Disclosure of information Movie Review Example | Topics and Well Written Essays - 500 words

Disclosure of information - Movie Review Example Instead of rebuking, Will assured her and said, â€Å"I know†. Grace was honest enough to disclose that it â€Å"wasn’t right† that â€Å"he was a smart, attractive guy who love me, who I love by the way. Why wasn’t it right?† Will did not demonstrate the slightest hint of anger but instead consoled Grace with the story of a play back in college. That the protagonists seemed â€Å"so perfect with each other but kept on missing each other because they are not destined to be.† Further assuring Grace, â€Å"Gracie, you are just in the middle of your movie and the point is, it’s not yet over. The movie will have a happy ending. You’ll just have to see it through.† And the trust was demonstrated when the two of them, with friends, had a drink later despite of what happened with Grace still in her wedding dress. When prodded, the two of them even kissed and kidded there was â€Å"nothing†. The episode tells us the lesson that though things did not materialize as intended, commitment does not have to end. As Will puts it, â€Å"Gracie, you are just in the middle of your movie and the point is, it’s not yet over. The movie will have a happy ending.† It could have been understandable had Will been upset and frustrated.

Executed Activity Plan with detailed Evaluation Essay

Executed Activity Plan with detailed Evaluation - Essay Example The behavior of Tina as to tend to avoid or ignore rules as well as the ability to participate more freely in the activity was the main guiding factor, when this was mapped on the EYFS, to develop a short term plan for her activity since her case was one of little details of ignoring rules. Tina’s age, developmental needs as well as other interests were also factored in. The plan developed for Tina, as earlier defined, was a short term. Short term plan is one that is frequently drawn and changed on a regular basis and is aimed and identify development in a specific concept or perspective (Department for Children, School and Families 2008). The short term plan can be done on a daily or weekly basis and will strive to assess the rate of integration of newly learnt concepts by a child. In designing and developing an ideal childhood development plan, that is effective, it was important that it follows a specific guideline which would ensure all the objectives therein, were achieve d. The system or plan so developed was able to continuously monitor the improvements, stagnation or decline in the development of the child. A better plan is that which provides checks or screening modalities which will be able to identify any abnormalities as soon as they occur (Education, E. C, 2010). Therefore, the system should be comprehensive enough, and be able to use information or observations noted, in making instructional decisions directed towards improving the child’s development curve. Consequently, the plan used in activated child development should be one that is consistent across settings, though, may be adapted to contain specific needs and demands of a given child. The progress of the child should not be specific but should include all the parameters of development as well. During observation of the children taking part in the foot painting activity, various critical points developed to incorporate in the plan. In the course of the play, Tina had shown an i nterest in working with the paints and manipulating colors which was actually a child’s own initiative. It was therefore important to keep the interest of the child while guiding the child to follow instructions and rules of the activities (Moyles 1998). The rules and instructions are the duty of adults in the development of the child since they give and ensure the rules are followed. The reason the instructions were not followed was probably because there was no keen listening or the message of the instructions were not decoded correctly. The role of the adults in the playing activity was to set the physical environment and prevent injuries from occurring. They also had to ensure the playing rules were followed. Children try to discover their abilities as they strive to be better than each other. In this activity, adult’s role was to explain the rules and instructions to be followed to the children. The tables were set with everything the children required and in the right sequence, so that they would obtain them without much difficult. The children were guided by answering their questions (McLachlan & Fleer, 2010). Parts of the rules were also explained to the children who did not understand while allowing them to work on their own. Demonstrations were conducted to show the children, especially in the case of Tina, to help in achieving certain details in their modeling which they did not know. Instructions were given at each

