Kim essays

Kim essays The book, Kim, was written by Rudyard Kipling. It is a story about a poor, Irish boy named Kimball OHara, shortened to Kim, who travels around colonial India seeking adventure. He is an orphan and has lived all his life in this British colony. Kim later meets a lama, a monk of a religion similar to Bhuddism, and searches with him for a holy river that cleanses all sins. One day, he met the people in the regiment his father, who had passed away long before Kim was born, used to work in. He was sent to school to learn and to be transformed into a sahib, another word for a master. After his schooling was over, he learned many skills from people, such as manipulating minds. The cunning boy also knew how to steal, lie, cheat, and to beg for food and housing. With these skills the British Secret Service sent him on a mission to capture the maps, letters, notes and diagrams of Russian spies in the Himalayas. At the end, he accomplishes his mission and the lama, who had been searchin g unsuccessfully in vain, found his river quite on accident. Now that I have read the book, I wish that I could learn more about colonial India and its different cultures. It may sound boring, but Rudyard Kipling writes it in such a way that it becomes extremely interesting and it makes people yearn to learn more about the Indian culture. Some examples of Indian culture are how people are categorized. The upper-class people are called sahibs. Another interesting term is babu. This word means an educated native person speaking English. What is funny about this is that this is a rude way of addressing a person and it was also used to poke fun because of their broken English and strange accent. The British were racist towards the natives. Not only is this what makes the book interesting, but also how the people lived in India. Unlike America where there are many middle-class people, India had mainly two different types of people. They were ...

Clamoring and Clambering

Clamoring and Clambering Clamoring and Clambering Clamoring and Clambering By Maeve Maddox Paul Russell calls our attention to confusion between the verbs clamor [klÄÆ'mÉ™r] and clamber.[klÄÆ'mbÉ™r]. I just found the phrase F1s sponsors were clambering for a presence in the USA. One clamors for attention or, in this case, for a presence. Used as both noun and verb, clamor comes from Latin clamor, a shout. As a noun, clamor means Loud shouting or outcry, vociferation; esp. the excited outcry of vehement appeal, complaint, or opposition: commonly, but not always, implying a mingling of voices. As an intransitive verb, clamor means To make a clamour; to shout, or utter loud and continued cries or calls; to raise an outcry, make a noise or din of speech. Said of persons, animals, and instruments of noise. Clamber, on the other hand, is related to the verb climb. It means To climb by catching hold with hands and feet; to creep or crawl up (or down); to climb with difficulty and effort. Speakers who apparently make no distinction in the pronunciation of the the two words substitute clamber for clamor in contexts intended to convey the idea that people are making an outcry over something. As the most outspoken yoga advocates clamber for more recognition in the scientific community, it is they who become so much more sure of their own beliefs. The Girl Scout troops that cover Celina, Prosper and Frisco schools are clambering for members this year. As we mentioned in our last email, after our speech at Mike’s event, we were surrounded by rings of people clambering for  more information†¦ There are many voices out there today, each one clambering for our attention. She was making a nice little profit on it and kept selling stuff she wasnt planning on it because people were clambering for more. Its not a surprise that Europeans and Americans are clambering for Asian elements. Even if one pronounces both words as /klÄÆ'mÉ™r/, its easy to choose the correct one. Try substituting the word climb or call and see which one makes more sense: There are many voices out there today, each one climbing for our attention. There are many voices out there today, each one calling for our attention. If climb makes sense in the context, clamber is the word you want. If call makes more sense, clamor is the word you want. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Misused Words category, check our popular posts, or choose a related post below:Cost-Effective vs. Cost-EfficientHow to Play HQ Words: Cheats, Tips and Tricks5 Ways to Reduce Use of Prepositions

Lean Management Essay Example | Topics and Well Written Essays - 2250 words

Lean Management - Essay Example From the research it can be comprehended that the models and concepts which influence the pricing decisions of a firm are management accounting decisions. The pricing strategy of a firm is influenced by several factors which include the fixed and variable costs of the firm and the environmental factors which include legal analysis and competitor analysis. Some of the specific concepts in cost accounting are lean accounting, resource consumption accounting, transfer pricing etc. Manufacturers need to consider various fields like the supply chain process, the assets risk to low cost etc. while determining an appropriate costing strategy for the firm. The term Lean Management means the principles that are used for lean production. The basic idea of the concept of lean manufacturing is to reduce the wastages incurred in any form in the firm. The wastages of the firm which can be minimized through the use of Lean Management principles are the defects in production as there is no proper ut ility of the product. The overproduction factor in firms usually leads to excess finished stock, inappropriate inventory control and the efficient less production system used. The concept of Lean Management is a derivative of the Toyota Production Systems (TPS). The TPS policy reduces the time gap between the customers’ order and the delivery to the customer. The JIT system of inventory also helps in nil wastage of stocks. Resource consumption accounting is a type of principle based management accounting which provides the managers with a decision sustain system for the organization. Another concept which affects the pricing decision is transfer pricing. Transfer pricing is quite applicable in case of the manufacturing organizations. Transfer pricing helps in reducing the operating costs and also helps in lowering the effective tax cost of global operations. â€Å"Using transfer pricing economics to map all the transactions in which the new plant will participate, with suppl iers and customers as well as with related parties, reveals hidden opportunities† (Transfer Pricing in the Automotive Industry 2006, p. 3). Resource consumption accounting is another model which provides managers with adequate management accounting system in order to support pricing or costing decisions in a firm. This concept was specially developed for advanced manufacturing. The resource based cost accounting involves resources, their costs, the quantity based modeling, the cost behavior. Lean management accounting and Toyota Production System are the most suitable models which can be quickly and beneficially applied in Maniac Plc. The lean management system will be useful in taking pricing decisions of the firm. â€Å"The lean management system is structured around three necessities of lean production: strategic planning, organizational structure and human resource capabilities† (Jackson & Jones 1996, p. 18). 2) Maniac Plc practices both standard costing as well as activity based costing system. Standard costing and variance costing are both costing types which play an important role in management accounting. The standard costing system is the estimation of the costs which are necessary for the procedure of

Evaluate the effectiveness of technology in monitoring national Essay

Evaluate the effectiveness of technology in monitoring national borders and preventing trafficking of drugs or humans - Essay Example 37). In order to counter these crimes, prevention measures have to be implemented to forestall the trafficking of human beings and drugs into the country. Various measures have been implemented to tackle these problems such as imposing heavy penalties on individuals who break these laws and also protecting the national orders through a team of well trained personnel and equipment (United states 2010, pg. 16). The use of technology in monitoring the national borders and preventing human and drug trafficking will be discussed as well as its effectiveness. Application of Technology in monitoring National Borders The national borders are monitored by different organizations all with the intention of preventing illegal activities from taking place. This involves prevention of illegal drug and human trafficking and also the illegal immigration of individuals into the country. For this purpose, technology is required to keep track of the activities being carried out along the border and als o to verify the legality of individuals or activities. For example, the Immigration and Customs Enforcement uses technology to identify illegal aliens in the country and further rank them according to the severity of their crimes (National Research Council (U.S.) 2009, pg. 29). Particularly, they apply biometric identification techniques which are used to identify individuals according to their traits or characteristics. In addition to that, illegal activity can be monitored through closed circuit television cameras. The authorities use these cameras to monitor the boundaries and detect whether there is any crime being carried out (Manning 2008, pg. 97). The cameras are usually hidden and are on a 24-hour basis. They are set in a position where they can hold a wide view of the area thus making it easier for the law enforcers to monitor. Law enforcers then observe the borders through the cameras in shifts and also by carrying out patrols around the area. It is possible to record information through these cameras and the information is stored in form of tapes. The tapes are important in court cases as they serve as evidence pointing towards illegal activity being carried out across the border and into the country. Application of Technology in Drug and Human Trafficking Different forms of technology can be applied in drug and human trafficking. For example, scanners are used in major airports to identi fy illegal substances in an individual’s package (Belliotti 2009, pg. 117). Airport authorities use advanced imaging technology which is programmed to detect various threats against the crew members and the passengers. Other than threats, the imaging technology also highlights the illegal substances thus allowing for further human searching. This form of technology is less invasive compared to the previous methods thus encouraged by many airports. In addition, technology is used to monitor and track the whereabouts of individuals involved in criminal activity particularly drug and human trafficking. Authorities are able to track cell phones using tracking devices that function by tracking the cell phone number. This gives them the accurate position of the phone thus making it easier to take action upon the traffickers. Traffickers prefer using prepaid cell phones which makes them harder to track and thus preventing the control of these vices. However, police officers are allo wed to plant tracking devices on such phones and consequently gain

