Friday, January 24, 2020

An Outsider’s View of Alcoholics Anonymous (AA) Meetings Essay

An Outsider’s View of Alcoholics Anonymous (AA) Meetings Today, one out of every thirteen adults abuse alcohol or are alcoholics. That means nearly thirteen million Americans have a drinking problem. (www.niaaa.nih.gov) This topic offers a broad range of ideas to be researched within the psychological field. For this particular project, the topic of alcoholism and the psychological effects on people best fit the criteria. Alcoholism is defined as a disorder characterized by the excessive consumption of and dependence on alcoholic beverages, leading to physical and psychological harm and impaired social and vocational functioning. (www.dictionary.com) Through this project, the most important information regarding personal experiences dealing with alcoholism will be revealed. Not only are statistics, like the facts mentioned before, important when dealing with an issue such as alcoholism, but personal accounts and information are often more powerful and influential evidence. Non-alcoholics should be allowed to attend Alcoholics Anonymous me etings for research purposes. There are two groups of people pertinent to this project. Members of AA will provide information through sharing their experiences in interviews to those that will read and learn from the project, such as future alcoholics, new AA members, college students, and everyone in between. The members of the Alcoholics Anonymous meetings are the most valuable first-hand accounts, and will be the first to supply information with this project. Though a few members may be less than cooperative to provide personal information, most are more than willing to share their experiences in order to help others in any way possible. In the first visit to the AA meeting, several o... ...ld, and atheist. The importance of these people is that they are constantly contributing their own conversation to the topic of how alcoholism affects them, in their own personal way. This project plans to contribute in a different way: by providing all of these stories to a new audience. From a biological perspective, alcoholism is a disease that affects the brain’s functioning and AA is a route to sobriety. From a psychology major’s perspective, it is more than just a place for victims of alcoholism. It is an opportunity to observe how people go from drunk to sober with help from their AA friends. Works Cited Do You Think You’re Different? New York: Alcoholics Anonymous World Services, Inc., 1976. Dictionary.com..October 6th, 2004. National Institute on Alcohol Abuse and Alcoholism .. October 6th, 2004. An Outsider’s View of Alcoholics Anonymous (AA) Meetings Essay An Outsider’s View of Alcoholics Anonymous (AA) Meetings Today, one out of every thirteen adults abuse alcohol or are alcoholics. That means nearly thirteen million Americans have a drinking problem. (www.niaaa.nih.gov) This topic offers a broad range of ideas to be researched within the psychological field. For this particular project, the topic of alcoholism and the psychological effects on people best fit the criteria. Alcoholism is defined as a disorder characterized by the excessive consumption of and dependence on alcoholic beverages, leading to physical and psychological harm and impaired social and vocational functioning. (www.dictionary.com) Through this project, the most important information regarding personal experiences dealing with alcoholism will be revealed. Not only are statistics, like the facts mentioned before, important when dealing with an issue such as alcoholism, but personal accounts and information are often more powerful and influential evidence. Non-alcoholics should be allowed to attend Alcoholics Anonymous me etings for research purposes. There are two groups of people pertinent to this project. Members of AA will provide information through sharing their experiences in interviews to those that will read and learn from the project, such as future alcoholics, new AA members, college students, and everyone in between. The members of the Alcoholics Anonymous meetings are the most valuable first-hand accounts, and will be the first to supply information with this project. Though a few members may be less than cooperative to provide personal information, most are more than willing to share their experiences in order to help others in any way possible. In the first visit to the AA meeting, several o... ...ld, and atheist. The importance of these people is that they are constantly contributing their own conversation to the topic of how alcoholism affects them, in their own personal way. This project plans to contribute in a different way: by providing all of these stories to a new audience. From a biological perspective, alcoholism is a disease that affects the brain’s functioning and AA is a route to sobriety. From a psychology major’s perspective, it is more than just a place for victims of alcoholism. It is an opportunity to observe how people go from drunk to sober with help from their AA friends. Works Cited Do You Think You’re Different? New York: Alcoholics Anonymous World Services, Inc., 1976. Dictionary.com..October 6th, 2004. National Institute on Alcohol Abuse and Alcoholism .. October 6th, 2004.