Music Analysis Of Bluegrass Music Essay

Music Analysis Of Bluegrass Music Essay Bluegrass is a word which came into being after its adoption by musicians and radio disc-jockeys in the early 1950s. Denoting a form of American country or hillbilly music yet, distinguishing it from other types of similar genres, which were popular throughout the Kentucky and greater Appalachia even before the turn of the century. Due to the demographics of the settlers in the region, bluegrass is a music built on strong southern traditions and was originally played primarily by the white working class. Although it is still somewhat debated, it is generally accepted that Bill Monroe and his Blue Grass Boys played the first of what we now call bluegrass music in 1945. (International Bluegrass Music Association, 2001) The banjo came to the fore as it had not done previously accompanied by multiple vocal parts and a now familiar line-up of bass; mandolin; fiddle and guitar. The argument against, rebukes not the talent of Bill Monroe or his style, but the pre-inception of a less formali sed bluegrass genre. No matter which side of the debate one falls on, Monroe is accredited with the commercialisation and formalisation of the characteristics which differentiates the music from other strains of so-called hillbilly music such as country-western, rockabilly, and other forms of western-swing. (Smith, 1965) Both the immigration of the Scotch-Irish settlers during the latter part of the nineteenth century and subsequent emigration of the second and third generations from the region play distinct roles in the social and economic background of the music itself. Celtic fiddling styles played in the home and songs of heritage were commonplace. Monroe fondly recalls his mother walking through the house singing, and playing the fiddle as she prepared the dinner. His uncle, who he first witnessed at the age of about six years old playing this style of fiddle on the front porch at his family home captured the young Monroes imagination. He got the wonderful Scotch-Irish sound out of it, à ¢Ã¢â€š ¬Ã‚ ¦..and if wed have supper of a night, wed sit around the fireplace and hed play the fiddle. Most musicians of the time allude to fathers, grandfathers, and uncles who fiddled and mothers who played the organ, it seems everyone sang. Mechanically reproduced music and radio was therefore a luxury not many of these impoverished farmers at the time possessed, and although by the early 1900s, some rural settlers may have had experienced the radio, it was not as pervasive as it was to later become. It is for this reason we can refer to these strains as a form of vernacular music. (Rosenberg, 2005) During the late 1930s however, these types of technologies had come to the fore allowing greater access to music and film. The film industry in particular had made singing cowboys a popular trend and this was being reflected in the rise of western swing outfits such as Bob Wills and Bill Boyd. Other influences began to seep into the old time style, as country music began to move closer to the popular music of the era rather than the folk music of its distinct roots. (Rosenberg, 2005) George D. (Judge) Hay, a former news reporter, turned disc jockey with a popular Saturday night show titled The Grand Ole Opry, was adamant within his circle to keep these influences at bay and began to promote his radio show as authentic-hill country music. Urging his musicians to stay true to their roots and keep it close to the ground,(Rosenberg, 2005) he fought for years keeping drums off the Opry stage and very much discouraged the attempts to introduce electric style instruments, instead insisting on the musicians authenticity. It was subsequently the first country music styled show to gain a reputation on a national scale. His hatred of the word hillbilly and refusal to use it on his show gained him a respect from one Bill Monroe who tried out for the show in 1938. Cleo Davis who accompanied Monroe at the audition recalls; Bill and I did à ¢Ã¢â€š ¬Ã‚ ¦.. a duet yodel, fast as white lightening. [And were told] à ¢Ã¢â€š ¬Ã‚ ¦if you ever leave the Opry, itll be because youve fired yourself(Rosenberg, 2005) Two of the immediate differences Monroe and the Blue Grass Boys brought to the Opry, and anything that had gone before were the sheer speed that they performed their songs and the key they performed in. Even slow or medium paced favourites were faster than usual, highlighting the skill that was required to maintain the instrumental dexterity and vocal accuracy if these up-tempo performances were to retain their precision. Along with a speed heretofore unnatural, was the use of unconventional keys. Monroe is accredited with saying; We was the first outfit to ever play in B-flat or B-natural and E. Before that it was all C, D, and G. Fiddle men had a fit. (Rosenberg, 2005) Accompanying