamorphosis -- Metamorphosis essays

Gregor as Catalyst for Metamorphosis of the Family    In Franz Kafka’s The Metamorphosis, Gregor is not the only presence that undergoes a complete transformation. Sometimes a change in one area of life will give way to changes in other areas, but the ensuing changes would not have come about without the first change that set things in motion. This is the case with Gregor and his family. Gregor’s family was in dire need of change, and Gregor’s condition became a powerful catalyst for that change. Gregor’s metamorphosis facilitates the change of his entire family, proving that oftentimes an outside source is needed to pull people out of a rut and get them on their feet again. Before Gregor turned into a giant bug, his entire family relied heavily on him in more ways than one. After his father’s business failed, Gregor became the main breadwinner of the household. He got a steady job and the entire family was happy, because a steady job accompanies steady income and a steady supply of food, as well. Over time, "they had simply got used to it, both the family and Gregor; the money was gratefully accepted and gladly given, but there was no special uprush of warm feeling" (95). Each member of the family becomes accustomed to an easy life in which needs and wants are provided for. This routine causes the individuals in the family to stagnate and live unproductively. The family begins to follow a path of exis... ...ometimes it is only through the changes of another, in this case Gregor, that people themselves begin to transform. The sacrifice of Gregor allows his family to leave its protective cove and journey out into the world, discovering what life has to offer. Works Cited Eggenschwiler, David. "'The Metamorphosis', Freud, and the Chains of Odysseus". Franz Kafka: Modern Critical Views. Ed. Harold Bloom. New York: Chelsea House Publishers, 1986. 199-219. Emrich, Wilhelm. Franz Kafka: A Critical Study of His Writings. New York: Ungar, 1968. Kafka, Franz. Metamorphosis. Trans. A.L. Lloyd. New York: Vanguard Press, Inc., 1946. Pawel, Ernst. The Nightmare of Reason. New York: Vintage Books, 1984. Essay on Gregor as Catalyst for Metamorphosis -- Metamorphosis essays Gregor as Catalyst for Metamorphosis of the Family    In Franz Kafka’s The Metamorphosis, Gregor is not the only presence that undergoes a complete transformation. Sometimes a change in one area of life will give way to changes in other areas, but the ensuing changes would not have come about without the first change that set things in motion. This is the case with Gregor and his family. Gregor’s family was in dire need of change, and Gregor’s condition became a powerful catalyst for that change. Gregor’s metamorphosis facilitates the change of his entire family, proving that oftentimes an outside source is needed to pull people out of a rut and get them on their feet again. Before Gregor turned into a giant bug, his entire family relied heavily on him in more ways than one. After his father’s business failed, Gregor became the main breadwinner of the household. He got a steady job and the entire family was happy, because a steady job accompanies steady income and a steady supply of food, as well. Over time, "they had simply got used to it, both the family and Gregor; the money was gratefully accepted and gladly given, but there was no special uprush of warm feeling" (95). Each member of the family becomes accustomed to an easy life in which needs and wants are provided for. This routine causes the individuals in the family to stagnate and live unproductively. The family begins to follow a path of exis... ...ometimes it is only through the changes of another, in this case Gregor, that people themselves begin to transform. The sacrifice of Gregor allows his family to leave its protective cove and journey out into the world, discovering what life has to offer. Works Cited Eggenschwiler, David. "'The Metamorphosis', Freud, and the Chains of Odysseus". Franz Kafka: Modern Critical Views. Ed. Harold Bloom. New York: Chelsea House Publishers, 1986. 199-219. Emrich, Wilhelm. Franz Kafka: A Critical Study of His Writings. New York: Ungar, 1968. Kafka, Franz. Metamorphosis. Trans. A.L. Lloyd. New York: Vanguard Press, Inc., 1946. Pawel, Ernst. The Nightmare of Reason. New York: Vintage Books, 1984.

An investigation into the heat of combustion of five alcohols :: GCSE Chemistry Coursework Investigation