Historical Perspective Essay Essay Example for Free

Historical Perspective Essay Essay The method that nurses implement nursing care is influenced by research. Nursing theorist has influence to the practice of professional nursing and research. Many of the primitive theorists has help to develop the research from the previous to the current and will continue to the future to integrate research. Research has influence the action nurses consolidate and implement nursing care and process. One of the early primary nursing was Florence Nightingale. Florence Nightingale opened the doors for future researchers and theorist to model professional nursing. Florence Nightingale is the mother of contemporary nursing after coming back from the frontlines of Crimean War in 1856, and she renovated the fatality rate by attending the environment ( George, 2011, chapter 3). During the Crimean War Florence Nightingale offered to help with the nursing task, where she attended and took care of an ailing and injured soldiers. Florence Nightingale would tend to the sick soldiers at all times making sure that they were taken care of getting a clean environment, ventilation, hand washing, lighting and free of noise. Her concept to nursing is the environment. Environment could be modified to progress conditions so that natural ruling could allow healing. An environment model was established to glimpse the control of the physical environment as a major constituent of care ( George, 2011). Nightingale model progress to paradigm in nursing practice and contributes on nursing care and planned rendered to patients. Nurses maintain to practice their profession without attaining that their process and objective are based on Nightingales concept. The concept of environmental control serves as a foundation for many research analysis. Nursing theories related to Nightingales Environmental Model will continue to guide research and nursing profession. With her theory and concepts the nursing profession has implemented her methods for environmental cleanliness as a guide model in nursing practice to meet the needs of the patients.

The Truth About White Supremacy: American History X :: essays research papers

The Truth About White Supremacy: American History X   Ã‚  Ã‚  Ã‚  Ã‚  As a Hispanic, I suppose I should expect or, be prepared, rather, for racism and discrimination. Thankfully, I have not experienced either.. yet. Our world is not perfect; things take place that we rather not know about, but ignoring the problem seems to only make matters worse. The movie American History X, is an admirable attempt to inform us about these types of malicious ignorance that plague our society. The impeccable acting, artistic cinematography, occasional adrenaline-pumping score, and slightly faulted, though award-worthy script, all combine to create an overall exceptional film. American History X should not be immediately dismissed as an archetypal account of a controversial issue, it provides much more than what an audience would expect from a movie of this nature; it is an innovative drama about the unfortunate consequences of racism in a family that is surprisingly yet, frighteningly realistic.   Ã‚  Ã‚  Ã‚  Ã‚  The dynamic that greatly contributes to the efficiency of American History X, is the illustrious acting. Edward Norton flawlessly plays Derek Vinyard, the main character in American History X, who is angered by the murder of his father by two African-American persons who then, therefore, turns to the world of Neo-Nazism searching for comfort toward his father’s death and for further justification for the hatred he has towards the murderers. After being released from prison for serving a three-year sentence of manslaughter after brutally murdering two black individuals, Derek comes out a changed man who no longer persecutes blacks and other minority figures for invading and tragically altering the life of â€Å"true† Americans. Edward Norton is more than perfect for this role. In his â€Å"Believe Me† film review site, Jeffery Huston explains, â€Å"With this performance, Norton emerges as one of the very best actors working in film today.â₠¬  Norton’s performance was indeed electrifying. One particular scene in the film that shows the phenomenal talent he possesses, is the incident that shows us what his character was incarcerated for. After brutally murdering two black victims, police quickly arrive and begin to place Derek under arrest. Norton shines as his character is being seized; as he sets his hands on his head and slowly turns, he meets eyes with his horrified brother, Danny, who witnessed everything, and triumphantly smirks as the sinister expression in his glistening eyes reveals unsettling satisfaction, then smugly raises his eyebrows as if asking his younger brother if he is impressed.

