Time Management Matrix-Leadership Essay Example | Topics and Well Written Essays - 500 words

Time Management Matrix-Leadership - Essay Example As such, the time management matrix may arguably be considered an effective time management resource thereby invoking the importance of its analysis. The first quadrant comprises of urgent and important items such as a crying baby and some calls. This implies that items in the first quadrant require immediate attention and cannot be postponed. The second quadrant is a composition of not urgent but important items such as exercise and vacation. Items in the second quadrant may be regarded long term due to their lack of urgency but should not be neglected. According to Covey, items in the second quadrant are somewhat neglected, perhaps, because they are not urgent. Nonetheless, it important to note that efficacy is achieved by working both strategically and tactically and items in quadrant two ensure this. For example, exercising is not urgent but it is an important aspect of healthy living. The third quadrant entails items that are urgent but may be regarded as not important such as other calls. This implies that quadrant three items could be eliminated but people feel the need to hold on to them. As such, these items consume the largest portion of people’s time thereby corrupting effective time management. Finally, the fourth quadrant is a composition of items that are neither important nor urgent such as trivia. Quadrant four items are generally those that people take as breaks from important activities hence they can be considered to add relatively little value. Therefore, quadrant four items may be eliminated in an effort to avoid wasting time. The time management matrix arguably provides a proper strategy of managing time effectively hence can be useful tool in leadership. After analyzing and comprehending the application of time management matrix, leaders should take time to categorize their different commitments into respective quadrants. Additionally, after categorizing commitments, calculations of percentage of

3 Fators of Doom for Macbeth Essay Example for Free

3 Fators of Doom for Macbeth Essay In Macbeth there were a few factors that contributed to the degeneration of the Macbeth character. There were three factors that destroyed Macbeth. The main force that was predominately responsible for the downfall of Macbeth was his single flaw. Which was his own ambition. Even though his ambition brought him to his height of power, it was also what led him to his downfall. During the play Macbeths ambition brought him to achieve his goals but as the play evolves, it forced him to face his fate. Macbeth had become so obsessed with becoming King, and remaining powerful, that he became a completely different man. See more: Satirical elements in the adventure of Huckleberry Finn essay His ambition led him to become greedy, violent, power hunger, and a murder. An example of his new character occurred when he killed King Duncan. After the first murder, killing seemed to be the only solution to keep his reign over the people of Scotland. It was because of these killings and his overbearing ambition that caused him to be overthrown and kill himself. Another force was the prophecies which were told by the witches. If it had not been for the witches telling Macbeth that he was going to be Thane of Cawdor, Thane of Glanis, and King of Scotland, he would still be is ordinary self. After the witches shared these prophecies with Macbeth he started thinking of ways he could become king. The other influential factor that destroyed Macbeth was his wife Lady Macbeth. In the play Lady Macbeth was going to kill King Duncan, but she just could not do it. Although she then provided a scheme which caused Macbeth to kill King Duncan. After the first murder, Macbeth seemed to come to the solution that killing was the way. Therefore Lady Macbeth was the one who introduced the concept of murder to Macbeth, which was another reason why Macbeth was destroyed.

