Labor Law DB 4 Essay Example | Topics and Well Written Essays - 250 words

Labor Law DB 4 - Essay Example If the employer does not comply with this law and goes ahead to employ an alien, the employer may face both civil and criminal liability. This comes with the imposition of huge fines ranging from $100 to $1000 for each hire. They could as well face imprisonment for a pattern or practice of non-compliance (Aguilera & Michael p 240-1). I highly agree with these consequences. This is because the IRCA is enacted to help solve the problem of the massive illegal immigration into the country. This is together with all the policies behind this law, which are imposed by the federal government for the sake of greater control and stronger enforcement mechanisms. Therefore to support the federal government create conducive environment for the citizen, the employers must adhere to these laws (Pan, Ying p 18-23). Patricia can employ a variety of policies and procedures to ensure that they comply with this law. Their recruitment procedures must therefore be open, transparent and in line with the laws. This means they simply need to align their company policies to the laws of the land for smooth

SHORT LISTENING ASSIGNMENT FORMAT Example | Topics and Well Written Essays - 500 words

SHORT LISTENING FORMAT - Assignment Example Instruments clearly heard from the song include trumpets, reeds, bass, piano, drums, and trombones (Ellington, 1932). The sounding of these instruments blends to produces the desired jazz music impression. The drums in this case serve to establish the acts as the metronome to the band. The bass clearly sets the style of the song as well as the progression. It makes the foundation of the root note. Notably, these two, drums and the bass, play a significant role in setting the qualities of progression throughout the song. The melody is in the sax section where it goes back and forth between the Saxes and trumpets (Ellington, 1932). Bones get the melody occasionally although not more than the Saxes, trumpets and trombones that are the basic harmony instruments in this song. From listening to the song, it is clear that the piano provides the bridge linking the bass and higher pitched instruments (Ellington, 1932). The piano helps to create space for the vocals in the song. Probably, this is because the piano has the entire scale of notes and natural concert signature and hence is the teacher of the notes (Keith, 2004). From a personal perspective, this selected solo is successful because the written arrangement of the various sections merges effectively into a Swing Jazz song. The call and response between sections makes the song progressive and hence interesting to listeners (Typical Jazz Instruments, 2009). However, the solo is successful largely because it is easy to dance to the music. The musicians, actually, seem to enjoy the music. Their dancing makes them look more of entertainers than musicians (Keith, 2004). From a personal view, these qualities of Swing Jazz would not be achieved with an unsuccessful solo. In fact, this song aroused my emotions that I yearned to have lived during the era of Swing Jazz to have a real life experience with the initial