Alvin Ailey

Gerald L. Archard November 22, 2010 2nd block dance 2 Dance Pioneers, Companies, and Choreographers Alvin Ailey Alvin Ailey, Jr. was an African American modern dancer, dance teacher and choreographer, who founded the Alvin Ailey American Dance Theater. Ailey was a gifted creator of dance expressing the African American cultural experience and history. His choreographic works live on in performances by the company he founded. The Alvin Ailey American Dance Theater toured extensively and regularly in Europe and Asia during Ailey's lifetime, making Ailey a familiar name worldwide.His works continue to inspire, uplift, educate, and communicate brilliance to all who witness them. One of his best known works, the choreographic masterpiece, Revelations, based on Ailey's experience growing up as an African American in the South, consistently brings audiences to their feet in enthusiastic, spontaneous ovation. Ailey was born to his 17-year-old mother, Lula Cooper, in Rogers, Texas. His father abandoned the family when Alvin was only a few months old. Ailey's mother was determined to make a better life for herself and child. She moved numerous times in Ailey's early years.One of the constants in Alvin's childhood was attendance at the True Vine Baptist Church. His mother sang in the choir. Ailey's immersion in the experience of charismatic and enthusiastic worship filled with gospel music and traditional spiritual songs had a lasting affect. Later in life, he choreographed dances to some of the music he first heard as a churchgoing youngster. In 1943, he and his mother moved to Los Angeles, California. Alvin was fourteen years old then. His mother worked often. The teen used his freedom after school to explore the city.Ailey was drawn to the music from the big band jazz clubs while the musicians practiced for their evening shows. He was also drawn to the theater marquees announcing upcoming shows like Billie Holliday, Duke Ellington, and others. One day he spotted a hand bill with a photo of Katherine Dunham, a dancer costumed in layers and layers of ruffles. At the time, Dunham's dance troupe was the only group of dancers touring and performing dances from Africa, Haiti, and Latin America. Ailey's curiosity was so intense that he found himself peeking in the stage door to catch sight of the performance of Dunham's Tropical Revue.This was the beginning of Ailey's lifelong passion for dance. Alvin began hanging around the stage door of the theater during the run of Dunham's show. He was there so often that one of the dancers invited him backstage and into the auditorium to watch. This introduction led him to study dance. Initially, Alvin took dance classes in the style and method of choreographer and dancer Katherine Dunham, from a student of hers. However, he was not really comfortable with this style that involved abandoning oneself to sensuous full body movement.Later, he was introduced to dance teacher Lester Horton. Horton had a dance school in nearby in Hollywood and his style was more straightforward. After seeing the school performance of fellow Jefferson High School student and Horton protege, Carmen de Lavallade, Alvin signed on with Horton. Lavallade was to be a lifelong friend and colleague of Ailey's. While studying with Horton, Ailey pursued college courses in the Romance languages. At various times Ailey was enrolled at the University of California, Los Angeles, Los Angeles City College, and the University of California, Berkeley.He studied the writings of James Baldwin, Langston Hughes, and Carson McCullers. His scholarly pursuits led him away from Lester Horton's school. In late summer of 1951, Ailey left for San Francisco to work and go to school. He soon befriended a young singer and dancer by the name of Margareurite Angelos (Maya Angelou). The two worked up a nightclub act called â€Å"Al and Rita. † They performed occasionally, and Ailey earned a living waiting tables and dancing at the New Orleans Champagne Supper Club. It was here that he first began choreographing acts of his own.This experience also marked the end of his college pursuits. Ailey started his own dance company in 1958, featuring primarily African American dancers. The company was invited back to Ted Shawn's summer dance festival in Massachusetts, in the summer of 1959. Following the stint, Susan Pimsleur, a concert manager offered to add the Ailey dancers to her roster. She laid out a plan for tours and concerts and designed a brochure, calling the company the Alvin Ailey American Dance Theater. A third concert at the 92nd Street YMCA was planned for January 31, 1960.It was during this performance that Ailey first staged his signature work, Revelations. The piece came from a very deep place within Ailey's psyche. The performance was an intense expression of heavenly faith, earthly despair, and unquenchable humanity. From its very first performance that January day, the audience jumped to their feet with a res ounding ovation. The producer of the dance program at the YMCA finally went on to the stage to silence the audience and announce that due to the overwhelming response of the audience, a second performance would be scheduled, an unprecedented fro that venue.In 1961, the United States Department of State approached Ailey, and invited him to travel in Southeast Asiaa for a thirteen week tour produced by the President's Special International Program for Cultural Presentations. Ailey accepted the invitation. He gathered dancers including some from his Horton days, including de Lavallade, Truitte and others. This was the first of many successful tours by the company. In a three years, Ailey had created a company and a body of work that communicated powerfully and conveyed to the world the beauty and universality of art and its rightful place in American culture.Alvin wrote in program notes for one of the tours, â€Å"The cultural heritage of the American Negro is one of America's richest treasures. â€Å"Ailey integrated his dance company in 1963. He also did some acting and directing. One notable production he directed was Langston Hughes’s Jericho-Jim Crow (1964). In summer of 1965, Ailey spotted Judith Jamison, a strikingly tall dancer with a strong foundation in ballet, at an audition he was attending. Ailey saw something special in her and tracked her down to invite her to join the company. She accepted, and today it is Jamison who runs the AAADT.Presented around the world by the Ailey's dance theater, the choreographic masterpiece Revelations, which is based on Ailey's experience growing up as an African American in the South, is among the best known and most frequently seen of modern dance performances. This piece ‘speaks' to audiences of all stripes in such a profound and inspiring way that audiences often leap to their feet in ovation at the close of the performance. It is a timeless portrayal of the experience of the American south of the fi rst half of the twentieth century.Ailey has been memorialized by the renaming of West 61st Street between Amsterdam and Columbus Avenues in New York City as â€Å"Alvin Ailey Way;† the Alvin Ailey American Dance Theater was located on that block at 211 West 61st Street from 1989 until 2005, when it moved to a new, bigger facility at the corner of West 55th Street and Ninth Avenue. In 1987, Ailey received the Samuel H. Scripps American Dance Festival Award. The citation on the award read, â€Å"To Alvin Ailey, dancer teacher and choreographer, whose work is generated from the heart and powered by passion; he stands as a model of artistic integrity.An American, informed by the Black experience, Mr. Ailey's choreography presses through cultural lines and speaks a universal language. His dances, whether sassy, sad, witty or lyrical, have brought joy and a sense of purpose to people throughout the world. Alvin Ailey's consistent artistic achievements have insured him a place as a giant in the history of American modern dance. † His longtime friend, Harry Belafonte presented the award. Ailey was awarded the Kennedy Center Honors in 