Wednesday, January 15, 2020

Black House Chapter Seven

7 GOD MAY KNOW where Henry Leyden found that astounding suit, but we certainly do not. A costume shop? No, it is too elegant to be a costume; this is the real thing, not an imitation. But what sort of real thing is it? The wide lapels sweep down to an inch below the waist, and the twin flaps of the swallowtail reach nearly to the ankles of the billowing, pleated trousers, which seem, beneath the snowfield expanse of the double-breasted waistcoat, to ride nearly at the level of the sternum. On Henry's feet, white, high-button spats adorn white patent-leather shoes; about his neck, a stiff, high collar turns its pointed peaks over a wide, flowing, white satin bow tie, perfectly knotted. The total effect is of old-fashioned diplomatic finery harmoniously wedded to a zoot suit: the raffishness of the ensemble outweighs its formality, but the dignity of the swallowtail and the waistcoat contribute to the whole a regal quality of a specific kind, the regality often seen in African American e ntertainers and musicians. Escorting Henry to the common room while surly Pete Wexler comes along behind, pushing a handcart loaded with boxes of records, Rebecca Vilas dimly remembers having seen Duke Ellington wearing a white cutaway like this in a clip from some old film . . . or was it Cab Calloway? She recalls an upraised eyebrow, a glittering smile, a seductive face, an upright figure posed before a band, but little more. (If alive, either Mr. Ellington or Mr. Calloway could have informed Rebecca that Henry's outfit, including the â€Å"high-drape† pants with a â€Å"reet pleat,† terms not in her vocabulary, had undoubtedly been handmade by one of four specific tailors located in the black neighborhoods of New York, Washington, D.C., Philadelphia, or Los Angeles, masters of their trade during the thirties and forties, underground tailors, men now alas as dead as their celebrated clients. Henry Leyden knows exactly who tailored his outfit, where it came from, and how it fell into his hands, but when it comes to persons such as Rebecca Vilas, Henry imparts no more information than is already likely to be known.) In the corridor leading to the common room, the white cutaway appears to shine from within, an impression only increased by Henry's oversized, daddy-cool dark glasses with bamboo frames, in which what may be tiny sapphires wink at the corners of the bows. Is there maybe some shop that sells Spiffy Clothes of Great 1930s Bandleaders? Does some museum inherit this stuff and auction it off ? Rebecca cannot contain her curiosity a moment longer. â€Å"Mr. Leyden, where did you get that beautiful outfit?† From the rear and taking care to sound as though he is muttering to himself, Pete Wexler opines that obtaining an outfit like that probably requires chasing a person of an ethnicity beginning with the letter n for at least a couple of miles. Henry ignores Pete and smiles. â€Å"It's all a matter of knowing where to look.† â€Å"Guess you never heard of CDs,† Pete says. â€Å"They're like this big new breakthrough.† â€Å"Shut up and tote them bales, me bucko,† says Ms. Vilas. â€Å"We're almost there.† â€Å"Rebecca, my dear, if I may,† Henry says. â€Å"Mr. Wexler has every right to grouse. After all, there's no way he could know that I own about three thousand CDs, is there? And if the man who originally owned these clothes can be called a nigger, I'd be proud to call myself one, too. That would be an incredible honor. I wish I could claim it.† Henry has come to a halt. Each, in a different way, shocked by his use of the forbidden word, Pete and Rebecca have also stopped moving. â€Å"And,† Henry says, â€Å"we owe respect to those who assist us in the performance of our duties. I asked Mr. Wexler to shake out my suit when he hung it up, and he very kindly obliged me.† â€Å"Yeah,† Pete says. â€Å"Plus I also hung up your light and put your turntable and speakers and shit right where you want 'em.† â€Å"Thank you very much, Mr. Wexler,† Henry says. â€Å"I appreciate your efforts in my behalf.† â€Å"Well, shit,† Pete says, â€Å"I was only doing my job, you know? But anything you want after you're done, I'll give you a hand.† Without benefit of a flash of panties or a glimpse of ass, Pete Wexler has been completely disarmed. Rebecca finds this amazing. All in all, sightless or not, Henry Leyden, it comes to her, is far and away the coolest human being she has ever been privileged to encounter in her entire twenty-six years on the face of the earth. Never mind his clothes where did guys like this come from? â€Å"Do you really think some little boy vanished from the sidewalk out in front of here this afternoon?† Henry asks. â€Å"What?† Rebecca asks. â€Å"Seems like it to me,† Pete says. â€Å"What?† Rebecca asks again, this time to Pete Wexler, not Henry. â€Å"What are you saying?† â€Å"Well, he ast me, and I tol' him,† Pete says. â€Å"That's all.† Simmering dangerously, Rebecca takes a stride toward him. â€Å"This happened on our sidewalk? Another kid, in front of our building? And you didn't say anything to me or Mr. Maxton?† â€Å"There wasn't nothin' to say,† Pete offers in self-defense. â€Å"Maybe you could tell us what actually happened,† Henry says. â€Å"Sure. What happened was, I went outside for a smoke, see?† This is less than strictly truthful. Faced with the choice of walking ten yards to the Daisy corridor men's room to flush his cigarette down a toilet or walking ten feet to the entrance and pitching it into the parking lot, Pete had sensibly elected outdoor disposal. â€Å"So I get outside and that's when I saw it. This police car, parked right out there. So I walked up to the hedge, and there's this cop, a young guy, I think his name is Cheetah, or something like that, and he's loadin' this bike, like a kid's bike, into his trunk. And something else, too, only I couldn't see what it was except it was small. And after he did that, he got a piece a chalk outta his glove compartment and he came back and made like X marks on the sidewalk.† â€Å"Did you talk to him?† Rebecca asks. â€Å"Did you ask him what he was doing?† â€Å"Miz Vilas, I don't talk to cops unless it's like you got no other choice, know what I mean? Cheetah, he never even saw me. The guy wouldn't of said nothing anyhow. He had this expression on his face it was like, Jeez, I hope I get to the crapper before I drop a load in my pants, that kind of expression.† â€Å"Then he just drove away?† â€Å"Just like that. Twenty minutes later, two other cops showed up.† Rebecca raises both hands, closes her eyes, and presses her fingertips to her forehead, giving Pete Wexler an excellent opportunity, of which he does not fail to take full advantage, to admire the shape of her breasts underneath her blouse. It may not be as great as the view from the bottom of the ladder, but it'll do, all right, yes it will. As far as Ebbie's dad is concerned, a sight like Rebecca Vilas's Hottentots pushing out against her dress is like a good fire on a cold night. They are bigger than you'd expect on a slender little thing like her, and you know what? When the arms go up, the Hottentots go up, too! Hey, if he had known she was going to put on a show like this, he would have told her about Cheetah and the bicycle as soon as it happened. â€Å"All right, okay,† she says, still flattening the tips of her fingers against her head. She lifts her chin, raising her arms another few inches, and frowns in concentration, for a moment looking like a figure on a plinth. Hoo-ray and hallelujah, Pete thinks. There's a bright side to everything. If another little snotnose gets grabbed off the sidewalk tomorrow morning, it won't be soon enough for me. Rebecca says, â€Å"Okay, okay, okay,† opens her eyes, and lowers her arms. Pete Wexler is staring firmly at a point over her shoulder, his face blank with a false innocence she immediately comprehends. Good God, what a caveman. â€Å"It's not as bad as I thought. In the first place, all you saw was a policeman picking up a bike. Maybe it was stolen. Maybe some other kid borrowed the bike, dumped it, and ran away. The cop could have been looking for it. Or the kid who owned the bike could have been hit by a car or something. And even if the worst did happen, I don't see any way that it could hurt us. Maxton's isn't responsible for whatever goes on outside the grounds.† She turns to Henry, who looks as though he wishes he were a hundred miles away. â€Å"Sorry, I know that sounded awfully cold. I'm as distressed about this Fisherman business as everyone else, what with those two poor kids and the missing girl. We're all so upset we can hardly think straight. But I'd hate to see us dragged into the mess, don't you see?† â€Å"I see perfectly,† Henry says. â€Å"Being one of those blind men George Rathbun is always yelling about.† â€Å"Hah!† Pete Wexler barks. â€Å"And you agree with me, don't you?