Alcohols : An investigation into the heat of combustion of five alcohols Planning ======== Introduction ------------ I am trying to determine the heat of combustion for the first five alcohols, which are; ethanol, propanol, butanol, pentanol and hexanol. I am trying to determine whether the amount of Carbon atoms on the molecule affects the heat energy given out by the molecule when burned. I believe that as the size of the molecule increases and the chain of carbons grows longer, then the heat energy given out will increase. I think that this is because when the molecule bonds are broken then they take in energy and then when the bonds are being made they give out energy. In a large molecule, more bonds are made so more energy is given out. Apparatus ---------  · Clamp stand  · Clamp  · Copper calorimeter  · Spirit burner  · Matches  · Thermometer  · Ruler  · Metal safety tray  · Top pan balance (digital scales)  · Measuring cylinder Method ------ I will need to collect all of the above apparatus and then put it together like in the diagram below. I will weigh the alcohol I will be burning and then put it under the copper calorimeter. I will use a measuring cylinder to measure out 100cm3 into the copper calorimeter. I will light my Flame, which will be 5cm under the calorimeter. I will use my thermometer to determine the temperature and then go up to 60 °c because that is how much I will change the temperature by. When the water has risen to 60 °c I will then put the lid on the spirit burner to extinguish the flame and then I will weigh the spirit burner again. By taking the new weight from the original weight I can then work out how much of the alcohol has been used. I will then repeat this experiment another four times with the other alcohols until I have done all five. I will repeat this twice to gain another set of results so I can compare them and identify trends and patterns consistent in both sets of results. How I will make my experiment a fair test ----------------------------------------- There is not really that much I can do to help make this experiment a fair test but I will; cool the copper calorimeter completely down by running it under cold water for a few minutes so that the water doesn't get warmed up by being in contact with it. I will also make sure that I have 100cm3 of water each time in the calorimeter. The temperature will always go up to 60 ° each time as well. I will also keep the height of the calorimeter at 5cm each time.