1988. Alvin Ailey Gerald L. Archard November 22, 2010 2nd block dance 2 Dance Pioneers, Companies, and Choreographers Alvin Ailey Alvin Ailey, Jr. was an African American modern dancer, dance teacher and choreographer, who founded the Alvin Ailey American Dance Theater. Ailey was a gifted creator of dance expressing the African American cultural experience and history. His choreographic works live on in performances by the company he founded. The Alvin Ailey American Dance Theater toured extensively and regularly in Europe and Asia during Ailey's lifetime, making Ailey a familiar name worldwide.His works continue to inspire, uplift, educate, and communicate brilliance to all who witness them. One of his best known works, the choreographic masterpiece, Revelations, based on Ailey's experience growing up as an African American in the South, consistently brings audiences to their feet in enthusiastic, spontaneous ovation. Ailey was born to his 17-year-old mother, Lula Cooper, in Rogers, Texas. His father abandoned the family when Alvin was only a few months old. Ailey's mother was determined to make a better life for herself and child. She moved numerous times in Ailey's early years.One of the constants in Alvin's childhood was attendance at the True Vine Baptist Church. His mother sang in the choir. Ailey's immersion in the experience of charismatic and enthusiastic worship filled with gospel music and traditional spiritual songs had a lasting affect. Later in life, he choreographed dances to some of the music he first heard as a churchgoing youngster. In 1943, he and his mother moved to Los Angeles, California. Alvin was fourteen years old then. His mother worked often. The teen used his freedom after school to explore the city.Ailey was drawn to the music from the big band jazz clubs while the musicians practiced for their evening shows. He was also drawn to the theater marquees announcing upcoming shows like Billie Holliday, Duke Ellington, and others. One day he spotted a hand bill with a photo of Katherine Dunham, a dancer costumed in layers and layers of ruffles. At the time, Dunham's dance troupe was the only group of dancers touring and performing dances from Africa, Haiti, and Latin America. Ailey's curiosity was so intense that he found himself peeking in the stage door to catch sight of the performance of Dunham's Tropical Revue.This was the beginning of Ailey's lifelong passion for dance. Alvin began hanging around the stage door of the theater during the run of Dunham's show. He was there so often that one of the dancers invited him backstage and into the auditorium to watch. This introduction led him to study dance. Initially, Alvin took dance classes in the style and method of choreographer and dancer Katherine Dunham, from a student of hers. However, he was not really comfortable with this style that involved abandoning oneself to sensuous full body movement.Later, he was introduced to dance teacher Lester Horton. Horton had a dance school in nearby in Hollywood and his style was more straightforward. After seeing the school performance of fellow Jefferson High School student and Horton protege, Carmen de Lavallade, Alvin signed on with Horton. Lavallade was to be a lifelong friend and colleague of Ailey's. While studying with Horton, Ailey pursued college courses in the Romance languages. At various times Ailey was enrolled at the University of California, Los Angeles, Los Angeles City College, and the University of California, Berkeley.He studied the writings of James Baldwin, Langston Hughes, and Carson McCullers. His scholarly pursuits led him away from Lester Horton's school. In late summer of 1951, Ailey left for San Francisco to work and go to school. He soon befriended a young singer and dancer by the name of Margareurite Angelos (Maya Angelou). The two worked up a nightclub act called â€Å"Al and Rita. † They performed occasionally, and Ailey earned a living waiting tables and dancing at the New Orleans Champagne Supper Club. It was here that he first began choreographing acts of his own.This experience also marked the end of his college pursuits. Ailey started his own dance company in 1958, featuring primarily African American dancers. The company was invited back to Ted Shawn's summer dance festival in Massachusetts, in the summer of 1959. Following the stint, Susan Pimsleur, a concert manager offered to add the Ailey dancers to her roster. She laid out a plan for tours and concerts and designed a brochure, calling the company the Alvin Ailey American Dance Theater. A third concert at the 92nd Street YMCA was planned for January 31, 1960.It was during this performance that Ailey first staged his signature work, Revelations. The piece came from a very deep place within Ailey's psyche. The performance was an intense expression of heavenly faith, earthly despair, and unquenchable humanity. From its very first performance that January day, the audience jumped to their feet with a res ounding ovation. The producer of the dance program at the YMCA finally went on to the stage to silence the audience and announce that due to the overwhelming response of the audience, a second performance would be scheduled, an unprecedented fro that venue.In 1961, the United States Department of State approached Ailey, and invited him to travel in Southeast Asiaa for a thirteen week tour produced by the President's Special International Program for Cultural Presentations. Ailey accepted the invitation. He gathered dancers including some from his Horton days, including de Lavallade, Truitte and others. This was the first of many successful tours by the company. In a three years, Ailey had created a company and a body of work that communicated powerfully and conveyed to the world the beauty and universality of art and its rightful place in American culture.Alvin wrote in program notes for one of the tours, â€Å"The cultural heritage of the American Negro is one of America's richest treasures. â€Å"Ailey integrated his dance company in 1963. He also did some acting and directing. One notable production he directed was Langston Hughes’s Jericho-Jim Crow (1964). In summer of 1965, Ailey spotted Judith Jamison, a strikingly tall dancer with a strong foundation in ballet, at an audition he was attending. Ailey saw something special in her and tracked her down to invite her to join the company. She accepted, and today it is Jamison who runs the AAADT.Presented around the world by the Ailey's dance theater, the choreographic masterpiece Revelations, which is based on Ailey's experience growing up as an African American in the South, is among the best known and most frequently seen of modern dance performances. This piece ‘speaks' to audiences of all stripes in such a profound and inspiring way that audiences often leap to their feet in ovation at the close of the performance. It is a timeless portrayal of the experience of the American south of the fi rst half of the twentieth century.Ailey has been memorialized by the renaming of West 61st Street between Amsterdam and Columbus Avenues in New York City as â€Å"Alvin Ailey Way;† the Alvin Ailey American Dance Theater was located on that block at 211 West 61st Street from 1989 until 2005, when it moved to a new, bigger facility at the corner of West 55th Street and Ninth Avenue. In 1987, Ailey received the Samuel H. Scripps American Dance Festival Award. The citation on the award read, â€Å"To Alvin Ailey, dancer teacher and choreographer, whose work is generated from the heart and powered by passion; he stands as a model of artistic integrity.An American, informed by the Black experience, Mr. Ailey's choreography presses through cultural lines and speaks a universal language. His dances, whether sassy, sad, witty or lyrical, have brought joy and a sense of purpose to people throughout the world. Alvin Ailey's consistent artistic achievements have insured him a place as a giant in the history of American modern dance. † His longtime friend, Harry Belafonte presented the award. Ailey was awarded the Kennedy Center Honors in 1988.