these alterations was a slightly unusual musical practice whereby all instruments were tuned a half-step above standard pitch. This elongation and tightening of the strings served a multipurpose, gaining both in volume and achieving a brighter tone which subsequently served to suit the vocals better than it had previously. (Rosenberg, 2005) These musical alterations coincided with arguably the most significant social, political, and cultural movement of the entire century, the Second World War. During this period many economic sectors, including the music and recording industries, were in a state of decline. But despite this lull of music sales, the sale of hillbilly records grew exponentially. (Rosenberg, 1967) The major reasons for this were, a population shift, incorporating a migration of southern workers to northern cities, and a mass growth in the popularity of the genre within the armed forces, where many were exposed to these strains for the first time. Military service resulted in long standing members having to leave their post for the war effort. This resulted in an array of performers playing different roles for the following war years. Retaining his slot on the Grand Ole Opry, and gaining his own tent show, Monroe continued to perform with a roulette wheel of differing musicians, yet still managed to contin uously be the most sought-after performer on the circuit. It is about this time that the real elements of bluegrass started to form with the addition of extra musical elements, and it was at this stage Robert Russell (later to be renamed Chubby Wise) joined the fray. A co-composer of Orange Blossom Special a song which Monroe and his boys had covered on many an occasion had heard of Howdy Forresters depart, leaving the band without a fiddle player. Having approached Monroe backstage he joined the Opry tour. Although the musician roulette continued for a time with instruments such as the jug, accordion and harmonica making appearances, the seeds that would comprise the latter sound were beginning sprout. (Rosenberg, 2005) In 1945, debatably the most influential member was auditioned for the line-up. A young banjo player named Earl Scruggs made an impact with a song titled Dear Old Dixie, showcasing his ability to do things you could hardly believe, with Monroe reportedly saying hire him, get him whatever it costs(Rosenberg, 2005). For the first time the band had a banjo player who was not a comedian, but instead had the ability to play solos on songs where all previous players could not. Lester Flatt, a mandolinist and tenor singer was also taken aboard at this time, returning to his guitar and singing lead vocals to accommodate the Blue Grass Boys. Much of the music was actually too fast for Flatt to keep rhythm on the guitar, but he remedied this by using a guitar run at the end of phrases. The run began as an F# on the lower sixth string and ended with an open G. Runs of this type were common in previous country guitar styles, but became so synonymous with Flatt and bluegrass music that it is still referred to as the Lester Flatt G-run.(Malone and McCulloh, 1975) Both were extremely popular with fans, with Scruggs solos demanding encores from the boy from North Carolina who makes the banjo talk (Malone and McCulloh, 1975) Scruggs used a three finger picking style adapted from other north Carolina banjo players such as Wade Mainers two-finger style. His solos on the Opry from 1945-48 resulted in almost instantaneous star status as a country music instrumentalist. Monroes Blue Grass Boys now consisted of a mandolin; played by Monroe himself, a guitar; a banjo; a fiddle and a bass, a construct that is now the presently accepted make-up of the traditional bluegrass band. The sound they produced together had evolved substantially from the days Bill and his brother Charles Monroe entertained locally in Kentucky, and yet, with the early guidance of Judge Hay in Bills career, managed to keep true to the roots of the music. Scruggs and Flatt left the Blue Grass boys line-up late in 1948, due to the strain of being on the road. They still played together however forming the Foggy Mountain Boys. While in this line-up they decided to include the resophonic guitar, (or Dobro) in their band and as a result it is often included in some bluegrass bands today.