Subculture Theory Through Music Media Essay

Subculture Theory Through Music Media Essay The leading society did not tranquilly sit on the sidelines all through the period and observe the subcultures at play. What started as a response of puzzled bewilderment-caught in the pat phrase, the generation gap-turned out to be, over the years, a strong and intensified struggle. In the 1950s, youth came to represent the most advanced point of social change: youth was employed as a symbol for social change. The most tremendous trends in an altering society were identified by the societys taking its bearings from what youth was up to: youth was the front line party-of the classless, post-protestant, consumer society to come. This displacement of the tensions aggravated by social change on to youth was an uncertain maneuver. Social change was observed as normally helpful (youve not at all had it so good); however as well as eroding the conventional landmarks and undermining the sacred order and institutions of conventional society. It was consequently, from the first, escorted by f eelings of diffused as well as dispersed social anxiety. The limits of society were being redefined, its ethical contours redrawn, its basic relations (in particular, those class relations which for so long gave a hierarchical constancy to English life) transformed. As has been frequently remarked, movements which distress a societys normative contours mark the beginning of troubling times-particularly for those sections of the population who have made an irresistible promise to the continuance of the status quo. Troubling times, when social anxiety is extensive however fails to discover an organized public or political expression, cause the displacement of social anxiety on to convenient scapegoat groups. This is the source of the moral panic-a twisting in which the social groups who distinguish their world and position as threatened, recognize a responsible enemy, and come out as the vocal guardians of conventional values: moral entrepreneurs. It is not astonishing, then, that you th turned out to be the focus of this social anxiety-its displaced object. In the 1950s, and again in the early 1960s, the most noticeable and identifiable youth groups were involved in theatrical events which activated moral panics, focusing, in displaced form, societys quarrel with itself. Events associated with the rise of the Teds, and afterward, the motor-bike boys and the Mods, precipitated typical moral panics. Each event was observed as signifying, in microcosm, a wider or deeper social problem-the problem of youth all together. In this crisis of power, youth now played the part of symptom plus scapegoat. Moral panics of this order were mainly focused to start with, around Working-class youth. The firmly organized sub-cultures-Teds, Mods, etc.-represented merely the most noticeable targets of this reaction. Alongside these, we have to recall the way youth became linked, in the 1958 Notting Hill riots, with that further submerged and displaced topic of social anxiety-race; and the general anxiety regarding rising delinquency, the rising rate of juvenile involvement in crime, the panics concerning violence in the schools, destruction, gang fights, and football hooliganism. Reaction to these and further signs of youth took various forms: from modifications to the Youth Service and the extension of the social work agencies, through the protracted debate regarding the decline in the influence of the family, the clampdowns on absence and indiscipline in the schools, to the Judges remarks, in the Mods vs. Rockers trial, that they were nothing superior than Sawdust Caesars. The waves of moral panic arrived at new heights with the appearance of the territorial-based Skinheads, the football uprisings and destruction of railway property. To this was added, a set of moral panics of a new sort in which particular genres of popular music have sparked controversy and opposition, both upon their appearance and intermittently since: rock n roll in the mid-1950s, psychedelic rock in the late 1960s, disco and punk in the 1970s, heavy metal and rap in the 1980s, to name merely the better known instances. Criticism has centered variously on the power of such genres on youthful values, attitudes as well as behavior through the musics (apparent) sexuality and sexism, nihilism and violence, black magic, obscenity, plus anti-Christian nature. The political edge of popular music has been partially the outcome of this antagonistic reaction frequently accorded to the music and its connected causes and followers, helping to politicize the musicians and their fans. Whereas such episodes are a standard part of the history of rock music, hardly ever are their nature and cultural importance more completely teased out. Besides on-going debates over the consequences and influence of rock, there have forever been attempts to harness the music to social plus political ends, and arguments around the validity of ideas of rock as an empowering and political force. To place such opposition to rock music in framework, it is significant to admit that popular culture on the whole has historically been the target of fault, denunciation and regulation. In the 1930s, in accordance with the Payne studies in the United States and similar studies elsewhere, the cinema was having harmful effects on childrens health, attitudes to authority and hold on realism; in the 1950s, psychologist Frederic Werthams powerful best-seller, Seduction of the Innocent, quarreled for a direct causal association between comic books and juvenile delinquency; whereas since the 1960s television (and video) has turned into the favored whipping medium, accused of warping imaginations, heartening violence, and turning us all into couch pota toes (Gilbert, 1986; Shuker and Openshaw, 1991). It is value adding that music hall, jazz, and further innovative forms of popular music