Calvin Klein Marketing Strategies Essay

Calvin Klein Inc. is a fashion brand founded in 1968 by Calvin Klein. The company is headquartered in Midtown Manhattan, New York City and currently owned by Phillips-Van Heusen. Like other fashion brands, Calvin Klein established a world famous monogram: the â€Å"cK† emblem. Statistics: Wholly Owned Subsidiary of Phillips-Van Heusen Corporation Incorporated: 1967 as Calvin Klein Ltd. Employees: 900 Sales: $170 million (2001 est.) NAIC: 315232 Women’s and Girls’ Cut and Sew Blouse and Shirt Manufacturing; 315233 Women’s and Girls’ Cut and Sew Dress Manufacturing; 315234 Women’s and Girls’ Cut and Sew Suit, Coat, Tailored Jacket, and Skirt Manufacturing; 315999 Other Apparel Accessories and Other Apparel Manufacturing Company Perspectives: We believe our expertise in brand management, product design, sourcing, and other logistics provides us with the ability to successfully expand product offerings and distribution under the Calvin Klein brands while preserving the brands’ prestige and global presence. As a result, we believe we have the opportunity to realize sales growth and enhanced profitability. Key Dates: 1968: The Calvin Klein brand is launched. 1973: Klein wins his first Coty American Fashion Critics Award. 1979: Calvin Klein controls one-fifth of the designer jeans market. 1982: Klein enters the underwear business. 1985: A new perfume called Obsession is launched with a $17 million advertising campaign. 1989: A Unilever Co. subsidiary purchases the Calvin Klein cosmetics/fragrance line. 1994: A unisex fragrance, cKone, is introduced; the company’s underwear business is licensed to Warnaco Group Inc. 2000: Klein files suit against Warnaco Group and its CEO Linda Wachner. 2003: Calvin Klein is acquired by Phillips-Van Heusen Corporation. Company History: Calvin Klein, Inc., designs, licenses, and, in some cases, produces clothing, accessories, fragrances, and home furnishings bearing the name of designer Calvin Klein. Since its inception, the company was a partnership between Klein and his childhood friend Barry Schwartz. Named by Time magazine in 1996 as one of the 25 most influential Americans, Klein made his impact not only by designing but also by marketing his wares through high visibility and often controversial advertisements created by the company’s in-house agency, CRK Advertising. In 2002, worldwide retail sales of Calvin Klein products surpassed $3 billion. Most of these goods were manufactured and sold by other companies under license–licensed products account for over 90 percent of company revenue. After three years of shopping around for a buyer, Schwartz and Klein inked a deal with Phillips-Van Heusen Corporation, the largest shirtmaker in the United States. The $430 million transaction was completed in F ebruary 2003. Rocketing to Stardom in the 1970s Born and raised in New York City’s borough of the Bronx, Calvin Richard Klein decided he wanted to be a fashion designer at an early age. After graduating from the Fashion Institute of Technology in 1963, he worked for women’s coat and suit manufacturers in Manhattan’s garment district before opening his own business in 1968. A childhood friend, Barry Schwartz, loaned him $10,000 in start-up money and joined the firm a month later, after the family supermarket in Harlem that Schwartz had inherited was gutted in the riots that followed the assassination of Martin Luther King. Klein rented a dingy showroom to exhibit a small line of samples. His big break came when a vice-president at Bonwit Teller stopped at the wrong floor of the building, liked what he saw, and invited Klein to bring his samples to the president’s office. Klein wheeled the rack of clothes uptown personally and won an order of $50,000 (retail) on the spot. Bonwit’s gave the merchandise impressive exposure, with window displays in its flagship Fifth Avenue store and full-page ads in the New York Times. Soon after, Calvin Klein was besieged by orders. The fledgling company booked $1 million worth of business in its first year, reaching sales volume of $5 million by 1971. Klein mainly designed women’s coats and two-piece suits until 1972, when he began concentrating on sporty sweaters, skirts, dresses, shirts, and pants that could be mixed and matched for a complete wardrobe. The clothing featured  the simplicity of line, muted earth tones, and classic fabrics that characterized his work and gave it an air of understated elegance. Klein won a Coty American Fashion Critics Award–fashion’s Oscar–in 1973. He received an unprecedented third consecutive Coty Award for women’s wear in 1975 and, at age 32, was elected to the group’s Hall of Fame. That fiscal year (ending June 30, 1975) the firm shipped $12 million worth of merchandise, including swimsuits and dresses. It earned another $2 million to $6 million from licensing furs, umbrellas, sheets, shoes, scarves, belts, dresses, sunglasses, suedes, and patterns. Klein not only designed every item carrying his name but closely watched every step of the production process. Company revenues rose to $40 million in fiscal 1976 and a startling $90 million in 1977. Because its prices were generally below those of its two major competitors, Ralph Lauren and Anne Klein, the firm won the loyalty of young working women as well as older, wealthier buyers. Calvin Klein merchandise was so hot that the company could pick and choose among stores that wanted to carry the company’s products and blackball those that dared to try to return unsold goods. Seven hundred buyers and reporters were turned away from Klein’s fall 1978 fashion show; the buyers who got in placed $28 million worth of orders within 48 hours. Klein introduced his first menswear collection in 1978, telling the New York Times Magazine that he approached men’s clothing â€Å"with the same philosophy as the women’s. They’re for Americans who like simple, comfortable but stylish clothes–but with nothing over scale or extreme.† No less than 779 fabrics were used in the European-produced collection, which ranged from neckties to suits and overcoats. The production and sale of most of the men’s clothing was licensed to Bidermann Industries. Also in 1978, Calvin Klein introduced his own line of fragrances and a complete makeup collection of 18 beauty and skin-care products that stressed neutral colors to give the face a natural effect. However, the lightweight, rosy perfume (at $85 an ounce) needed to anchor the collection never caught on with the public. The fragrance and cosmetics business was sold to Minnetonka, Inc. in 1980. Calvin Klein jeans, by contrast, were to become the company’s biggest hit. Klein’s first attempt, in 1976, to capitalize on the designer-jeans craze–at $50 a pair–was a failure. The following year, however, his company cu t a deal to design the product for Puritan Fashions Corp., the largest dress  manufacturer in the world. Klein raised the groin in his jeans to accentuate the crotch and pulled the seam up between the buttocks to give the rear more shape. A Times Square billboard of model Patti Hansen on her hands and knees, her derriere arched skyward and the Calvin Klein label on her right hip visible, caused a sensation and remained in place for four years. By 1979, Calvin Klein was second to Gloria Vanderbilt in designer-jeans sales, with one-fifth of the market. A company spokesman observed, â€Å"The tighter they are, the better they sell.† The biggest lift to Calvin Klein’s jeans was the television campaign directed by Richard Avedon that featured 15-year-old model/actress Brooke Shields provocatively posed in a skin-tight pair of Calvin Klein jeans. In the best-remembered spot, she pronounced, â€Å"Do you know what comes between me and my Calvins? Nothing.† In another she declared, â€Å"I’ve got seven Calvins in my closet, and if they could talk, I’d be ruined.† These suggestions of underage sexuality struck a public nerve and, following a flood of complaints, the New York flagship stations of all three networks banned the two ads from the air. Klein could shrug off the criticism because sales of his jeans were then climbing to two million pairs a month. He added a jeans-inspired collection that included shirts, skirts, and jackets, also licensed to Puritan. These products accounted for about $100 million in sales in 1980. Branching Out in the 1980s In 1982, Calvin Klein entered the underwear business, once again exploiting the allure of youth in provocative poses to push the product. Photographer Bruce Weber’s beefcake ads featured a brawny Olympic pole vaulted in various states of well-endowed undress. When the company rented space in 25 New York bus shelters to display advertising posters featuring the underwear, all 25 had their glass shattered and posters stolen overnight. The follow-up was predictable–a line of women’s underwear featuring male-style briefs and boxer shorts that retained the fly front. Both campaigns were hits. The men’s line was part of the Bidermann license, which lapsed in 1987, while the women’s skivvies so outstripped Calvin Klein’s own manufacturing capabilities that in 1984 this division was sold to Kayser Roth Corp., a unit of Gulf & Western Industries, for about $11.2 million. Calvin Klein continued to design and create advertising for women’s underw ear, later adding hosiery and sleepwear lines. In 1982, Puritan Fashions–9 percent  owned by Klein and Schwartz–had sales of $245.6 million, of which licensed Calvin Klein products accounted for about 94 percent, earning $15.6 million in royalties for the firm. However, Puritan’s finances deteriorated as the designer-jeans boom ended and so, to protect their investment, in late 1983 Klein and Schwartz bought almost all the shares they did not already hold for $65.8 million in a leveraged buyout, with a Puritan subsidiary financing the purchase by taking out bank loans. The consolidated companies were renamed Calvin Klein Industries. After Puritan lost $11.3 million in 1984, Calvin Klein Industries placed $80 million in high-yield bonds (so-called junk bonds) through Michael Milken of Drexel Burnham Lambert Inc., mostly to keep Puritan afloat. Registration statements filed with the Securities and Exchange Commission in connection with the junk bonds Calvin Klein issued afforded the public a rare look at the finances of the closely held enterprise. Calvin Klein Industries had 1984 revenue of $258.2 million and net income of $17.2 million, with Klein and Schwartz each collecting $12 million in salary, dividends, and other distributions. Puritan returned to profitability in 1985, earning $12.4 million. Nevertheless, Calvin Klein Industries had huge payments to make on its big junk-bond debt, and this financial problem seemed to be taking a toll on the designer. â€Å"Every color choice became life or death,† he later told Newsweek, â€Å"because doing everything as well as possible meant survival.