(International Bluegrass Music Association, 2003) By this time there were other groups mimicking the style set by their outfit, most notably The Stanley Brothers. Monroe had replaced Scruggs with a play er similar to Scruggs own banjo style, and after setting the precedent it became the norm to describe a good banjo player as playing just like Earl Scruggs. (Malone and McCulloh, 1975) Robert Cantwell describes the relative speed in which bluegrass music permeated the psyche as he recalls an appearance from the Eller Brothers in 1980. They began with an old song entitled On and On, but could not remember where it had originated or who had written the piece. It was the work of one Bill Monroe and had apparently been inducted, along with those songs brought across the Atlantic, into the realms of tradition at the tender age of twenty-seven. A tradition according to Cantwell, that was violently foreshortened by radio (2003) The durability of bluegrass has proven this apparent presumption correct however, as the genre grows not only in the Americas but internationally, owing much of its success to the adaptability of the music through other genres, and the capacity to reach wider audiences through the growing medium of technology. The 1960s saw the birth of a new concept, the bluegrass festival. As bands seemed to be competing for the same audience, it was more product ive for all parties involved to put them on the same bill, appearing at festivals around America. These festivals are now internationally common with attendances growing annually. (International Bluegrass Music Association, 2003) Monroes most famous contribution Blue Moon of Kentucky has transcended multiple genres and been re-recorded by artists such as Patsy Kline, Elvis Presley, Rory Gallagher, Johnny Cash, Ray Charles and Paul McCartney among others. Scruggs and Flatt as mentioned continued recording, and wrote songs that appeared on the soundtracks of the cult movie Bonnie and Clyde and the Beverly Hillbillies television show. Bluegrass was once again shot to the forefront of consciousness when Eric Weissberg traded banjo phrases with Steve Mandels guitar in the film Deliverance, and audiences were once again reintroduced to bluegrass as the soundtrack for one of the Coen brothers cinematic ventures O Brother, Where art Thou? went triple platinum. (International Bluegrass Music Association, 2003) Bluegrass is still providing additives, foundations and inspiration in artists today, as Bà ©la Fleck (possibly the most recognisable banjo player worldwide presently), describes his most powerful memory on first hearing the music during an interview for the popular American network PBS: My most powerful memory was hearing Earl Scruggsà ¢Ã¢â€š ¬Ã‚ ¦.as a five or six year old. That sound just blew me away, shook my head up. (PBS, 2001) Fleck has attained international fame for his ingenuity with his own band the Flecktones and for his fusion of a fast paced picking style with the jazz and blues undertones of the Dave Matthews Band, an outfit he makes regular appearances with. Once again keeping bluegrass firmly in the minds of the masses. The three audio files chosen represent three differing aspects of the bluegrass genre; The original bluegrass sound, the rise of the genres popularity through the prismatic scope of media, and its gradual evolution as these strains enevitably are influenced by other facors. The first, played by Bill Monroe and the Bluegrass boys is a recording from 1946 entitled Rocky Top. It showcases the finger-picking style of banjo thoroughly referenced throughout this essay, while emphasising the vocal layers and dexterity by using choral harmonics. The lyrics themselves reference Rocky Top Tennessee a domesticated hometown scence which much of the country bluegrass music was concerned with, the norm generally being a migration or a return to homelands. The second track was chosen for a number of purposes. Sang by Alison Krauss an extreemely successful country/bluegrass singer with accompaniment by Union Station, it is entitled Man of Constant Sorrow originally performed by the Soggy Bottomed Boys. My reasoning for choosing Krauss version is simple, she transcends genres. Recently dueting with Robert Plant the famed Led Zeppelin front man, she epitomises the durability and versatility bluegrass has sustained in revealing itself to new audiences. It is also featured prominently in the Coen Brothers classic film O, Brother where Art Thou?, reinforcing the previous point and illustrating the gains achieved through differing aspects of the media. The final track is from the aforementioned Bela Fleck, performing with the self explanotory New Grass Revival. The song itself called Steam Powered Aeroplane conveys a movement away from a homeland setting and can be constrewed as having migratory conontations, but more immediately, there is a movement towards the new. Containing the same basic principles, Scruggs-style picking and Flatts G-runs are evident. Vocals are also sung in different parts giving a layered effect, yet held secondary to the lead banjo and a commanding base line seems to keep the overwhelming speed in check. But there is a distinct modern feel as the instuments are very slightly amplified. In more recent years Fleck establishes the Flecktones and keeping this style joins a group containing a drumguitar infusing African beats with blues licks. (See The Flecktones: Next)