† â€Å"I'm a gentleman, I agree with everybody,† Henry says. â€Å"I agree with Pete that another child may well have been abducted by our local monster. Officer Cheetah, or whatever his name is, sounded too anxious to be just picking up a lost bicycle. And I agree with you that Maxton's cannot be blamed for anything that happened.† â€Å"Good,† Rebecca says. â€Å"Unless, of course, someone here is involved in the murders of these children.† â€Å"But that's impossible!† Rebecca says. â€Å"Most of our male clients can't even remember their own names.† â€Å"A ten-year-old girl could take most of these feebs,† Pete says. â€Å"Even the ones who don't have old-timer's disease walk around covered in their own . . . you know.† â€Å"You're forgetting about the staff,† Henry says. â€Å"Oh, now,† Rebecca says, momentarily rendered nearly wordless. â€Å"Come on. That's . . . that's a totally irresponsible thing to say.† â€Å"True. It is. But if this goes on, nobody will be above suspicion. That's my point.† Pete Wexler feels a sudden chill if the town clowns start grilling Maxton's residents, his private amusements might come to light, and wouldn't Wendell Green have a field day with that stuff ? A gleaming new idea comes to him, and he brings it forth, hoping to impress Miz Vilas. â€Å"You know what? The cops should talk to that California guy, the big-time detective who nailed that Kinderling asshole two-three years ago. He lives around here somewhere, don't he? Someone like that, he's the guy we need on this. The cops here, they're way outta their depth. That guy, he's like a whaddayacallit, a goddamn resource.† â€Å"Odd you should say that,† Henry says. â€Å"I couldn't agree with you more. It is about time Jack Sawyer did his thing. I'll work on him again.† â€Å"You know him?† Rebecca asks. â€Å"Oh, yes,† Henry says. â€Å"That I do. But isn't it about time for me to do my own thing?† â€Å"Soon. They're all still outside.† Rebecca leads him down the rest of the corridor and into the common room, where all three of them move across to the big platform. Henry's microphone stands beside a table mounted with his speakers and turntable. With unnerving accuracy, Henry says, â€Å"Lot of space in here.† â€Å"You can tell that?† she asks. â€Å"Piece of cake,† Henry says. â€Å"We must be getting close now.† â€Å"It's right in front of you. Do you need any help?† Henry extends one foot and taps the side of the flat. He glides a hand down the edge of the table, locates the mike stand, says, â€Å"Not at the moment, darlin',† and steps neatly up onto the platform. Guided by touch, he moves to the back of the table and locates the turntable. â€Å"All is co-pacetic,† he says. â€Å"Pete, would you please put the record boxes on the table? The one on top goes here, and the other one right next to it.† â€Å"What's he like, your friend Jack?† Rebecca asks. â€Å"An orphan of the storm. A pussycat, but an extremely difficult pussy-cat. I have to say, he can be a real pain in the bunghole.† Crowd noises, a buzz of conversation interlaced with children's voices and songs thumped out on an old upright piano, have been audible through the windows since they entered the room, and when Pete has placed the record boxes on the table, he says, â€Å"I better get out there, ‘cuz Chipper's probly lookin' for me. Gonna be a shitload of cleanup once they come inside.† Pete shambles out, rolling the handcart before him. Rebecca asks if there is anything more Henry would like her to do for him. â€Å"The overhead lights are on, aren't they? Please turn them off, and wait for the first wave to come in. Then switch on the pink spot, and prepare to jitterbug your heart out.† â€Å"You want me to turn off the lights?† â€Å"You'll see.† Rebecca moves back across to the door, turns off the overhead lights, and does see, just as Henry had promised. A soft, dim illumination from the rank of windows hovers in the air, replacing the former brightness and harshness with a vague mellow haze, as if the room lay behind a scrim. That pink spotlight is going to look pretty good in here, Rebecca thinks. Outside on the lawn, the predance wingding is winding down. Lots of old men and women are busily polishing off their strawberry shortcakes and soda pop at the picnic tables, and the piano-playing gent in the straw boater and red sleeve garters comes to the end of â€Å"Heart and Soul,† ba bump ba bump ba ba bump bump bump, no finesse but plenty of volume, closes the lid of the upright, and stands up to a scattering of applause. Grandchildren who had earlier complained about having to come to the great fest dodge through the tables and wheelchairs, evading their parents' glances and hoping to wheedle a last balloon from the balloon lady in the clown suit and frizzy red wig, oh joy unbounded. Alice Weathers applauds the piano player, as well she might: forty years ago, he reluctantly absorbed the rudiments of pianism at her hands just well enough to pick up a few bucks at occasions like this, when not obliged to perform his usual function, that of selling sweatshirts and baseball caps on Chase Street. Charles Burnside, who, having been scrubbed clean by good-hearted Butch Yerxa, decked himself out in an old white shirt and a pair of loose, filthy trousers, stands slightly apart from the throng in the shade of a large oak, not applauding but sneering. The unbuttoned collar of the shirt droops around his ropy neck. Now and then he wipes his mouth or picks his teeth with a ragged thumbnail, but mainly he does not move at all. He looks as though someone plunked him down by the side of a road and drove off. Whenever the careering grandkids swerve near Burny, they instantly veer away, as if repelled by a force field. Between Alice and Burny, three-fourths of the residents of Maxton's belly up to the tables, stump around on their walkers, sit beneath the trees, occupy their wheelchairs, hobble here and there yakking, dozing, chuckling, farting, dabbing at fresh strawberry-colored stains on their clothing, staring at their relatives, staring at their trembling hands, staring at nothing. Half a dozen of the most vacant among them wear conical party hats of hard, flat red and hard, flat blue, the shades of enforced gaiety. The women from the kitchen have begun to circulate through the tables with big black garbage bags, for soon they must retire to their domain to prepare the evening's great feast of potato salad, mashed potatoes, creamed potatoes, baked beans, Jell-O salad, marshmallow salad, and whipped-cream salad, plus of course more mighty strawberry shortcake! The undisputed and hereditary sovereign of this realm, Chipper Max-ton, whose disposition generally resembles that of a skunk trapped in a muddy hole, has spent the previous ninety minutes ambling about smiling and shaking hands, and he has had enough. â€Å"Pete,† he growls, â€Å"what the hell took you so long? Start racking up the folding chairs, okay? And help shift these people into the common room. Let's get a goddamn move on here. Wagons west.† Pete scurries off, and Chipper claps his hands twice, loudly, then raises his outstretched arms. â€Å"Hey, everybody,† he bellows, â€Å"can you truly believe what a gol-durn gorgeous day the good Lord gave us for this beautiful event? Isn't this something?† Half a dozen feeble voices rise in agreement. â€Å"Come on, people, you can do better than that! I want to hear it for this wonderful day, this wonderful time we're all having, and for all the wonderful help and assistance given us by our volunteers and staff!† A slightly more exuberant clamor rewards his efforts. â€Å"All right! Hey, you know what? As George Rathbun would say, even a blind man could see what a great time we're all having. I know I am, and we're not done yet! We got the greatest deejay you ever heard, a fellow called Symphonic Stan, the Big-Band Man, waiting to put on a great, great show in the common room, music and dancing right up to the big Strawberry Fest dinner, and we got him cheap, too but don't tell him I said that! So, friends and family, it's time to say your good-byes and let your loved ones cut a rug to the golden oldies, just like them, ha ha! Golden oldies one and all, that's all of us here at Maxton's. Even I'm not as young as I used to be, ha ha, so I might take a spin across the floor with some lucky lady. â€Å"Seriously, folks, it's time for us to put on our dancing shoes. Please kiss Dad or Mom, Granddad or Grandma good-bye, and on your way out, you may wish to leave a contribution toward our expenses in the basket on top of Ragtime Willie's piano right over here, ten dollars, five dollars, anything you can spare helps us cover the costs of giving your mom, your dad, a bright, bright day. We do it out of love, but half of that love is your love.† And in what may seem to us a surprisingly short amount of time, but does not to Chipper Maxton, who understands that very few people wish to linger in an elder-care facility any longer than they must, the relatives bestow their final hugs and kisses, round up the exhausted kiddies, and file down the paths and over the grass into the parking lot, along the way a good number depositing bills in the basket atop Ragtime Willie's upright piano. No sooner does this exodus begin than Pete Wexler and Chipper Maxton set about persuading, with all the art available to them, the oldsters back into the building. Chipper says things like, â€Å"Now don't you know how much we all want to see you trip the light fantastic, Mrs. Syverson?