† In 1988, he spent a month at the Hanley Hazelden Center in Minnesota to receive treatment for drug and alcohol addiction. When Minnetonka launched a new perfume called Obsession–at $170 an ounce–in 1985, Calvin Klein created a heavy-breathing print and TV campaign that cost more than $17 million in ten months alone, followed by another $6 million campaign for Obsession for Men. One Weber print ad featured two nude men entwined around one female; another, a naked couple with their groins pressed together; a third, three naked women, limbs entangled. A survey ranked the Obsession ads as the most memorable print advertisements of the year for four years in a row. TV commercials displayed a female model as the object of obsessive love by, in turn, a boy, a young man, an older man, and an older woman. Obsession quickly became the second-best selling fragrance in the world. Combined with Obsession for Men and a line of body products, sales broke the $100 million mark by the end of 1987. To complement Obsession, an oriental fragrance, in 1988 Calvin Klein  introduced a floral scent, dubbed Eternity, which was marketed in perfume, cologne, cologne-spray, and body-cream forms. Newly married to his second wife, Klein devised a softer $18 million promotional campaign based on the themes of spirituality, love, marriage, and commitment. By the end of its first year on the market, Eternity had grossed $35 million. Minnetonka (14 percent owned by the Calvin Klein Sport division) was sold in 1989, with the Calvin Klein cosmetics/fragrance line fetching $376.2 million from Unilever Co.’s Chesebrough-Pond’s subsidiary. Also in 1989, Calvin Klein opened its first full-line free-standing store, in a Dallas suburb. Products included Calvin Klein Sport lines for men and women, women’s and men’s underwear and sleepwear, hosiery, shoes, outerwear, accessories, cosmetics, and fragrances. Rescue and Resurgence in the 1990s In 1991, Calvin Klein introduced a new silk-scarf collection licensed to Ray Strauss Unlimited. Also that year, the company resumed menswear, licensing it to Gruppo GFT, an Italian manufacturer. Eyewear and sunglasses bearing the designer’s name, previously made by Starline Optical Corp., were licensed to Marchon Eyewear. The big story that year, however, was the introduction of Escape, a $115-an-ounce â€Å"fruity, floral† scent. â€Å"After work you get away,† Klein explained regarding the concept. â€Å"You escape, and you do it with style.† Escape proved a hit and was followed in 1993 by Escape for Men. Despite sizable royalty payments from these and other products, Calvin Klein was falling into financial trouble in the new decade. The company’s revenue dropped 13 percent in 1990, to $197 million, leading to a $4.3 million loss, the third time in five years the company had been in the red. The Puritan/Calvin Klein Sport division lost $14.2 million alone. Many younger women who could not afford the designer’s flagship Collection line were not buying his clothes at all. A sexually suggestive insert for Calvin Klein Jeans in Vanity Fair in October 1991 failed to stimulate sales, prompting U.S. retailers to contend that Klein had fallen out of touch with their customers. Calvin Klein, Inc. was restored to financial health partly through the efforts of David Geffen, the entertainment tycoon who was a long-time friend of the designer. Geffen purchased $62 million of the company’s debt securities in 1992 at a discount and was repaid in 1993, when the company took out a $58 million loan from Citibank. The firm then paid  off the Citibank loan by licensing the underwear business to Warnaco Group Inc. for $64 million. Warnaco also won the license for a new venture, men’s accessories. Undeterred by suggestions that with the end of the â€Å"decadent† 1980s sex no longer sold, Klein introduced a new line of underwear, including $16 fly-button shorts, in 1992 with ads featuring Marky Mark (Mark Wahlberg), a muscular rap star. The campaign proved successful with both young men and women, grossing $85 million for the company within 12 months. In 1994, a partnership later renamed Designer Holdings Ltd. bought Calvin Klein’s fading jeans business for about $50 million. Calvin Klein introduced a khaki collection in 1996 and also licensed it to Designer Holdings, along with CK Calvin Klein Jeans Kids and CK Calvin Klein Kids Underwear, also introduced that year. Designer Holdings was acquired by Warnaco in 1997. By 1995, when it opened a four-level, 22,000-square-foot minimalist-style emporium at Madison Avenue and East 60th Street in Manhattan, Calvin Klein had six stores in the United States. In addition, during 1993 and 1994, the company licensed Calvin Klein boutiques to operators in Barcelona, St. Moritz, Zurich, and Singapore and formed a partnership with four Japanese companies to create in-store shops there and to produce more licensed apparel. Four stores–in Manhattan, Dallas, Palm Beach and Costa Mesa, California–remained in 1997. The company also had an outlet store in Secaucus, New Jersey. In 1994, Calvin Klein introduced cKone, a unisex fragrance that became another smash hit, grossing $60 million in its first three months. It was followed in 1996 by cKbe, promoted in a $20 million monochrome print and TV campaign directed by Richard Avedon that featured young models exposing lots of pierced and tattooed flesh. In a poll conducted by Louis Harris for USA Today, only 4 percent of the respondents expressed strong liking for the ads, while 57 percent said they disliked them. Advertising experts suggested that what was turning off the general public was precisely what was attracting the people who were buying the product, especially teenagers. Advertisements for Calvin Klein jeans also continued to provoke controversy. Posters featuring a notably skinny model, Kate Moss, were festooned with stickers reading à ¢â‚¬Å"Feed this woman† by a Boston-area group called Boycott Anorexic Marketing. The company ignored the group but was unable to shrug off the reaction, especially from Christian groups, created by its summer 1995 campaign for CK Jeans, featuring models  who appeared to be teenagers in states of undress that, according to one writer, â€Å"suggested auditions for low-budget porn movies.† For the first time the company retreated, pulling the ads, which the designer maintained had been â€Å"misunderstood. †¦ People didn’t get that it’s about modern young people who have an independent spirit and do the things they want to and can’t be told or sold.† A U.S. Justice Department investigation ended without charges after federal agents determined that no minors were used in the ads. The controversial ads did not offend the market for which the campaign was intended. CK Calvin Klein Jeans continued to be one of the strongest sellers among youths. â€Å"They want the Calvin Klein label,† explained the executive editor of Children’s Business in 1996. â€Å"Also at the point the children are over eight, they’re pretty much deciding what they want to wear. †¦ These lines †¦ have the cachet that comes from the adult market.† Later that year a Calvin Klein underwear ad showing a 20-year-old male model in very tight gray briefs, posed with his legs wide apart, was dropped by the company’s own licensee, Warnaco. Also in 1996, a group of parent-led anti-drug groups called for a boycott of Calvin Klein products to protest a new ad campaign that they said glamorized heroin addiction. The magazine and television advertisements in question featured gaunt, glassy-eyed models to promote cKbe. In 1999, an underwear billboard in Times Square featuring two scantily clad young boys launched yet another round of controversy. The ad was eventually pulled after rumors surfaced that speculated on Klein’s sexual orientation. In 1995, Calvin Klein launched, under license, a home collection composed of sheets, towels, and tableware. By 1997, only the designer’s signature Calvin Klein women’s collection of apparel and accessories and the CK Calvin Klein bridge collections of less-expensive women’s and men’s apparel (except in Europe, the Middle East, and Japan) were being manufactured by the company itself. Of the company’s $260 million in sales in 1996, $141 million came from its in-house products and $119 million from royalties and designer income. Of worldwide retail sales of $4.4 billion, apparel accounted for $2.7 billion, fragrances for $1.5 billion, and other products for $200 million. Net profits were $41 million. During the late 1990s, Calvin Klein, Inc. was 43 percent owned by the designer and 43 percent owned by Schwartz, who was chairman and chief executive officer. The rest of the equity was held by family trusts.  Gabriella Forte, a former Giorgio Armani executive, became the company’s president in 1994 and was put in charge of day-to-day administration. The company was divided into three parts: the Calvin Klein collection, cK sportswear, and cK Jeans. In addition to apparel, each segment offered perfume, accessories, and housewares. New Ownership in a New Century During 1999, both Klein and Schwartz agreed that it was time to seek out expansion via a merger or an alliance. In October, the company hired investment firm Lazard Freres & Co. to organize a deal. With a billion dollar price tag however, Calvin Klein was unable to find a suitable partner. and in April 2000 the firm took itself off of the market. Klein commented on the process in a June 2000 DNR article, claiming that â€Å"a year ago we decided to explore strategic options for the company. We wanted to see how we can take the company to the next step. It gave us the opportunity to talk to various partners and explore opportunities and take the business to the next level.† Klein went on to say, â€Å"We decided to remain a private company because we thought we could do it better on our own.† During that same time period, Klein filed suit against his largest licensee, the Warnaco Group Inc. and its CEO Linda Wachner. Claiming the firm had violated federal trademark laws and breached fiduciary duty and several contracts by distributing its jeans to low-end retailers, Klein hoped to strip Warnaco–on the brink of bankruptcy–of its licensing rights. Warnaco on the other hand, claimed that Klein had been fully aware of its distribution practices for years and they stood to lose millions if the suit favored Klein. In 1999, one-third of the company’s revenues and cash flow was attributed to the sale of Calvin Klein jeans. Relations became even more strained between the two companies when Wachner filed a libel suit against Klein for comments made in several speeches and on the television show Larry King Live. The two appeared in court in January 2001 but came to an amicable resolution before the proceedings began. In late 2002, Calvin Klein, Inc. caught the eye of Phillips-Van Heusen Corporation (PVH), a company looking to acquire a major brand. As the largest shirtmaker in the United States, PVH owned the Van Heusen, IZOD, and G.H Bass brands and had licensing agreements with Geoffrey Beene, Arrow, DKNY, and Kenneth Cole. Under the leadership of CEO Bruce Klatsky, PVH made a play for Calvin Klein and eventually won the battl e. A  2002 New York Times article reported that the union would â€Å"give Van Heusen what Mr. Klatsky called the best-known apparel label in the world, and will give Calvin Klein, who will stay on with the new company, the financial resources to further expand his name in Asia and Europe. The purchase will also free the designer to worry more about aesthetics and less about production and bookkeeping.† Under the terms of the deal, Klein remained a design consultant for Calvin Klein, Inc. while PVH retained 100 percent ownership of the firm. The $430 million cash and stock deal also included royalty payments to Klein through 2018. Completed in February 2003, the acquisition marked a new era for the brand. For the first time, Klein did not have complete control over the products sold under his name, and his partner Schwartz had retired. After questionable behavior in March at a Knicks basketball game in New York was made public, Klein announced he was again seeking professional help for substance abuse. Both PVH management and Klein claimed it would not affect his role with the company. In March 2003, Calvin Klein announced a licensing agreement with Vestimenta S.p.A. in which the Italy-based concern would manufacture and distribute the Calvin Klein Collection line. PVH also planned to launch a new Calvin Klein men’s sportswear line in 2004. While Calvin Klein would no doubt continue as a leading brand for years to come, the results of its new ownership and management structure remained to be seen. Reference: https://giantkillers13.wordpress.com/2013/03/27/calvin-klein-marketing-strategy/