Confucius and Confucianism Essay -- Religion

One of the most famous people in ancient China was a wise philosopher named Confucius (circa 551-479 BC). He was a great Chinese philosopher, educator, and political figure. His teachings and proverbs are in the Analects, which is the base of many Chinese theories. He was born in the village of Zou, and the state of Lu. His father died three years after Confucius' birth leaving the family in destitution, but Confucius did have a decent education. He was married at the age of 19 and had one son and two daughters. He worked as a keeper of a market. Then he was a farm worker who took care of parks and farm animals. When he was 20, he worked for the governor of his province. After a while he decided to teach, and he began traveling around and teaching few disciples that gathered around him. He became known as a man of learning and character. He had a great personality which people were attracted to. His respect for typical Chinese customs soon spread through out Lu. Confucius lived in China when it was really unsettled. The rulers were catastrophic, and Confucius thought the only way to keep life in order was for everyone to go back to traditional principles. He wanted China to go back to the quiet days of the "sage Kings". This was a time in Chinese history when Kings ruled organized kingdoms. They were peaceful because everyone knew their place in life and acted accordingly. Confucius taught in his school his beliefs about respecting family and ancestors for many years. His theories and principles were spread throughout China by his disciples, and soon many people learned from his wise sayings. One of his rules said, "Rulers can be great only if t... ...who was a devout follower of Confucious. These nine books were considered all you needed to live a good life. Confucianism started in 136 BC when Wudi?s advisors finally convinced Emperor Wudi that Confucianism was the superior school. Soon, emperor Wudi set up a Confucian academy to train officials. In order to get to the Confucian academy, there were a series of examinations. The examination system spread throughout China and the books previously listed became the basis for these examinations. First there were the preliminary exams. After that, the first level, if you passed your social class would be raised higher. Then the second level,which only one in a hundred passed. Finally the final exam, and the few that passed this exam then had an interview with the emperor who hand picked finalists for the highest government posts.

Computer addiction research paper Essay

Crane is a school teacher and singing master of the neighborhood In the village In which he lives. 3. What accounts for his popularity among the housewives and the village girls? + The schoolmaster was considered igh in authority next to the parson; so, females were naturally drawn to his understanding of modern ways. He also taught voice lessons to many of the women in the area, but he was mostly desired because he played into the women’s fascination with superstition and the supernatural. HIS hobbles also helped him to be accepted by the women. His book, written by Cotton Mathers, was a resource he could draw upon to entertain the womenfolk with new and interesting spooky stories. And since Irving describes the hollow as a place enchanted with superstition, Crane it right in. 4. What are his favorite pastimes? -9 Ichabod Crane likes riding horses and reading. 5. Who is being described in the legend? How did the author describe him? List down the descriptive words and phrases that describe him. -+ Ichabod Crane, the character Is described the way the author chose In order to carry the story line forward to the desired conclusion. -+ â€Å"He was, in fact, an odd mixture of small shrewdness and simple credulity. His appetite for the marvelous, and his powers of igesting it, were equally extraordinary; and both had been increased by his residence in this spell-bound region. † -9†³ He was tall, but exceedingly lanky, with narrow shoulders, long arms and legs, hands that dangled a mile out of his sleeves, feet that might have served for shovels, and his whole frame most loosely hung together. His head was small, and flat at top, with huge ears, large, green, glassy eyes, and a long snipe nose, so that looked like a weathercock perched upon his spindle neck to tell which way the wind blew. † ton