J.J. Thomson †Discovery of the Electron

CHE003 Chemistry Individual Assignment J. J. Thomson – Discovery of the electron Table of Contents Introduction2 Biographical information3 Background information4 Experimental information5 Impact6 Conclusion7 J. J. Thomson – Discovery of the electron Introduction The discovery of the electron is affirmative and justly credited to the English physicist Sir Joseph John Thomson (Weinberg, 2003). He had found and identified the electron in Cavendish Laboratory, Cambridge in 1897. From many experiments, Thomson had certified that cathode rays carry negative charge and identified the cathode rays inside vacuum tubes as being electric currents composed of these tiny electrons (Hamblin, 2005). It was the crucial first step in the development of the twentieth-century concept of the atom (Simmons, 1996). In the following paragraphs, I will introduce the Thomson’s life and his important achievements. Biographical information J. J. Thomson was born at Cheetham Hill, a suburb of Manchester, England on December 18, 1856. His father Joseph Thomson was a publisher and book dealer; his mother was Emma Swindles, a housewife. The family’s environment was not good for learned, but he was excellent in study and had an exceptional memory. When Thomson was fourteen in 1870, he enrolled in Owens College and had been taught by the physics professor, Balfour Stewart. Then he entered Trinity College in 1876, as a minor scholar. In 1880, Thomson became a Fellow of Trinity College, when he was Second Wrangler and Second Smith's Prizeman; he remained at Cambridge for the rest of his life, and becoming lecturer in 1883. In 1884, Thomson was named Cavendish Professor of Experimental Physics at an exceptionally young age (Simmons, 1996). On April 30, 1897, was his first time announced preliminary discovery of electron during lecture in Royal Institute, England. In 1903, Thomson published a summary of his work; Conduction of electricity through gases, and he created the â€Å"plum-pudding† model, which is the first model of atom. Thomson won the Nobel Prize for Physics in 1906, a knighthood in 1908, and the Presidency of the Royal Society in 1915. He was also a member of the Board of Investigation and Research, which served Britain in World War One (Weinberg, 2003). After that, he resigned from the Cavendish Laboratory in 1919 to become Master of Trinity College, until died on August 30, 1940 (Hamblin, 2005). In addition, he married with Rose Elisabeth in 1980, they had one son; George Paget Thomson; also won the Nobel Prize for Physics in 1937, and one daughter. Background information In the end of nineteenth century and the beginning of the twentieth century were exciting and revolutionary time for physics (Franklin, 2004). They began to investigate the behavior of electricity in evacuated tubs. The conduction of electricity through a near vacuum appeared to produce a kind of â€Å"ray†, lighting up the inside of the tube. The cathode rays appeared to be like light, and thus some physicists concluded that they were wave but other evidence proofed that the rays were in fact material in nature. During 1894 to 1897, Thomson was investigated the phenomenon of cathode ray, which had been discovered in 1858 (Ne’eman& Kirsh, 1997). In 1897, he made a significant discovery that the â€Å"rays† were indeed built up of particles and that they were the constituents of all atom. Thomson believed that his experimental evidence, by electromagnetic deflection and measuring the kinetic energy of the ray, had proven it. In the first, he did not initially call it electron, but chose the word â€Å"corpuscle† to emphasize the material nature of the particle. Thomson had found the new particle was very much matter, and he believed that it was the fundamental form of matter in atoms (Hamblin, 2005). Moreover, Albert Einstein introduced his special theory of relativity, which fundamentally changed our concepts of space and time in 1905. Follow by this discovered, people also had changed the way to think about nature and formed an integral and important part of the physics of the time (Franklin, 2004). Experimental information The purpose of Thomson’s experiments in 1897 was to investigate the nature of the then recently discovered cathode rays. He was tried to decide between the view that rays were negatively charged, material particles and the view that they were disturbances in the â€Å"Aether†, the medium through which physicists believed that light waves traveled at the time (Franklin, 2004). In the first of several experiments, Thomson wanted to proof that the cathode rays carried negative charge. He placed two metal plates, connected to a battery, inside a cathode tube, creating a magnetic filed through which the rays would have to pass (Simmons, 1996). The rays were emitted from the negative electrode â€Å"the cathode† and caused a glow when they impinged on the glass or a plate coated with Zinc Sulphide fixed inside the tube. There is another physicist, William Crookes, has been published that the cathode rays were a stream of particles carrying negative charges substances in 1897 (Ne’eman& Kirsh, 1997). Thomson certified this by showing that the rays could be deflected from their straight path by a magnetic or an electric field, and that their behavior under the influence of these fields was exactly what would be expected of a stream of negatively charged particles. By measuring the deflection of the rays in combined electric and magnetic fields of different strengths he was able to calculate the speed of the particles and the ratio between the charges carried by each particle (e) and its mass (m), but no way could be found to calculating the charge and the mass separately. The ratio e/m of the particle was found to be independent of the type of metal of which the cathode was made or residual gas in the tube. Thomson repeated these experiments and found that the particles, which the light knocked out of the metal surface, were identical to the particles constituting the cathode rays. Thus he got the conclusion that these particles were present in all matter, and that by means of an electric voltage or irradiation with light they could be extracted from certain substances (Ne’eman& Kirsh, 1997). The particles were given the name â€Å"electrons† (corpuscle). Impact Firstly, the electron was not only the first of the basic particles to be clearly identified but also by far the lightest of the elementary particles (Weinberg, 2003). Secondly, as a consequence of its lightness, charge and stability, the electron has a unique importance to physics, biology and chemistry. The heat of our sun is produce by the electrons participate in the nuclear reaction. In addition, every atom in the universe consists of a dense core, was surrounded by a cloud of electrons. For chemistry, the chemical differences between one element and another one, depend almost entirely on the number of electrons in the atom, and the chemical forces that hold atoms together in all substances are due to the attraction of the electrons in each atom for the nuclei of the other atoms (Weinberg, 2003). Lastly, the cathode ray tube that we used in television screen and computer monitor today, was developed from experimental apparatus. It is basic from a glass tube plugged by metal electrodes, with the air evacuated and some specific gas pumped in. When the electrodes are connected to a battery with enough voltage, the cathode rays strike the opposite end of the tube and glow or fluoresce. The rays are streams of electrons, not light rays (Simmons, 1996). Conclusion In conclusion, Thomson had constituted one of the important milestones in physics: Cathode rays consist of particles that are elementary and found in all matter. Because of his famous experiments, the Cavendish Laboratory was already became a paradise for physicists at that moment, and number of his students also won the Nobel Prize. With change through time, there are nearly sixteen types of elementary particles have been known so far, but only one particle type has always remained on the list: the electron (Weinberg, 2003). Therefore, the achievements of J. J. Thomson were still having influence in the world. Bibliography List Dahl, P. F. (1997). Flash of the cathode rays: A history of J J Thomson's electron. USA: Institute of Physics Publishing. Franklin, A. (2004). Are there really neutrinos? : An evidential history. USA: Westview Press. (pp. 17-21). Hamblin, J. D. (2005). Science in the early twentieth century: An encyclopedia. Santa Barbara, CA, USA: ABC-CLIO, Inc. (pp. 18-20, 96-98, 320-321). Hollow, R. & Morgan, A. (1990). History of ideas in physics: Gravitation and atomic structure. Australia: Brooks Waterloo. (pp. 54-56). Ne'eman, Y. & Kirsh, Y. (1996). The particle hunters (2nd ed. ). Cambridge: Cambridge University Press. (pp. 2-5). Simmons, J. (1996). The scientific 100: A ranking of the most influential scientist, past and present. USA: Carol Publishing Group. (pp. 152-155). Weinberg, S. (2003). The discovery of subatomic particles. Cambridge: Cambridge University Press. (pp. 9-11).