† while Pete takes the more direct approach of, â€Å"Move along, bud, time to stir your stumps,† but both men employ the techniques of subtle and not-so-subtle nudges, pushes, elbow grasping, and wheelchair rolling to get their doddering charges through the door. At her post, Rebecca Vilas watches the residents enter the hazy common room, some of them traveling at a rate a touch too brisk for their own good. Henry Leyden stands motionless behind his boxes of LPs. His suit shimmers; his head is merely a dark silhouette before the windows. For once too busy to ogle Rebecca's chest, Pete Wexler moves past with one hand on the elbow of Elmer Jesperson, deposits him eight feet inside the room, and whirls around to locate Thorvald Thorvaldson, Elmer's dearest enemy and fellow inhabitant of D12. Alice Weathers wafts in under her own guidance and folds her hands beneath her chin, waiting for the music to begin. Tall, scrawny, hollow-cheeked, at the center of an empty space that is his alone, Charles Burnside slides through the door and quickly moves a good distance off to the side. When his dead eyes indifferently meet hers, Rebecca shivers. The next pair of eyes to meet hers belong to Chipper, who pushes Flora Flostad's wheelchair as if it held a cr ate of oranges and gives her an impatient glare completely at odds with the easy smile on his face. Time is money, you bet, but money is money, too, let's get this show on the road, pronto. The first wave, Henry had told her is that what they have here, the first wave? She glances across the room, wondering how to ask, and sees that the question has already been answered, for as soon as she looks up, Henry flashes her the okay sign. Rebecca flips the switch for the pink spot, and nearly everybody in the room, including a number of old parties who had appeared well beyond response of any kind, utters a soft aaah. His suit, his shirt, his spats blazing in the cone of light, a transformed Henry Leyden glides and dips toward the microphone as a twelve-inch LP, seemingly magicked out of the air, twirls like a top on the palm of his right hand. His teeth shine; his sleek hair gleams; the sapphires wink from the bows of his enchanted sunglasses. Henry seems almost to be dancing himself, with his sweet, clever sidestepping glide . . . only he is no longer Henry Leyden; no way, Renee, as George Rathbun likes to roar. The suit, the spats, the slicked-back hair, the shades, even the wondrously effective pink spot are mere stage dressing. The real magic here is Henry, that uniquely malleable creature. When he is George Rathbun, he is all George. Ditto the Wisconsin Rat; ditto Henry Shake. It has been eighteen months since h e took Symphonic Stan from the closet and fit into him like a hand into a glove to dazzle the crowd at a Madison VFW record hop, but the clothes still fit, oh yes, they fit, and he fits within them, a hipster reborn whole into a past he never saw firsthand. On his extended palm, the spinning LP resembles a solid, unmoving, black beachball. Whenever Symphonic Stan puts on a hop, he always begins with â€Å"In the Mood.† Although he does not detest Glenn Miller as some jazz aficionados do, over the years he has grown tired of this number. But it always does the job. Even if the customers have no choice but to dance with one foot in the grave and the other on the proverbial banana peel, they do dance. Besides, he knows that after Miller was drafted he told the arranger Billy May of his plan to â€Å"come out of this war as some kind of hero,† and, hell, he was as good as his word, wasn't he? Henry reaches the mike and slips the revolving record onto the platter with a negligent gesture of his right hand. The crowd applauds him with an exhaled oooh. â€Å"Welcome, welcome, all you hepcats and hepkitties,† Henry says. The words emerge from the speakers wrapped in the smooth, slightly above-it-all voice of a true broadcaster in 1938 or 1939, one of the men who did live remotes from dance halls and nightclubs located from Boston to Catalina. Honey poured through their throats, these muses of the night, and they never missed a beat. â€Å"Say, tell me this, you gates and gators, can you think of a better way to kick off a swingin' soiree than with Glenn Miller? Come on, brothers and sisters, give me yeahhh.† From the residents of Maxton's some of whom are already out on the floor, others wheelchair-bound on its edges in various postures of confusion or vacuity comes a whispery response, less a party cry than the rustle of an autumn wind through bare branches. Symphonic Stan grins like a shark and holds up his hands as if to still a hopped-up multitude, then twirls and spins like a Savoy Ballroom dancer inspired by Chick Webb. His coattails spread like wings, his sparkling feet fly and land and fly again. The moment evaporates, and two black beachballs appear on the deejay's palms, one of them spinning back into its sleeve, the other down to meet the needle. â€Å"All-reety all-righty all-rooty, you hoppin' hens and boppin' bunnies, here comes the Sentimental Gentleman, Mr. Tommy Dorsey, so get off your money and grab your honey while vocalist Dick Haymes, the pride of Buenos Aires, Argentina, asks the musical question ‘How Am I to Know You?' Frank Sinatra hasn't entered the building yet, brethren and sistren, but life is still fine as mmm-mmm wine.† Rebecca Vilas cannot believe what she is seeing. This guy is getting just about everyone out onto the floor, even some of the wheelchair cases, who are dipping and swirling with the best of them. Dolled up in his exotic, astonishing outfit, Symphonic Stan Henry Leyden, she reminds herself is corny and breathtaking, absurd and convincing, all at once. He's like . . . some kind of time capsule, locked into both his role and what these old people want to hear. He has charmed them back into life, back into whatever youth they had left in them. Unbelievable! No other word will do. People she had written off as shuffling basket cases are blooming right in front of her. As for Symphonic Stan, he's carrying on like an elegant dervish, making her think of words like suave, polished, urbane, unhinged, sexy, graceful, words that do not connect except in him. And that thing he does with the records! How is that possible? She does not realize that she is tapping her foot and swaying in time to the music until Henry puts on Artie Shaw's â€Å"Begin the Beguine,† when she literally begins her own beguine by starting to dance by herself. Henry's hepcat jive-dance, the sight of so many white-haired, blue-haired, and bald-headed people gliding around the floor, Alice Weathers beaming happily in the arms of none other than gloomy Thorvald Thorvaldson, Ada Meyerhoff and â€Å"Tom Tom† Boettcher twirling around each other in their wheelchairs, the sweeping pulse of the music driving everything beneath the molten radiance of Artie Shaw's clarinet, all of these things abruptly, magically coalesce into a vision of earthly beauty that brings tears stinging to her eyes. Smiling, she raises her arms, spins, and finds herself expertly grasped by Tom Tom's twin brother, eighty-six-year-old Hermie Boettcher, the retired geography teacher in A17 formerly considered something of a stick, who without a word fox-trots her right out to the middle of the floor. â€Å"Shame to see a pretty girl dancing all on her lonesome,† Hermie says. â€Å"Hermie, I'd follow you anywhere,† she tells him. â€Å"Let's us get closer to the bandstand,† he says. â€Å"I want a better look at that hotshot in the fancy suit. They say he's blind as a bat, but I don't believe it.† His hand planted firmly at the base of her spine, his hips swerving in time to Artie Shaw, Hermie guides her to within a foot of the platform, where the Symphonic One is already doing his trick with a new record as he waits for the last bar of the present one. Rebecca could swear that Stan/Henry not only senses her presence before him but actually winks at her! But that is truly impossible . . . isn't it? The Symphonic One twirls the Shaw record into its sleeve, the new one onto the platter, and says, â€Å"Can you say ‘Vout'? Can you say ‘Solid'? Now that we're all limbered up, let's get jumpin' and jivin' with Woody Herman and ‘Wild Root.' This tune is dedicated to all you beautiful ladies, especially the lady wearing Calyx.† Rebecca laughs and says, â€Å"Oh, dear.† He could smell her perfume; he recognized it! Undaunted by the steamy tempo of â€Å"Wild Root,† Hermie Boettcher slides into a back step, extends his arm, and spins Rebecca around. On the first beat of the next bar, he catches her in his arms and reverses direction, spinning them both toward the far end of the platform, where Alice Weathers stands next to Mr. Thorvaldson, gazing up at Symphonic Stan. â€Å"The special lady must be you,† Hermie says. â€Å"Because that perfume of yours is worth a dedication.