were as well all stigmatized in their day. Concern over new media along with the activities of their youthful consumers appears to periodically reach a peak, often linked with boundary crises, periods of vagueness and strain in society, which show the way to attempts to more obviously set up moral boundaries. In numerous instances, such boundary crises are forms of moral panic, an idea popularized by sociologist Stanley Cohens now classic study of mods and rockers in the United Kingdom. In Folk Devils and Moral Panics, Cohen utters that a period of moral panic takes place when: A condition, episode, person or group of persons emerges to become defined as a threat to societal values and interests; its nature is presented in a stylized and stereotypical fashion by the mass media; the moral barricades are manned by editors, bishops, politicians and other right-thinking people; socially accredited experts pronounce their diagnoses and solutions; ways of coping are evolved or (more often) resorted to; the condition then disappears, submerges or deteriorates and becomes more visible. Sometimes the object of the panic is quite novel and at other times it is something which has been in existence long enough, but suddenly appears in the limelight. Sometimes the panic passes over and is forgotten, except in folk lore and collective memory; at other times it has more serious and long-lasting repercussions and might produce such changes as those in legal and social policy or even in the way the society conceives itself. (Cohen, 1980:9) The subsequent stage of Cohens view of moral panic is mainly important, concerning as it does the denial of the common sense view that the media just report what happens. Cohens own case study of the 1960s conflicts between mods and rockers in the UK (the folk devils of his title), demonstrated just such a procedure of the selection and presentation of news. The media reporting of the clashes simplified their causes, labeled and stigmatized the youth implicated, whipped up public feeling, and encouraged a retributive, restriction approach by those in authority. Investigativing the historical association between youth, antisocial approaches and behaviors, and popular music means, again, to believe culture as a political issue. At a deeper level moral panics around new media are incidents in cultural politics and the repeated reconstitution and contestation of cultural domination. Fundamental debates over popular comics, fiction, television, film, video and rock are a sequence of assumptions regarding popular or mass culture, which is often observed as completely opposed to a high culture custom. As this dichotomy is an uncertain foundation for assessing particular forms of culture, and such a difference is more and more difficult to continue in practice. The whole idea of a high-low culture distinction has to be regarded as a social construct, resting on class-based value judgments (Taylor, 1978). It is more suitable to inspect particular cultural forms in terms of both their formal qualities plus their social function for consumers, whilst keeping in mind the most important point that any assessment have to be primarily in terms pertinent to the group that produces and appreciates it. This is mainly the case with popular music (Shepherd, 1977). Both the music industry as well as the social context of the early 1950s was prepared for rock n roll. With fuller employment, general economic affluence, and their appearance as an imperative consumer group, teenagers started to demand their own music and clothes, and to build up a generational-based identity. Before 1956, popular music was subjugated by American sounds, typified by the recurrent image of the crooner. The music was mostly safe, solid stuff, what Cohn terms the palais age-the golden era of the big bands, when everything was soft, warm, sentimental, when everything was make believe (Cohn, 1970:11). There was little here for young people to recognize with, despite the fact that riot-provoking performers like Johnny Ray symbolized prototypes for rock. Even though rock music started with rock n roll in the mid-1950s, as Tosches (1984) documents it had been developing well prior to this, and was barely the only formation of Elvis Presley and Alan Freed. The expression rock n roll itself was popularized with its sexual connotations in the music of the 1920s. In 1922, blues singer Trixie Smith recorded My Daddy Rocks Me (With One Steady Roll) for Black Swan Records, and a variety of lyrical elaborations pursued from other artists through the 1930s and 1940s (Tosches, 1984:5-6). Rock n roll was fundamentally a mixture of two traditions: Negro rhythm and blues and white romantic crooning, colored beat and white sentiment (Cohn, 1970:11). Negro rhythm as well as blues was good-time music, danceable and unassuming. While extremely popular on rhythm and blues charts and radio stations, it achieved little airplay on white radio stations, and was often banned due to the explicit sexual content of songs for instance Hank Ballards Work With Me Annie, Billy Wards Sixty Minute Man, and the Penguins Baby Let Me Bang Your Box (Cohn, 1970:15). It is this connection between sex and rock n roll-the Devils music-which underpinned the ethical reaction to its popularization in the 1950s. In April 1954, Bill Haley made Rock Around the Clock. The record was a hit in America, then universal; ultimately selling fifteen million copies. Whilst it did not start rock, it did symbolize a critical symbol in the popularization of the new musical form. Rock Around the Clock was marked in the MGM movie Blackboard Jungle, the story of a young teacher at a tough New York school. The triumph of the film with teenage audiences, and the fame of Haleys song, caused Haley being signed to make a film of his own. Rock Around the Clock (1956) told how Bill Haley plus his band popularized rock n roll; however the thin story line (explained by Charles White as brain damage on celluloid!) was actually a platform for the rock acts on the soundtrack. The film showed extremely popular. Riots ensued at several screenings, as teenagers danced in the aisles and ripped up the seats, and a few countries banned the film. Haley was an unlikely hero for youth to imitate since his image (old, hairless, a nd chubby) barely matched the music, however others were waiting in the wings. In this brief summary, complex developments have to be reduced to their key moments. The triumph of Haley was one, the appearance of Chuck Berry and Little Richard another. Elvis Presleys Heartbreak Hotel (1956) was the major so far: His big contribution was that he brought it home just how economically powerful teenagers could really be. Before Elvis, rock had been a feature of vague rebellion. Once hed happened, it immediately became solid, self-contained, and then it spawned its own style in clothes and language and sex, a total independence in almost everything-all the things that are now taken for granted. (Cohn, 1970:23) Cohn is excessively enthusiastic regarding teenagers independence, however by the end of 1957 Elvis had grown into an annual twenty million dollars industry, and the procedure of homogenization of both the King and the music had started. The new music aggravated substantial criticism, with several older musicians disdainful of rock n roll. British jazzman Steve Race, writing in Melody Maker, asserted: Viewed as a social phenomenon, the current craze for rock n roll material is one of the most terrifying things ever to have happened to popular musicà ¢Ã¢â€š ¬Ã‚ ¦ Musically speaking, of course, the whole thing is laughableà ¢Ã¢â€š ¬Ã‚ ¦ It is a monstrous threat, both to the moral acceptance and the artistic emancipation of jazz. Let us oppose it to the end (Rogers, 1982:18). O=Old-fashioned band leader Mitch Miller criticized rock n roll as musical baby food, it is the worship of mediocrity, brought about by a passion for conformity (Gilbert, 1986:16). Other criticisms centered on the ethical threat, somewhat than the new teenage musics perceived aesthetic boundaries. To many, rock n roll came into view hostile and aggressive, typified by Elvis Presleys sensual moves. Conservative commentators desired to save the you th of America from the screaming, idiotic words, and savage music of these records (Story of Pop, 1974:17). The cultural implication of the moral panic over rap can be measured alongside the earlier arguments over rock n roll, gothic suicides, as well as obscenity in rock. There are significant distinctions and stresses to be drawn when unfolding rock n roll and the bodgies, the Dead Kennedys, the gothic cultists and rappers for example Ice-T in such terms. Not all folk devils are of completely hypothetical stature and not all can be honored the status of true moral panics. The bodgies appeared to be defined as a danger to established social values as well as interests in the late 1950s. They stood out partially as an outcome of the visibility of their cultural style in mostly conformist society, a style which reflected their low socio-economic position in a period of prosperity and the purposeful adoption of an anti social stance. In Cohens terms, the label bodgie obtained representative power through its media usage, being recognized as a local folk devil. Consequently, this symbol and its connected images of delinquent behavior were consolidated in the public stadium into a collective theme: the bodgie was exaggerated by press coverage so the scale of the phenomenon turned out to be conceived as extensive, and the public sensitized so that various incidents were associated with the initial incidents (which caused the perceived ethical threat). At this point, the control culture took a greater role, with police, Parliament, and judiciary all responding to curb and contain the threat. In the case of the bodgie, even the army became informally involved to neutralize a subculture that was regarded by some as fair game. In all this, as with other folk devils, the media transmitted a stereotype of the bodgie, giving the deviant group the appearance of a greater uniformity and magnitude than they actually possessed . The association between this treatment of a youth subculture and value laden conceptions of high-low culture was obviously obvious in the extensive condemnation of the bodgies preferred music, rock n roll, on both aesthetic and moral grounds. There was no conversation of why the rock n roll of Eddie Cochrane, Gene Vincent, Buddy Holly, and Elvis Presley appealed to the bodgies, specifically, the social functions the music performed in the subculture. As Willis observes of the British scene: It is difficult to evidence, but the motor-bike boys fundamental ontological security, style, gesture, speech, rough horseplay-their whole social ambience-seemed to owe something to the confidence and muscular style of early rock n roll (Willis, 1978:35). Informal interviews with former bodgies propose similar relations between musical styles and group values and identity, whereas twelve of Mannings fifteen bodgies owned motorbikes! If the bodgies and rock n roll carefully fit the traditional pattern of moral panics, the case of the Gothic cultists is much less clear-cut. Once more, the media at first fastened on and sensationalized a youth subculture, presenting the gothic cultists in a stylized and stereotyped way. Though the suicides which sparked off the flurry of press comment symbolized a definite human tragedy for those concerned, press coverage tended to too-easily make a causal connection between the suicides and the subculture and its music. This labeling process fits Cohens use of symbolization, however the process did not obtain the status of a collective theme. It soon became obvious that adolescent suicide was a multifaceted issue, and surely not an act which a style of