Canadian Shield Case Essay

Using the Accenture document on governance presented with the Alcan case, place Canadian Shield in the appropriate quadrant. According to the Accenture document, I would place Canadian Shield within the efficient, predictable operator category. The slow rate of change and need to compete on operational efficiencies characterized by most companies in this quadrant is detailed by the following quote from the case authors. â€Å"Sustainability for Canadian insurance companies greatly depended on investments in projects that increased customer service and improved operational efficiency.† This comment is aligned with the predictable operator company practices and is evidence that in order to gain a competitive advantage in the Canadian insurance industry it is vital that operational efficiencies are realized through better IT solutions at Canadian Shield and its parent company, Assurance Centrale Inc. (AC). In the key decision going forward, is this Seamus’ call? If not, whose decision is it? Who should make the decision? Under what decision area(s) in the Weill & Ross governance model does this decision fall? As the leader of Information Systems at Canadian Shield, one of many subsidiaries of Assurance Centrale, Seamus Reynolds was tasked with piloting a new information system that could potentially replace the IS’s at all of Assurance Centrale’s regional offices. Five years after starting this project he was feeling the weight of the responsibility for a project that could eventually transform the entire enterprise. The executives at Canadian Shield and AC should have put together a team of knowledgeable IT professionals, business unit heads, and executives to make sure that the new IS would be selected, budgeted, and implemented properly. Instead they allowed one IT leader in a Calgary-based subsidiary to essentially determine the course of the entire enterpriseà ¢â‚¬â„¢s information systems. This type of decision making identifies with the IT Monarchy type of governance styles displayed in the Weill & Ross governance model. According to the model the IT Monarchy style allows IT executives to hold the right to make important IT decisions. A more affective mechanism could be put in place by AC in the form of an IT leadership council that includes corporate and business unit CIOs. What do questions 1 & 2 tell us about IT governance at CS? Is it appropriately structured for this kind of decision? As mentioned above, AC  and Canadian Shield both reflect signs of the IT Monarchy style of IT governance. It appears that by letting the same IT manager that helped create the existing problematic information system called ALPHA spearhead the project of finding its replacement was a conflict of interest. In an industry that is heavily dependent on gaining a competitive advantage through operational efficiencies and consistently delivering value added projects to the customer, it is essential for AC and CS to rethink the current corporate governance model. Across almost all of the major IT governance categories, it seems that CS and AC are either lacking elements completely or lagging behind current IT standards significantly. IT principles or high-level statements about how to use technology to create business value is non-existent in the Canadian Shield philosophy statement and hard to identify within the case write-up by the authors. Furthermore, the corporate IT infrastructure and architecture has become so archaic that the functionality of basic business applications is troublesome for end users such as insurance underwriters. Based on the previous analysis I would say that the IT governance in place at both AC and CS are not structured properly to make a potentially enterprise-wide solution decision. Both economic and gaming theories tell us how CS should approach the issue of sunk costs with respect to the â€Å"current† situation with ISS. Does the traditional view of sunk costs apply here? Sunk costs are costs that a company cannot recover no matter what happens financially in the future. In this case it is hard to the think of the million dollars and five years of time and resources as a sunk cost. However, to AC and Seamus that unfortunately is the truth. Since the proximity of the new ISS system being implemented is close and it has taken so long to arrive at this point, taking a traditional view of sunk costs will not be easy for the employees at CS. Despite this sentiment, it is important that executives remain objective when determining the future direction of the company. This project should be treated the same as if were any other business project such as a building and if it no longer viable it should be seen as a sunk cost and a new project should be selected for implantation. A sunk cost is not necessarily considered a loss however, if CS decides to abandon the ISS project that is exactly what it could and in my opinion should be. Here’s your obvious final question- what would you recommend and why†¦ As tough as it will be for Seamus, I believe that he should consider his IS project a failure and consult with the executive council in order to prepare the company for Request for Proposals (RFPs) from outside software vendors like AIS. The current ISS project is now five years old and almost 5 times  over budget and from initial testing end users find it complicated and not user friendly. This could lead to extensive training, ineffective and inefficient workflows, and further extensive development projects. Despite the previously mentioned hurdles to get the ISS off the ground, it is only given a 50 to 70 percent long-term success rate while the AIS was given better odds. In addition, the AIS solution is already proven to be a sustainable IS platform for insurance companies with the promise of successful Canadian market capabilities. It is unfortunate that Seamus will inevitably develop dissention between the IS professionals he works with as well as the potential lay off of many of his team members. However, business is business and if Canadian Shield and the rest of Assurance Centrale’s subsidiaries wish to capture a competitive advantage in the 21st century, an off-the-shelf solution such as AIS should be considered immediately.