† Rebecca asks, â€Å"Where'd you learn to dance like this?† â€Å"My brother and I, we were town boys. Learned how to dance in front of the jukebox at Alouette's, over by Arden.† Rebecca knows Alouette's, on Arden's Main Street, but what was once a soda fountain is now a lunch counter, and the jukebox disappeared around the time Johnny Mathis dropped off the charts. â€Å"You want a good dancer, you find yourself a town boy. Tom Tom, now he was always the slickest dancer around, and you can plunk him in that chair, but you can't take away his rhythm.† â€Å"Mr. Stan, yoo-hoo, Mr. Stan?† Alice Weathers has tilted her head and cupped her hands around her mouth. â€Å"Do you take requests?† A voice as flat and hard as the sound of two stones grinding together says, â€Å"I was here first, old woman.† This implacable rudeness brings Rebecca to a halt. Hermie's right foot comes gently down atop her left, then swiftly moves off, doing her no more injury than a kiss. Towering over Alice, Charles Burnside glares at Thorvald Thorvaldson. Thorvaldson steps back and tugs at Alice's hand. â€Å"Certainly, my dear,† says Stan, bending down. â€Å"Tell me your name and what you'd like to hear.† â€Å"I am Alice Weathers, and â€Å" â€Å"I was here first,† Burny loudly repeats. Rebecca glances at Hermie, who shakes his head and makes a sour face. Town boy or not, he is as intimidated as Mr. Thorvaldson. † ‘Moonglow,' please. By Benny Goodman.† â€Å"It's my turn, you jackass. I want that Woody Herman number called ‘Lady Magowan's Nightmare.' That one's good.† Hermie leans toward Rebecca's ear. â€Å"Nobody likes that fella, but he gets his own way.† â€Å"Not this time,† Rebecca says. â€Å"Mr. Burnside, I want you to â€Å" Symphonic Stan silences her with a wave of his hand. He turns to face the owner of the remarkably unpleasant voice. â€Å"No can do, mister. The song is called ‘Lady Magowan's Dream,' and I didn't bring that snappy little item with me this afternoon, sorry.† â€Å"Okay, bud, how about ‘I Can't Get Started,' the one Bunny Berigan did?† â€Å"Oh, I love that,† Alice says. â€Å"Yes, play ‘I Can't Get Started.' â€Å" â€Å"Happy to oblige,† Stan says in Henry Leyden's normal voice. Without bothering to jive around or spin the records on his hands, he simply exchanges the LP on the turntable for one from the first box. He seems oddly wilted as he steps to the mike and says, â€Å"I've flown around the world on a plane, I settled revolutions in Spain. Can't get started. Dedicated to the lovely Alice Blue Gown and the One Who Walks by Night.† â€Å"You're no better'n a monkey on a stick,† says Burny. The music begins. Rebecca taps Hermie on the arm and moves up alongside Charles Burnside, for whom she has never felt anything but mild revulsion. Now that she has him in focus, her outrage and disgust cause her to say, â€Å"Mr. Burnside, you are going to apologize to Alice and to our guest here. You're a crude, obnoxious bully, and after you apologize, I want you to get back into your room, where you belong.† Her words have no effect. Burnside's shoulders have slumped. He has a wide, sloppy grin on his face, and he is staring empty-eyed at nothing in particular. He looks too far gone to remember his own name, much less Bunny Berigan's. In any case, Alice Weathers has danced away, and Symphonic Stan, back at the far end of the platform and out of the pink spot, appears to be deep in thought. The elderly couples sway back and forth on the dance floor. Off to the side, Hermie Boettcher pantomimes dancing and quizzes her with a look. â€Å"I'm sorry about that,† she says to Stan/Henry. â€Å"No need to apologize. ‘I Can't Get Started' was my wife's favorite record. I've been thinking about her a lot, the past few days. Sort of took me by surprise.† He runs a hand over his sleek hair and shakes out his arms, visibly getting back into his role. Rebecca decides to leave him alone. In fact, she wants to leave everyone alone for a little while. Signaling regret and the press of duty to Hermie, she makes her way through the crowd and exits the common room. Somehow, old Burny has beaten her to the corridor. He shuffles absently toward Daisy wing, head drooping, feet scuffing the floor. â€Å"Mr. Burnside,† she says, â€Å"your act may fool everyone else, but I want you to know that it doesn't fool me.† Moving by increments, the old man turns around. First one foot shifts, then a knee, the spavined waist, the second foot, finally the cadaverous trunk. The ugly bloom of Burny's head droops on its thin stalk, offering Rebecca a view of his mottled scalp. His long nose protrudes like a warped rudder. With the same dreadful slowness, his head lifts to reveal muddy eyes and a slack mouth. A flash of sheer vindictiveness rises into the dull eyes, and the dead lips writhe. Frightened, Rebecca takes an instinctive step backward. Burny's mouth has moved all the way into a horrible grin. Rebecca wants to escape, but anger at having been humiliated by this miserable jerk lets her hold her ground. â€Å"Lady Magowan had a bad, bad nightmare,† Burny informs her. He sounds drugged, or half asleep. â€Å"And Lady Sophie had a nightmare. Only hers was worse.† He giggles. â€Å"The king was in his countinghouse, counting out his honeys. That's what Sophie saw when she fell asleep.† His giggling rises in pitch, and he says something that might be â€Å"Mr. Munching.† His lips flap, revealing yellow, irregular teeth, and his sunken face undergoes a subtle change. A new kind of intelligence seems to sharpen his features. â€Å"Does you know Mr. Munshun? Mr. Munshun and his li'l friend Gorg? Does you know what happened in Chicago?† â€Å"Stop this right now, Mr. Burnside.† â€Å"Duz you know uff Fridz Haarman, him who wazz zo loff-ly? Dey called him, dey called him, dey called him ‘da Vamp, Vamp, Vamp of Hanover,' yez dey dud, dud, dud. Evveybuddy, evveybuddy, evvey-buddy haz godz nide-marez all da dime, dime, dime, ha ha ho ho.† â€Å"Stop talking like that!† Rebecca shouts.†You're not fooling me!† For a moment, the new intelligence flares within Burny's dim eyes. It almost instantly retreats. He licks his lips and says, â€Å"Way-gup, Burn-Burn.† â€Å"Whatever,† Rebecca says. â€Å"Dinner is downstairs at seven, if you want it. Go take a nap or something, will you?† Burny gives her a peeved, murky look and plops a foot down on the floor, beginning the tedious process that will turn him around again. â€Å"You could write it down. Fritz Haarman. In Hanover.† His mouth twists into a smile of unsettling slyness. â€Å"When the king comes here, maybe we can dance together.† â€Å"No, thanks.† Rebecca turns her back on the old horror and clacks down the hallway on her high heels, uncomfortably aware of his eyes following her. Rebecca's nice little Coach handbag lies flat on her desk in the windowless vestibule to Chipper's office. Before going in, she pauses to rip off a sheet of notepaper, write down Fritz Harmann(?), Hanover(?), and slip the paper into the bag's central compartment. It might be nothing it probably is but who knows? She is furious that she let Burnside frighten her, and if she can find a way to use his nonsense against him, she will do her best to expel him from Maxton's. â€Å"Kiddo, is that you?† Chipper calls out. â€Å"No, it's Lady Magowan and her freakin' nightmare.† She strides into Chipper's office and finds him behind his desk, happily counting out the bills contributed that afternoon by the sons and daughters of his clientele. â€Å"My li'l Becky looks all ticked off,† he says. â€Å"What happened, one of our zombies stomp on your foot?† â€Å"Don't call me Becky.† â€Å"Hey, hey, cheer up. You won't believe how much your silver-tongued boyfriend conned out of the relatives today. A hundred and twenty-six smackers! Free money! Okay, what went wrong, anyhow?† â€Å"Charles Burnside spooked me, that's what. He ought to be in a mental hospital.† â€Å"Are you kidding? That particular zombie is worth his weight in gold. As long as Charles Burnside can draw breath into his body, he will always have a place in my heart.† Grinning, he brandishes a handful of bills. â€Å"And if you have a place in my heart, honey-baby, you'll always have a place at Maxton's.† The memory of Burnside saying, The king was in his countinghouse, counting out his honeys makes her feel unclean. If Chipper were not grinning in that exultant, loose-lipped way, Rebecca supposes, he would not remind her so unpleasantly of his favorite resident. Evveybuddy haz godz nide-marez all da dime, dime, dime that wasn't a bad description of the Fisherman's French Landing. Funny, you wouldn't think Old Burny would take more notice of those murders than Chipper. Rebecca had never heard him mention the Fisherman's crimes, apart from the time he groused that he would not be able to tell anyone he was going fishing until Dale Gilbertson finally got off his big fat butt, and what kind of crappy deal was that?