The 4 Stages of the Ladybug Life Cycle

The 4 Stages of the Ladybug Life Cycle Ladybugs go by several other names: lady beetles, ladybug beetles, and ladybird beetles. Regardless of what you call them, these beetles belong to the family Coccinellidae. All ladybugs progress through a four-stage life cycle known as complete metamorphosis. Embryonic Stage (Eggs) Wilfried Martin / Getty Images The ladybug life cycle begins with an egg. Once she has mated, the female ladybug lays a cluster of 10 to 50 eggs. Usually, shell deposit her eggs on a plant with suitable prey for her offspring to eat when they hatch; aphids are a favorite food. Between spring and early summer, a single female ladybug may produce up to 1,000 eggs. Scientists believe ladybugs lay both fertile and infertile eggs in the cluster. When aphids are in limited supply, the newly hatched larvae will feed on the infertile eggs. Larval Stage (Larvae) Pavel Sporish / Getty Images In about four days, the ladybug larvae emerge from their eggs. Species and environmental variables (such as temperature) may shorten or lengthen this time frame. Ladybug larvae look somewhat like tiny alligators, with elongate bodies and bumpy exoskeletons. In many species, the ladybug larvae are black with brightly colored spots or bands. In the larval stage, ladybugs feed voraciously. A single larva can consume dozens of aphids per day. Larvae feed on other soft-bodied plant pests as well, including scale insects, adelgids, mites, and insect eggs. Ladybug larvae dont discriminate when feeding, and will sometimes eat ladybug eggs, too. The newly hatched larva is in its first instar (a developmental stage that occurs between molts). It feeds until it grows too big for its cuticle (soft shell), at which time it will molt. After molting, the larva is in the second instar. Ladybug larvae usually molt through four instars, or larval stages, before preparing to pupate. The larva will attach itself to a leaf or other surface when it is ready to pupate (metamorphose into its adult form). Pupal Stage (Pupae) Pavel Sporish / Getty Images In its pupal stage, the ladybug is usually yellow or orange with black markings. The pupa remains still, attached to a leaf, throughout this stage. The ladybugs body undergoes a remarkable transformation, directed by special cells called histoblasts. The histoblasts control a biochemical process through which the larval body is broken down and reformed into the adult ladybug. Depending on the species and environmental variables such as temperature, the pupal stage may last 3 to 12 days. Imaginal Stage (Adult Beetles) Jà ¶rg Mikus / EyeEm / Getty Images Newly emerged adults, or imagos, have soft exoskeletons, making them vulnerable to predators until their cuticles harden. They also appear pale and yellow when they first emerge, but soon develop the deep, bright colors for which ladybugs are known. Adult ladybugs feed on soft-bodied insects, just as their larvae do. Adults overwinter, usually hibernating in aggregations. They mate soon after becoming active again in the spring. How to Find Ladybug Eggs and Larvae If you have a garden plant that is prone to aphid infestations, you have access to prime ladybug habitat. If you want to familiarize yourself with the ladybug life cycle, visit this plant daily. Take your time examining the leaves, lifting them to observe the undersides, and youll likely find a cluster of bright yellow eggs.  Within a few days, tiny ladybug larvae will hatch, and youll find the odd-looking immature ladybugs on the prowl for aphids. Later, youll see dome-shaped pupae, shiny and orange. If aphids are abundant, adult lady beetles will hang around, too.