music alone could be held accountable for. The scale of the incidents was as well a factor: three gothic suicides close together, with suggestions of death pacts, were clearly newsworthy. Once it became obvious though, that these we re an isolated episode, and the intricacies of suicide among adolescents started to be aired, the press rapidly lost interest. Further, the gothic subculture, (even supposinf it had such a collective standing) did not fit the folk devils image apparent in other moral panics over youth. However clearly not socially condoned, suicide constitutes a crime against the self somewhat than a threat to society in any criminal sense. Nor was the subculture linked with delinquent behavior; being seen quite in terms of a particular style of hair, clothing and makeup-weird, surely, but no more so than further historical and modern youth subcultural styles. Lastly, the reaction to the Gothic suicides barely represented a crisis of domination, requiring a reassertion of Cohens control culture. If the gothics were not folk devils, and scarcely comprised a full-blown moral panic, as a minimum their music fitted the conventional negative reaction accorded popular culture, particularly its more fringe variants. As with the bodgies preference for rock n roll, there was almost no severe press discussion of the reasons for the Gothic preference for music that was often simplistically typified as macabre and depressing (Dominion; 25 September 1988). It was as well too willingly assumed that the lyric content of songs was significant, ignoring the long debate on this point amongst consumers and critics of rock music. Similar points can be made in the case of the Dead Kennedys and rap, with both achieving the status of modern folk devils. The rap music of Ice-T and NWA, as well as the punk thrash of the Dead Kennedys were observed as obscene and politically intimidating to the status quo by its conservative critics. Raps position was complicated by being associated by many on the le ft with sexism and homophobia. So far, as Gilmore observes: While it is true that there are rap performers who deserve to be criticized for their misogyny and homophobia, it is also true that by and large rap addresses questions about race, community, self determination, drug abuse and the tragedy of violence in intelligent and probing ways and it does so with a degree of musical invention that no other form can match (Gilmore, 1990:13). One can as well point to a racist aspect in the attacks on rap. In the case of 2 Live Crew, for example, numerous commentators asked why a black group must be singled out for an obscenity prosecution in a state (Florida) where strip shows, pornographic videos and magazines are readily accessible. As with gothic music, the rap and thrash genres were observed in minority cult terms by their critics, and their song lyrics were eminent to a central position in the music. This was mainly obvious in press coverage of the Ice-T controversy. These case studies have demonstrated the interrelationships between youth subcultures, rock music, as well as moral panics mostly generated by the conservative right and fuelled-and at times constructed-by the media. The controversies surrounding rock and censorship have to be regarded as key battles in the ongoing struggle between the advocates of censorship and those of free speech. Though, assessment of the bodgies and rock n roll, gothic suicides, the Dead Kennedys and rap obscenity trials proposes that while the notion of moral panic is important in explaining such episodes, we should attend to variations and differences in their development. What needs to be elucidated is not merely the social causes and nature of particular moral panics, however why the society reacts to them, in the extreme way it does, at that specific historical conjunction. In their study Policing the Crisis, Hall et al. examine the discovery of mugging as a serious crime in the UK during 1972-1973. They c onclude that this episode constituted a moral panic, a panic which fits in almost every detail the process described by Cohen (Hall et al., 1978:23). Hall et al. argue that a moral panic occurs within what Gramsci describes as a developing crisis of hegemony (Gramsci, 1971), arising out of a particular historical context where the leading class is endeavoring to win power and consent through ideological means. Cohens stresses on the significance of labeling is still adhered to, as labels place and recognize the initial events so that these events are allocated to a context, to allow a mobilization of the meanings and connotations connected with that label. In Hall et als, explanation, the inspiration for labeling a particular phenomenon a moral panic is elucidated by the crisis of hegemony which is working within the society at that time. Relating this to moral panics around rock, is to locate them against the global appearance of a New Right, embracing free market politics and a moral cultural conservatism. As Grossberg observes of the US manifestation of this trend: The new conservatismà ¢Ã¢â€š ¬Ã‚ ¦is, in a certain sense, a matter of public language, of what can be said, of the limits of the allowable. This has made culture into a crucial terrain on which struggles over power, and the politics of the nation, are waged (Grossberg, 1992:162). As he concludes, this great effort involves a new type of regulation: a variety of attacks become tokens of a broader attack, not so much on the freedom of expression as on the freedom of distribution and circulationà ¢Ã¢â€š ¬Ã‚ ¦ (ibid: 163). The debates about the outcomes of rock and the linked calls for censorship of the music are a sharp memento of the force of rock as emblematic politics, operating in the cultural arena. In associated fashion, and debatably even more powerfully representing its cultural power, is the use of rock to declare and support political views as well as causes.