Tuesday, January 7, 2020

Digital And Digital Immigrants By Marc Presky - 1668 Words

The article â€Å"Digital Natives, Digital Immigrants by Marc Presky, appears in the book On the Horizon. The article asserts that due to the the anacrusis of the digital age, this generation has changed dramatically, thus, it is no longer possible to reach them through obsolete teaching methods, as it comes close to teaching them in a foreign language. In order to solve this issue, Presky suggests that we need to update our methodology in order to fit today’s needs better. In the beginning of the article, Prensky implies that student have changed dramatically, thus, are no longer the correct audience for our education system. He goes on by explaining that this change is not exactly a diversification, as in clothes, slang or the†¦show more content†¦Digital Natives, Digital Immigrants. Page. 2 - 2001), as he emphasises it. To furthermore clarify this term, he names many examples such as â€Å"bringing people physically into your office to see an interesting web site† (Prensky, Mark. Digital Natives, Digital Immigrants. Page. 2 - 2001) instead of â€Å"sending them an email† (Prensky, Mark. Digital Natives, Digital Immigrants. Page. 2 - 2001). Prensky complicates this matter when he embeds it into school routine. He endorses that to digital natives it feels like they are being taught by foreigners who have no wrap their head around English language yet. However, this is a dilemma that only starts, rather than ends, at the lack of communication. By introducing another example, he disputes that there is also a quarrel in the way of thinking in general. Digital natives, for example, believe that studying should be fun and could easily be done, while, for example, watching TV. This Digital Immigrants, however, deny up to this day; simply because they were not capable of doing all those things, while they were young. He then reminds us that, in spite of prevailing belief, one cannot simply presume that students function the same way their teachers did when they were in school. As a result of this, he enters the debate whether â€Å"students should go back to their old ways or if teachers should have to learn this new language† (Prensky, Mark. Digital Natives, Digital

Monday, December 30, 2019

The Reality Of Reality Television Essay - 1985 Words

We do not normally question the types of reality television shows we like to watch. This is because over the years, reality television has dramatically increased therefore making it close to impossible to avoid this genre of television. Reality television has grown to be a part of America’s everyday norm and can always be found being talked about on the Internet, social media, magazines, etc. One of the first examples of reality television was in 1973 when â€Å"An American Family† first aired. The show was a twelve-hour document series about a couple and their five children living in Santa Barbra, California. The Loud Family lived in front of cameras for seven months, as viewers could not get enough of watching this family’s dramatic life unfold. (Revisit the Loud Family). As an immediate result of this new type of program, â€Å"An American Family† not only became one of the first reality television shows to air, but it also became one of the most contro versial and most talked about television shows in its era. Being the first show without a host, interviews, and almost no voice-over narration, â€Å"An American Family† quickly captivated America’s popularity as the show related to viewers reality. Viewers received an enjoyable pleasure coming from a television program that was able to illustrate the negative side of both an average and relatable family. Therefore, the corruptive moments in the Loud family’s life and America’s enjoyment for those moments began the passageway for what hasShow MoreRelatedThe Reality Of Reality Television936 Words   |  4 PagesThe reality show phenomenon Have you ever wondered what attracts millions of Americans each week to watch this cultural phenomenon know as reality television? It first started in 1948 when Allen Funt created a TV series called Candid Camera, this is the first known reality television show series. â€Å"Reality television episodes have increased up to 57% of all television shows that can be found on your TV guides† (Shocking). Big Brother was one of the first successful and most viewed reality televisionRead MoreThe Reality Of Reality Television882 Words   |  4 Pages What is it about these reality shows such as: Keeping Up with the Kardashians, Bad Girls Club, and The Real Housewives that we cannot stop watching? After watching reality shows like this, it leaves people craving the next episode of the next week. Reality television producers are exploiting people by giving the public a â€Å"sense† of reality but not the real version of it, but rather exploit people and use stereotypes to make money for entertainment. The specific points of this argumentRead MoreThe Reality of Reality Television1699 Words   |  7 PagesThe Reality of Reality Television Jacqueline Knudsen ENG122: English Composition II Jenna Fussell February 2, 2013 The Reality of Reality Television Have you ever set there watching your favorite reality television show and wondered what effects it could have on you, your family or your friends? Truth is most people do not think about the effects television shows can have before watching them or allowing their children to watch them. ThisRead MoreThe Reality Of Reality Television1499 Words   |  6 PagesAgainst Reality TV For close to a decade, the ethics behind the existence of reality TV have been questioned. While there are ardent viewers of reality TV, researchers and other scholars disapprove them, and claim that the world would have been in a better place. Reality TV shows, especially in America, are extremely profitable to media owners, and this has increased their popularity in the recent years. The main target audience for these shows are teenagers and women, who spend a lot of time discussingRead MoreThe Reality Of Reality Television927 Words   |  4 PagesBehind the Reality of Reality TV There are many different opinions when the subject of reality television is discussed. Although reality television shows are thought to be negative they really are just mindless entertainment. Many can argue that these shows are misleading and disturbing. On the other side of this, people merely use these shows for entertainment and allow people to forget about stress in their lives. The cause of these different opinions is a result of different age, gender, religionRead MoreThe Reality Of Reality Television1511 Words   |  7 PagesReality TV is defined as television programs in which real people are continuously filmed, designed to be entertaining rather than informative.(Dictionary) As we all know, in today s world we are presented with numerous Reality TV Show such as Keeping up With the Kardashians, Basket wives and The Real Housewives of Miami. These shows give a false message to their viewers of what is reality and what is purely entertainment. Many reality programs create an artificial environment for the show thatRead MoreThe Reality Of Reality Television991 Words   |  4 PagesWe see content on television every day either to see the news, watch a movie, series or any program we would like to watch. Television give us a different and visually perfect way of entertainment. Reality television is a genre of television which seems to be unscripted showing actions of â€Å"real life†. The viewer sees the reality shows for entertainment but neither the pressure, competitiveness nor loneliness that lives in imagines. To be real -time and people- admiration from viewers, thinking thatRead MoreThe Reality Of Reality Television Essay1287 Words   |  6 PagesReality television is now one of the most consumed television genres broadcasted to the general public. Reality television has become more about mindless watching and creating the most unrealistic environment possible, rather than creating a show for an important purpose. Today, shows like Beauty and the Geek, Big Brother, and every other reality show fit into this mold, but when viewed critically lessons appear. In the case of TV today, reality shows depict an altered reality because of the unrealisticRead MoreThe Reality Of Reality Television Essay1973 Words   |  8 PagesIntroduction Reality television has turned into a noteworthy piece of our way of life. The shows are described to be fun, engaging and acquaint society with new points of view. In the wake of a monotonous day at work, it s decent to return home and watch something careless on television, while unwinding. While the debate that violence in the media is making for a brutal culture has been made a million times, sometime recently, I am striving to make an alternate relationship. As we are aware, theRead MoreReality Television : Is It Reality?849 Words   |  4 PagesIs it Reality? Pop culture is popular culture that dominates a society at a point in time. Today, reality television is a part of the society’s popular culture (Johnson 289). The question is why? Reality television is a genre of television programming that focuses on members of the public living in conditions made by the creator, and displays how people are intended to behave in everyday life (Johnson 290). Reality television is debasing and should be strictly controlled, if not banned altogether