Major General Abner Doubleday in the Civil War

Major General Abner Doubleday in the Civil War Born at Ballston Spa, NY on June 26, 1819, Abner Doubleday was the son of Representative Ulysses F. Doubleday and his wife, Hester Donnelly Doubleday. Raised in Auburn, NY, Doubleday came from a strong military tradition as his father had fought in the War of 1812 and his grandfathers had served during the American Revolution. Educated locally in his early years, he was later sent to live with an uncle in Cooperstown, NY so that he could attend a private preparatory school (Cooperstown Classical and Military Academy). While there, Doubleday received training as a surveyor and civil engineer. Throughout his youth, he expressed interests in reading, poetry, art, and mathematics. After two years of private practice, Doubleday received an appointment to the US Military Academy at West Point. Arriving in 1838, his classmates included John Newton, William Rosecrans, John Pope, Daniel H. Hill, George Sykes, James Longstreet, and Lafayette McLaws. Though regarded as a â€Å"diligent and thoughtful student, Doubleday proved an average scholar and he graduated in 1842 ranked 24th in a class of 56. Assigned to the 3rd US Artillery, Doubleday initially served at Fort Johnson (North Carolina) before moving through several assignments in coastal fortifications. Mexican-American War With the outbreak of the Mexican-American War in 1846, Doubleday received a transfer west to the 1st US Artillery. Part of Major General Zachary Taylors army in Texas, his unit commenced preparing for the invasion of northeastern Mexico. Doubleday soon marched south and saw action at the hard-fought Battle of Monterrey. Remaining with Taylor the following year, he served at Rinconada Pass during the Battle of Buena Vista. On March 3, 1847, shortly after the battle, Doubleday was promoted to first lieutenant. Returning home, Doubleday married Mary Hewitt of Baltimore in 1852. Two years later, he was ordered to the frontier for service against the Apaches. He completed this assignment in 1855 and received a promotion to captain. Dispatched south, Doubleday served in Florida during the Third Seminole War from 1856-1858 and also helped to map the Everglades as well as modern Miami and Fort Lauderdale. Charleston Fort Sumter In 1858, Doubleday was posted to Fort Moultrie in Charleston, SC. There he endured the growing sectional strife that marked the years immediately before the Civil War and commented, â€Å"Almost every public assemblage was tinctured with treasonable sentiments and toasts against the flag were always warmly applauded.† Doubleday remained at Fort Moultrie until Major Robert Anderson withdrew the garrison to Fort Sumter after South Carolina seceded from the Union in December 1860. On the morning of April 12, 1861, Confederate forces in Charleston opened fire on Fort Sumter. Within the fort, Anderson selected Doubleday to fire the first shot of the Union response. Following the forts surrender, Doubleday returned north and was quickly promoted to major on May 14, 1861. With this came an assignment to the 17th Infantry in Major General Robert Pattersons command in the Shenandoah Valley. In August, he was transferred to Washington where he commanded batteries along the Potomac. On February 3, 1862, he was promoted to brigadier general and placed in command of the Washington defenses. Second Manassas With the formation of Major General John Popes Army of Virginia in the summer of 1862, Doubleday received his first combat command. Leading the 2nd Brigade, 1st Division, III Corps, Doubleday played a key role at Brawners Farm during the opening actions of the Second Battle of Bull Run. Though his men were routed the next day, they rallied to cover the retreat of the Union army on August 30, 1862. Transferred to the I Corps, Army of the Potomac with the rest of Brigadier General John P. Hatchs division, Doubleday next saw action at the Battle of South Mountain on September 14. Army of the Potomac When Hatch was wounded, Doubleday took command of the division. Retaining command of the division, he led them at the Battle of Antietam three days later. Fighting in the West Woods and Cornfield, Doubledays men held the right flank of the Union army. Recognized for his superior performance at Antietam, Doubleday was brevetted to lieutenant colonel in the Regular Army. On November 29, 1862, he was promoted to major general. At the Battle of Fredericksburg on December 13, Doubledays division was held in reserve and avoided taking part in the Union defeat. In the winter of 1863, I Corps was reorganized and Doubleday was shifted to command the 3rd Division. He served in this role at the Battle of Chancellorsville that May, but his men saw little action. As Lees army moved north in June, Major General John Reynolds’ I Corps led the pursuit. Arriving in Gettysburg on July 1, Reynolds moved to deploy his men in support of Brigadier General John Bufords cavalry. While directing his men, Reynolds was shot and killed. Command of the corps devolved on Doubleday. Racing forward, he completed the deployment and guided the corps through the opening stages of the battle. Gettysburg Positioned northwest of the town, Doubledays men were badly outnumbered by the approaching Confederate army. Fighting valiantly, I Corps held their position for five hours and was only forced to retreat after XI Corps collapsed on their right. Outnumbered 16,000 to 9,500, Doubledays men inflicted 35-60% casualties on seven of the ten Confederate brigades that attacked them. Falling back to Cemetery Hill, the remains of I Corps held their position for the remainder of the battle. On July 2, the commander of the Army of the Potomac, Major General George Meade, replaced Doubleday as commander of I Corps with the more junior Newton. This was largely the result of a false report submitted by the XI Corps commander, Major General Oliver O. Howard, stating that I Corps broke first. It was fostered by a long-running dislike of Doubleday, whom he believed indecisive, which went back to South Mountain. Returning to his division, Doubleday was wounded in the neck later in the day. After the battle, Doubleday officially requested that he be given command of I Corps. When Meade refused, Doubleday departed the army and rode to Washington. Assigned to administrative duties in the city, Doubleday served on courts martial and commanded part of the defenses when Lieutenant General Jubal Early threatened to attack in 1864. While in Washington, Doubleday testified before Joint Committee on the Conduct of the War and criticized Meades conduct at Gettysburg. With the end of hostilities in 1865, Doubleday remained in the army and reverted to his regular rank of lieutenant colonel on August 24, 1865. Promoted to colonel in September 1867, he was given command of the 35th Infantry. Later Life Posted to San Francisco in 1869, to head the recruiting service, he obtained a patent for a cable car railway system and opened the citys first cable car company. In 1871, Doubleday was given command of the African-American 24th Infantry in Texas. After commanding the regiment for two years, he retired from the service. Settling in Mendham, NJ, he became involved with Helena Blavatsky and Henry Steel Olcott. The founders of the Theosophical Society, they converted Doubleday to the tenets of Theosophy and Spiritualism. When the pair moved to India to continue their studies, Doubleday was named the president of the American chapter. He continued to live in Mendham until his death on January 26, 1893. Doubledays name is most commonly known due to its association with the origins of baseball. While the 1907 Mills Commission Report states that the game was invented by Doubleday at Cooperstown, NY in 1839, subsequent scholarship has proven this unlikely. Despite this, Doubledays name remains deeply linked to the games history.

Topic Analysis, Annotated Bibliography, and Research Paper

Topic Analysis, Annotated Bibliography, and - Research Paper Example He argues that the degraded youth express themselves creatively through Hip Hop music. The author’s claim that Hip Hop originated from the neglected and crack-infested inner cities of NY and, thus, cannot be expected to live up to the standards of Middle Class America, will form a critical part of my argument on the origins and influence of Hip Hop. Dimitriadis, Greg. Performing Identity/performing Culture: Hip Hop As Text, Pedagogy, and Lived Practice. New York: P. Lang, 2009. Print. Professor Greg Dimitriadis is an associate professor at SUNY with interests in popular culture and urban education. He critically reflects on Hip Hop’s contemporary currents and the economic, social, and cultural shifts that have influenced and been influenced by commercial Hip Hop. He concludes that these shifts in contemporary currents have a profound influence on Hip Hop fans and adherents. Using Hip Hop historical works to argue that youth fashion their notions of community on Hip Hop ideals, he argues that most urban youth have formed their notions on what America is through the depictions of Hip Hop artists from different regions. This argument will support my claims regarding the influences that Hip Hop has had on young people. Annotated Bibliography Where and how did Hip Hop originate and what influence has it had on contemporary America? Light, Alan. ... The author concludes that Hip Hop arose from aspirations of people who had little in terms of economic and social emancipation. Using vivid reviews by over 50 music and cultural critics, he argues that Hip Hop used the resources that were available to its originators, including microphones, turn tables, old records, and aspirations of success. This argument will support my research into the origins of the Hip Hop art form. Chang, Jeff. Can't Stop, Won't Stop: A History of the Hip-Hop Generation. New York: St. Martin's Press, 2011. Print. Jeff Chang is a journalist and Hip Hop critic with a range of awards for his chronicling of the early rap music scene. He focuses on the effect of youth rebellion on Hip Hop’s origin, concluding that, from its initial origins as an art form, for youth without societal support, Hip Hop has transformed American culture and politics. Based on interviews with early Hip Hop artists, the main argument proposed by the author is that Hip Hop acted as an outlet for young black youth to be heard by the society. This claim is relevant to my take on how and why Hip Hop went from music of the oppressed to the most profitable genre in America today. Brown, Adrienne. "Drive Slow: Rehearing Hip Hop Automotivity." Journal of Popular Music Studies 24.3 (2012): 265–275. Adrienne brown is an assistant professor of English literature and language, specializing in African American and American effects on cultural production in the 20th and 21st century. Her central focus here is the materialistic culture in Hip Hop and its influence on American youth, concluding that, rather than the artists, it is this materialistic culture, which speaks to the audience. The main argument is that, in Hip Hop, materialistic objects like

One page summary the attachment Essay Example | Topics and Well Written Essays - 250 words

One page summary the attachment - Essay Example The team visits the program between September to December, while program is in session. The program evaluators then normally visit the campus on Monday and Tuesday. They conclude their visit my meeting the senior officials including the dean and give them a summary of the evaluation results. The institution can respond to errors, if any, on the evaluation information within a week which is then incorporated in the draft report that is provided to the institute. The institute is then given one month’s time to raise any objection or seek clarifications on the draft report. The final report is reviewed by the full commission at its annual meeting. The additional information deemed necessary by the committee members is then sought from the institution and considered by the commission before final decision. The final accreditation action is communicated to the institute by August