Essay example --

The most common definition of sustainability is living in a way that meets the social, economic, and other requirements of the current population as well as ensuring the same requirements will be able to be met for future generations. Living sustainably is something that affects every person on the planet. The way we live now affects our lives today, as well as the future population. Some people believe that sustainability and living green will not matter to them as the effects of their actions will not manifest in their lifetime, but this assumption is incorrect. Currently two-thirds of the services provided to us by nature are declining, 85% of all fish stocks in the ocean are overexploited, depleted, recovering or fully exploited. There was a 38% increase in annual global carbon dioxide and it will take 50+ years for the ozone layer to get back to pre 1980 levels. Global warming is one example of long-term change in the environment that has been caused by humans. Other examples ar e the introduction of nonnative and invasive species, land development, and changes in water quantity and quality. Statistics according to the article Resilient People Resilient Planet. There is no guarantee that if people continue to live the way they are living, things will continue to be sustainable. However sustainability is not just about the environment, social and economic aspects are equally as important to creating a sustainable world. (Figure 1). In this paper I will explain what it means to live sustainably, why it is a problem, challenges and how humans can live more sustainably. The way people live now has detrimental effects on humans and the planet. According to the World Health Organization (WHO), more than 800,000 people die prematu... ...t future generations can also live in. If humanity continues to disregard the planet and disappearing resources and live in an unsustainable way, people now and later will suffer. A conscious effort must be made by the entire world to make this important change. Developed nations, like America, and poor nations have especially difficult work to do. This is because consumption is a major driver of negative human impacts on the planet, these practices are especially motivated by extreme poverty and extreme wealth. People all over need to make a concentrated effort to change. Personal change will make an impact for the better, but government must be involved as well for a complete change to occur. If concentrated efforts are made to live more sustainably humankind will be able to make changes for the better to preserve the planet for themselves and future generations.

Black Rock Essay

Steven vidler, director of Blackrock use a number of cinematic techniques to the theme of risk. Teenagers are notorious for risk tasking behaviour which can have devastating consequence for the future. Blackrock is a 1997 film tells the story of Jared, a teenage boy who witness a rape and murder at a teen party, and must risk his social status (and safety) by coming forward. Vidler explores the theme of risk using film techhiguc such as montage, costuming, dialog, Montage: A montage in the film’s opening credits shows teenagers surfing and having fun on the beach. Shots of teens surfing successfully are mixed in with scenes of people falling off their boards and ‘wiping out’. Part of the appeal of surfing may be the risk involved; the teenagers are rejecting the safe, over-protective world established for them by their parents. Costuming: Jade arrives to meet her friends dressed in baggy, conservative clothes, but takes them off to reveal her party, clothes underneath. Jade is defying her mother’s orders, instead choosing to go to the party and have fun with her friends. By ignoring the wishes of her mothers, jade is taking great risk-teenagers often takes risks to be accepted by their peers, at the risk of upsetting their loved ones. Dialogue: Rachael’s father tells her â€Å"you’re not allowed to go (to the party†). Rachel’s father insists that she stay at work, and so she respects his decision (reluctantly). Risks often involve teens ignoring their responsibilities; by doing what she is obliged to do, Rachael avoids risk. Tracking shot: A series of tracking shots show Ricko ‘surfing’ on the bonnet of a fast car, as a crowed watch on. Ricko is loved by his friends for his willingness to take wild risks like this; being ‘wild’ makes him popular. The greatest the risk a teenagers is willing to take the greater the respect that they often get in return. Contrast: While the teenagers are seen drinking and partying, the adults including Jared’s mother; are shown at a local pub. The risks taken by Jared and his friends, including violent and sexual behaviour, are contrasted with the financial risk taken by the adults as they gamble their money. While adults discourage teens from risk-taking they too are guilty of taking similarly large risks, only in different ways. Silence/slow-motion: As Jared watches Tracey being raped, the scene plays in slow motion and the sound fades into the background. This helps the viewer feel Jared’s shock and confusing, as he feels helpless and unsure of what to do. This is the first scene in the film to show that risk-taking behaviour can have severe consequences Characterization: Jared’s father, Len, abandoned his family and is confronted by Jared’s mother at the gym where he works. Len is an older example of the same kinds of reckless and irresponsible behaviour that can be seen in the film’s teenaged characters. Parent’ attitudes to risk-taking and responsibility can be passed down to subsequent generations. Alliteration: Jared sees â€Å"dobbers die† spray-patting in large capital letters at his school. Obviously, the boys who murder Tracey are threatening anyone who knows about it to stay quiet and not informal the police. Jared now must take another, less enjoyable risk this time to his personal safety if he decides to come forward. Montage: A later montage shows Jared surfing alone; the scene is slower, quieter and darker than the previous surfing scenes. This reflects Jared’s changing emotional stat, as the rape and murder has changed his feeling about his friends and himself. The negative outcomes of risk-taking are not limited to physical danger, but can also include guilt, stress and regret Repetition: Talking to his girlfriend, Jared repeats, â€Å"I didn’t do anything†. Jared feels guilty about the fact that he did not step in to save Tracey as she was being attacked. The negative outcomes of risk-taking are not limited to physical danger, but can also include guilt, stress and regret. Flashbacks: Jared has a series of flashbacks to the night of the murder throughout the movie. This shows that Jared continues to feel guilty and conflicted about his role in Tracey’s death. Negative consequences of risks are a main deterrent from fisk taking behaviour.