Sunday, December 22, 2019

High Frequency Of Sexual Assaults On Campuses - 950 Words

I didn’t know â€Å"I didn’t know†¦Ã¢â‚¬  that is what all the students on campus say, when they are being forced into the back of a uniform vehicle. In college, there are many contributing factors to the high frequency of sexual assaults on campuses. Well of course they would not have known as they were most under the influence of drugs and/or alcohol. Another factor would be their living environment, and the societal norms. Drugs also lead to the occurrences of sexual assaults on college campuses. There are many drugs that people use, known as â€Å"date rape† drugs. Drugs such as Gamma Hydroxybutyric acid (GHB), Rohypnol, and Ketamine. GHB, also known as â€Å"Bedtime Scoop†, â€Å"Liquid Ecstasy†, or â€Å"Easy Lay†, are drugs made at the home, or in â€Å"street labs†. They have many effects such as loss of consciousness, seizers, nausea, dizziness, drowsiness, and possibly death. In addition drugs such as Rohypnol, commonly known as â€Å"Roofies†, â€Å"Trip-and-Fall†, or â€Å"Mind Erasers† are pills that dissolve in liquids. They cause people to become weak and confused, or even lose consciousness, so that they are unable to look after themselves. When drugged, people may have a loss memory of what happened while they were impaired. Lastly, Ketamine, also known as â€Å"Psychedelic Heroin†, â€Å"Special K†, â€Å"Kit Kat†, or â€Å"Super Acid† comes as a white powder, or as a liquid. When drugged, people may be aware of what is happening to them, but they are unable to move. It also causes memory loss. There are many innovations thatShow MoreRelatedTeaching A Child Respect And Self Control From A Young Age944 Words   |  4 Pagesaffect sexual assault rates, it is important to first note how much a role alcohol plays in the occurrence of sexual assault and the types of rapists currently profiled today, in addition to what victimization and revictimization mean. According to Abbey, Buck, Clinton, McAuslan, and Zawacki s research published in 2001, Alcohol and Sexual Assault, despite how often â€Å"alcohol consumption and sexual assault frequently co-occur, this phenomenon does not prove that alcohol use causes sexual assaultRead MoreHigh School And College Campuses947 Words   |  4 Pagesand punishment programs can be enforced in high school and college campuses to discourage and prevent: extensive use of alcohol to the point of alcohol poisoning potentially leading to the death of the individual(s), prevention of reckless sexual behavior, date rape and other sexual violence. By enforcing more and effective programs through means of education, prevention and punishment the frequency of these actions in high schools and college campuses will decrease substantially. Furthermore, allRead MoreStephen F. Austin Is Not High On The Crime Essay1514 Words   |  7 PagesStephen F. Austin is not high on the crime list compared to other univer sities, but it is not completely sound either. Last year, around the spring semester, there were several rumored cases of young women being beaten by an unidentified male. Due to these rumors many students did not feel safe walking around campus, especially at night. In the Crime Log for Stephen F. Austin there were a reported of twenty-four burglaries from 2013-2015, and four reported forcible assaults with three of them occurringRead MoreSexual Assault And Sexual Assaults2636 Words   |  11 PagesAbstract Sexual assaults are a crime, and can happen to a female or a male. In this paper I’m going to share my research of what is sexual assault, what are some causes of sexual assault, and most importantly what are some ways to prevent a sexual assault. Introduction â€Å"I felt his hands start to move down towards my shorts as if he was trying to unbutton them or pull them off. I was still crying at this point and felt so scared that I couldn t move† (Henneberger). This was written by a freshmanRead MoreThe Effects Of Sexual Harassment On Children1421 Words   |  6 Pagesschool or university staffs, students as well as the teaching assistants in the form of sexual assaults. In the Falconer report, the advisory committee held that around 4200 girls aged between 9 to 19 years of age has experienced sexual harassment (Yousaf Schmiede, 2016). It is of great concern that sexual harassment is widespread in the educational institutions worldwide. A considerable amount of illicit sexual advances have been also made by the administrators, educators, school staffs, visitorsRead MoreSexual Assault Has Been The People V. Turner861 Words   |  4 Pagesthe biggest topics that often dominates the news and blogosphere concerned the high frequency of assaults on college campuses around the country. In the place where many young adults begin to learn who they are and who they want to be while enjoying a comfortable freedom and safety among t heir peers discovered freedom and safety could not always be guaranteed. One of the most discussed topics surrounded sexual assault has been the People v. Turner. Brock Turner was an undergraduate student at StanfordRead MoreThe Effects Of Sexual Assaults On College Campuses2563 Words   |  11 PagesBrittany Hull Professor Nelson English 1B 19 May 2016 It’s on Us On college campuses across the nation, more sexual assaults have begun to surface, but only a few of these assaults get attention. Sexual assaults can be a very touchy subject meaning that a lot of people, friends and even college counselors or therapists advise the victims not to speak up about the incident. I believe that most of the time administration tries to protect the attacker rather than look out for the victim. BecauseRead MoreSexual Assault And Rape Should Be Acquitted Without Penalty Essay2238 Words   |  9 PagesYes Means Yes Sexual Assault has always been a topic in need of being addressed, yet it has not always been. In recent years, sexual assault has not necessarily become more prevalent, but more addressed by those who can make a difference in its frequency. Sexual assault began with a vague definition that placed very limited parameters on the actions of perpetrators. It was only considered rape when physical violence ensued, and only when said physical violence was proven in the court of law withRead MoreUnderage College Students And Binge Drinking Essay1680 Words   |  7 Pagescreated by these [underlying] conditions may generate one or more incidents. These incidents while stemming from a common source, may appear to be non-related (Eck and Spelman, 1987). Nationwide, the recurring problem amongst many if not all college campuses are to acknowledge the act of binge drinking, the consumption of five to four drinks in a row itself as a significant precursor to criminal behavior or victimization (Wechsler, Lee, Kuo, Lee, 2000a).Alongside the identified limit, Wechsler et alRead MoreBinge Drinking4668 Words   |  19 Pagesa problem that has continued to have a toll on the lives of college students despite efforts by the government and school administrators to curb the trend. Many studies have been conducted to reveal the facts behind binge drinking in colleges and campuses. It is clear that for the problem of binge drinking in colleges to be resolved, it must all start by understanding the factors that influence college students to engage in this behaviour and the impacts that binge drinking have had on the lives of

Saturday, December 14, 2019

Angle of Repose †Summary Free Essays

Jordan Pye 8-12-11 Angle of Repose Written by Wallace Stegner, Angle of Repose won the Pulitzer Prize in 1972. Based on the letters written by Mary Hallcock Foote, the inspiration to Stengner’s character, Susan Ward, Stegner writes about a man, Lyman Ward, who has developed a bone crippling disease and has become dependent on others to assist him on his mission to discover his grandmother’s journey to Grass Valley. To accomplish this, Lyman went through a vast amount of letters and placed them in order of occurrence. We will write a custom essay sample on Angle of Repose – Summary or any similar topic only for you Order Now His grandmother, Susan Burling Ward, had embarked on a journey of a lifetime with, her husband, Oliver Ward; on which they encountered many new hardships as they pioneered the West. Like many great quests, it leads him unfathomably into the murky shadows of his own life. Although people are not perfect and may face difficult circumstances in life, the noble character traits of Oliver and Susan enabled them to overcome their adversities. Born and raised in New York, Susan was well educated, a fine writer, and a good painter. On the other hand, Oliver was stalwart, gifted, stoic, but most importantly, was worthy as a husband and provider. Leaving New York to pioneer the New Frontier, Susan was hoping that they would someday return as successes to reunite with her old friends. Beginning their journey in New Almaden, Oliver successfully acquired a job as a mine engineer. Also, Susan was getting a chance to be a writer for Scribner’s magazine. Lyman tells it was a time of true happiness. When an incident occurred between a fellow employee, Tregoning, and their boss, Mr. Kendall, Oliver was asked to perform a job that went against his principles and thus quit. Although he quit, Susan was delighted that he left his job than to keep it and do something immoral. While Oliver was out of work, Susan offered to use her freelance earnings to support them while he searched for a job. Refusing, he sent her to stay with friends in Santa Cruz while he looked for employment in San Diego. Susan and Oliver displayed admirable traits in New Almaden even though it meant that harder times were to follow. Next, when Oliver and Susan moved to Leadville, Oliver informed Susan that he would be gone a great deal of the time at the mine. Trying to be strong, she countered and said that she had book illustrations to keep her busy. Shortly after arriving, she met Frank Sergeant, Oliver’s assistant, and was impressed by his excellent looks, and wanted to draw him. As she tried to adjust to life in Leadville, she was coddled by Frank Sergeant, who went to her house every morning to build her a fire, chop and carry wood, burn her trash, run errands for her, and take her horseback riding. At the beginning of Book 5, Michoacan, Lyman revealed why he wrote about his grandparents. He explained how his mother died when he was two and how his father was â€Å"a silent and difficult man,† therefore, he was raised by his grandparnets. Ward recalled a time when he had to write a report on Mexico for an assignment, and his grandmother, Susan, told of her time in Michoacan. She greatly preferred it, because of its history and culture, to any of the mining camps. It was apparent to Oliver that he had given his wife an enjoyable experience. Lastly, although Oliver and Susan were similar in many ways, they had many differences as well. In an illustrative incident, Oliver was in town really late one night trying to discuss a project with a group of potential investors. When they refused his offer, he became drunk. Not knowing where he was, Susan ventured out to look for him. Upon finding him, she was concerned about helping him, not realizing that he was drunk. Finally figuring he was drunk, she became incredibly upset with him and with the news that he had failed to obtain investors, Susan demanded Oliver to sleep outside. When Lyman and his assistant, Shelly, came to this part, Lyman related the departure of his wife, Ellen, to when Susan took the children to Vancouver Island. During the same time, Oliver led a survey party to Jackson Hole, Wyoming. As a result, Lyman felt similar pain to Susan after Oliver left. An additional crisis that they faced in Mesa was because Oliver was so busy with the canal, he left important paper work about property to one Mr. Burns and consequently, he lost the property. Although irate at first, the two of them surmounted the mistake and moved on. Both, Susan and Oliver, had different ways of handling their adversities, but in the end, they always forgave each other. The metaphor angle of repose means it is the slope at which dirt stops sliding downhill and stays put. An example of the metaphor was Oliver Ward digging trenches†¦ first as a mining engineer, then as an irrigation engineer, and the dirt kept on falling back into the trench, making his work that much harder. Finally, he found a way to work without having the dirt back fall on top of him. When Lyman Ward was at Zodiac Cottage, he hoped to be able to relate the pieces of his life together the same way his grandparents did- meeting the challenges of the present by making something new out of the substance of their old lives. The story of Susan Burling Ward was really the story of her marriage and her life as a frontier/mining wife who faced hardship after hardship, disappointment after disappointment as her husband struggled to make a living in a rough, competitive world without compromising his integrity. Even though Oliver and Susan Ward had many differences, in times of misfortune, they put their differences aside and worked together. How to cite Angle of Repose – Summary, Papers

Friday, December 6, 2019

Giving Full Efforts Organizational Duties †Myassignmenthelp.Com

Question: Discuss About The Giving Full Efforts Organizational Duties? Answer: Introducation The managers should be self-aware of their strengths and weakness so that they are able to manage their team as well as organization in a better way. The managers need to observe their surroundings and be able to analyze the elements (Dyer, 2006). It is important to be introspective about oneself so that the managers are able to perform better decision making. They would also be able to do better decision making if they are aware of their individual qualities and behavioral attributes (Epstein, 2017). The managers would also be able to better handle their team if they are aware of themselves as well as their key strengths. This would lead to greater team productivity, which would help in meeting organizational goals. I should engage in self-reflection about myself. My strengths include that I am a good communicator and I am able to work in a team. I am able to manage the people working in a team and I have good leadership attributes. I work in a team by involving all my team members so that the organizational goals are achieved. My values include that I am honest, ethical, hardworking and I never cheat people. I belong to the middle level of management and I am able to work towards corporate citizenship. I can contribute by giving full efforts to my organizational duties. References Dyer, L. (2006). Critical Thinking for Business Students, 2e. Captus Press. Epstein, R. M. (2017). Mindful Practitioners, Mindful Teams, and Mindful Organizations: Attending to the Core Tasks of Medicine. InDistracted Doctoring(pp. 229-243). Springer, Cham.