Biography of Janet Emerson Bashen, American Inventor

Biography of Janet Emerson Bashen, American Inventor Janet Emerson Bashen (born February 12, 1957) is an American inventor and entrepreneur and the first African-American woman to hold a patent for a software invention. The patented software, LinkLine, is a web-based application for Equal Employment Opportunity (EEO) claims intake and tracking, claims management, and document management. Bashen has been inducted into the Black Inventors Hall of Fame and is the recipient of numerous awards for her business and technological achievements. Fast Facts: Janet Emerson Bashen Known For: Emerson is the first African-American woman to secure a patent for a software invention.Also Known As: Janet EmersonBorn: February 12, 1957 in Mansfield, OhioEducation: Alabama AM University, University of Houston, Rice UniversityAwards and Honors: National Association of Negro Women in Business Crystal Award, Black Inventors Hall of Fame, Houston, Texas Chamber of Commerce Pinnacle AwardSpouse: Steven BashenChildren: Blair Alise Bashen, Drew Alec BashenNotable Quote: â€Å"My success and failures make me who I am and who I am is a black woman raised in the south by working-class parents who tried to give me a better life by fostering a fervent commitment to succeed.† Early Life Janet Emerson Bashen was born Janet Emerson on February 12, 1957, in Mansfield, Ohio. She was raised in Huntsville, Alabama, where her mother was the citys first black nurse. Bashen attended an elementary school that had only recently been integrated, and she faced discrimination throughout her childhood and youth. After attending Alabama AM University, a historically black college, Emerson married Steven Bashen and relocated to Houston, Texas. Years later after achieving her business success, Bashen said that growing up in the South sparked her interest in social inequality and diversity: â€Å"As a black girl growing up in the segregated South, I asked my parents many questions; they didnt have answers. This started a life-long quest of trying to understand our country’s history and struggle with issues of race. This research led me to gender issues and then my passion with EEO grew into a business interest that has evolved, incorporating diversity and inclusion initiatives.† Education Bashen earned a degree in legal studies and government from the University of Houston and completed postgraduate studies at Rice University’s Jesse H. Jones Graduate School of Administration. She later earned a certificate from Harvard University for her participation in the â€Å"Women and Power: Leadership in a New World program. Bashen also has a masters degree from Tulane Law School, where she studied labor and employment law. Bashen Corporation Bashen is the founder, president, and CEO of Bashen Corporation, a leading human resources consulting firm that pioneered end-to-end Equal Employment Opportunities (EEO) compliance administration services. Bashen established the company in September 1994, building the business from her home office with no money, only one client, and a fervent commitment to succeed. As the business grew, Bashen began servicing more and more clients, and this demand led her to design her own case management software known as LinkLine. Bashen earned a patent for this tool in 2006, making her the first African-American woman to earn a patent for a software invention. For Bashen, the tool was a way to simplify claims tracking and document management by replacing the cumbersome paper process used by most businesses at the time: â€Å"I came up with the idea in 2001. Not everyone had a cell phone in 2001. I saw that papers in process got lost. There had to be a way to take in complaints- something Web-based and accessible away from the office...We worked months and months on the design. At the same time, I contacted a very large law firm and told the team I wanted to see if I could get a patent because no one was doing this. Bashen and her company have been recognized nationally for their business achievements. In May 2000, Bashen testified before Congress regarding the effect of the FTC opinion letter on third-party discrimination investigations. Bashen, along with Rep. Sheila Jackson Lee, D-Texas, were key figures in a debate that resulted in a change in legislation. In October 2002, Bashen Corporation was named one of America’s entrepreneurial growth leaders by Inc. Magazine in its annual ranking of the nation’s fastest-growing private companies, with an increase in sales of 552%. In October 2003, Bashen was given the Pinnacle Award by the Houston Citizens Chamber of Commerce. Bashen is also the recipient of the prestigious Crystal Award, presented by the National Association of Negro Business and Professional Women’s Clubs, Inc., for achievement in business. In 2010, she was recognized at the World Festival of Black Arts and Culture in Dakar, Senegal. Since creating LinkLine, Bashen has developed additional tools to bolster and support diversity in the workplace. One of these is AAP Advisory, a division of Bashen Corporation that offers guidance to clients on best practices for affirmative action in the workplace. The company has an advisory team in place to help businesses achieve diversity within their organizations. Bashens AAPLink is a software service designed to assist with such diversity efforts. Bashen also runs the hotline 1-800Intake, a tool to help small- and medium-sized businesses receive and manage workplace complaints. Together, this suite of tools enables businesses to ensure they are following the best practices for building diverse and inclusive environments. Public Service Bashen serves on the board of directors for the North Harris Montgomery County Community College District Foundation and chairs the corporate advisory board of the National Association of Negro Business and Professional Women’s Clubs, Inc. She is also a board member of PrepProgram, a non-profit organization dedicated to preparing at-risk student-athletes for college. In 2014, she served on the women’s leadership board at Harvard’s John F. Kennedy School of Government. Sources Ackerman, Lauren. â€Å"Janet Emerson Bashen (1957- ) BlackPast.†Ã‚  BlackPast.Holmes, Keith C.  Black Inventors: Crafting over 200 Years of Success. Global Black Inventor Research Projects, 2008.Montague, Charlotte.  Women of Invention: Life-Changing Ideas by Remarkable Women. Crestline Books, 2018.

Minerva Mirabal Essays

Minerva Mirabal Essays Minerva Mirabal Paper Minerva Mirabal Paper In The Time of Minerva Malabar In my tenth grade literature class this year I had the opportunity to read a book that I had never thought about reading. To my surprise, once I started reading I couldnt stop. The book was titled, In The Time of The Butterflies. This book spoke of four sisters who were just trying to survive. One of the sisters, however, decided she wouldnt Just survive, she would fight. This young woman was known as Minerva Miramar, the outspoken butterfly. How would you treat your half sisters and your fathers mistress? With hatred and anger Sibyl, or would you give them love like Minerva Miramar did? It takes a strong person like Minerva to do something as astonishing as this. A strong person that Is destined to change the world one life at a time, and she did Just that. Minerva Malabar Is the name of a woman that will always live on. She went through many different hardships and roadblocks, but she never stopped persevering. She was one of the people, who even during Truffles reign of terror never gave up hope. Throughout Minerals time of rebelling people often forgot to look at Minerals life as a whole. Minerva Miramar was the daughter of a man named Unripe Miramar. She had three sisters, or so she thought. Half way through Minerals short life she found out about her fathers mistress and Minerals other four sisters. At first sight Minerva was outraged. She did not think that anything like this was possible. She even went as far as crashing her car into her fathers while he was at his mistress house. What she did next was even more astonishing. Minerva forgave her father. Forgiving her father was Just a little of what we know about Minerva Miramar. However, this Is enough to let us know what type of person she was. Minerva was the type of person that cared more for others than herself. Even when she was In Jail she made sure that all the woman had what they needed. Minerva constantly put others before herself. Once Minerva started to realize the predicament her father got himself in she started to help. If Unripe Miramar wasnt able to bring the girls money or other items Minerva would. Once Unripe died Minerva decided to enroll her younger sisters into school. Minerva wanted to make everything possible for the girls that was possible for her. She felt that it was her duty to make sure that the girls grew up right. It is amazing to think that even while Minerva was fighting Trujillo regime she would not give up on her family. She showed this by taking care of her sisters. Not Just the ones that she grew up with, but also the ones she barely found out about. This shows everyone how good of a person Minerva was inside and out. She was as gentle as a butterfly and Just as determined. I know that this essay does not do Minerva Malabar Justice. I Just hope that It gets people to start to understand. I want this essay to be the start of peoples understanding of the Marsupials. Once this essay is read I wish that the reader becomes as intrigued in the peoples minds every now and again.