Satire In The Musical Urinetown

Satire In The Musical Urinetown The musical Urinetown, by Mark Hollmann and Greg Kotis, falls in the class of the modern anti-musical with its untraditional structure and content, not only breaking the mold of what makes musical theatre, but making satire of itself and its relatives in the process. This essay will investigate how Urinetown uses satire to create a new, participatory role for audience unimplemented by its predecessors. This is relevant theatrical topic as it suggests a contrast from musical theatres historical structure, as well as changing social roles in the theatrical culture. To approach this proposition, I will investigate by researching the creation of Urinetown, as well as traditional musicals to serve as a comparative structure. I will use this research to draw conclusions about Urinetowns satirical nature and the role it creates for the audience. Introduction My interest for Urinetown came with the announcement of a local high schools theatrical season, which included the musical. Having heard the name but being unfamiliar with the show, I began to research the plot and was enthralled by the story. As wacky as it is, Urinetown has contemplative themes with social commentary. The musical tells the story of citizens in a town where all restrooms are government operated. As crude as it is, much of the focus of the musical is on having to pay to pee. While Hollmann and Kotis take a humorous approach, the show does embody the peoples oppression by their own government, a theme all too familiar in a historical and current context. Urinetown creates a culture of desperation, the frequent consequence of unequal wealth distribution. Corrupt members of the Urine Good Company, or UGC, live in lavishness while average citizens cannot even afford to fulfill their most basic needs. Essential to the plot are the characters which embody theatrical archet ypes. These archetypes will be included in my scope of investigation along with Hollmann and Kotis creation of the musical. My interest in audience role came with my attendance of the North Carolina Governors School in the area of theatre. During our five weeks, we created a show which challenged traditional audience roles. The expectation of a theatre patron is to sit and be entertained, perhaps laugh and cry, and then go home. This actor-audience relationship has been upheld majorly through Vaudeville, opera, dramas, comedies, and most theatre imaginable. My investigation intends to prove that Urinetown does not adhere to these traditional audience roles, and instead uses satire to challenge its viewers, making them uncomfortable and offering a more participatory, engaging theatre experience. My methodology for this essay will primarily be analysis of research regarding record of Urinetown and its formation, and traditional musical theatre structure and the satirical comparison of it. Investigation Urinetown was inspired by the works of Bertolt Brecht and Kurt Weill, specifically Threepenny Opera. Threepenny Opera, which transformed old-fashioned opera and operetta forms, incorporated a sharp political perspective, and the sound of 1920s Berlin dance bands and cabaret, is most strikingly similar to Urinetown. From the shows opening number, the audience is introduced to an oppressed society run by a corrupt government, shown through operatic chorus chords and lyrics. The show mimics others through its number, Too Much Exposition , poking fun at the notion of an excess of background knowledge to ruin a show, taking stabs at Threepenny Opera and other musicals such as Les Miserables. Dark and dramatic with crude humor laced on top, Threepenny Opera certainly bears a resemblance to Urinetown. Urinetown is a prime example of ironic detachment, but it wasnt the first musical to use this perspective. Though this approach has not been standard practice for most of the history of musical theatre, it has appeared in Of Thee I Sing (1931), The Cradle Will Rock (1937), Guys and Dolls (1950), The Threepenny Opera (1954),How to Succeed in Business Without Really Trying (1961), Hair (1968), Company (1970), Grease (1972), Chicago(1975), 42nd Street (1980), Assassins (1990), Bat Boy (1997), and others. These shows broke the traditional role of musical comedy. Urinetown strays from self-importance in favor of self-deprecation. John Bush Jones writes in his book Our Musicals, Ourselves, It seems no accident that a cluster of solemn musicals came right at the end of the century. Among serious and thoughtful creative people, the ends of centuries have often provoked a lot of serious and thoughtful thinking, and the production of works of literature, art, or in our case, musical theatre of especially unsmiling seriousness. Urinetown rebels against this seriousness, even mocking it. This show acknowledges its own art form, but is also part of what it mocks, taking on issues such as corporate corruption, environmentalism, civil liberties, class warfare. Ironic detachment has now become so present in television and modern culture that it no longer packs the same artistic or political punch. As our culture evolves, so must storytelling. Rodgers and Hammerstein were groundbreaking in 1943, but times have changed. Contracting to their elaborate storytelling , new musicals are more honest, breaking the fourth wall, that barrier of lies between actor and audience. Urinetown, first opening in New York in the summer of 1999, referenced dozens of movies and other bits of American pop culture, including The Wizard of Oz. Contrasting though, where Dorothys selflessness and bravery saved the day in Oz, the traits result in hopelessness in Urinetown. Even though both stories take place in an era of depression, they have separate audiences. Referenced in the musical is a response to Thomas Robert Malthus Essay on the Principles of Population (1798), which discusses the tendency of human beings to outstrip their resources. This heavy and dark allusion contrasts to the traditional musical, even in Urinetown with its light potty-humor. Urinetown breaks the mold of the traditional musical and yet, in certain ways, is true to conventional musical theatre, the shows structure taking after a Rodgers and Hammerstein model. The score ranges from direct homages to Threepenny Opera to traditional ballads to hymns, gospel, Bach, and the B-52s. The work, Urinetown, though it seems shallow and crude, is carefully constructed theatre, presented by outrageous circumstances. Urinetown registered with audiences on many levels, like any good fairy tale, providing for each audience member a slightly different message, question, or experience. The show received ten Tony nominations, winning for best score, best book, and best director. Bruce Weber in The New York Times called it a sensational piece of performance art, one that acknowledges theatre tradition and pushes it forward as well. Linda Winer inNewsday called it elevated silliness of the highest order that makes a gratifying case for the restorative return to knowing foolishness and the smartly absurd. Rex Reed in The New York Observer wrote, What kind of musical is this? A fresh, unique, original, impudent, colorful, exciting, irreverent, surprising and wonderful musical, thats all. Clive Barnes of the New York Post called it a wild and happy mix of biting satire and loving parody. Urinetown is both a satire of American political and social forces, and also a parody of musical theatre as an art form, both aspects equally well crafted. The show ran 965 performances, more than two years, a run that might have lasted far longer if not for September 11 and its crippling of Broadway. Unlike traditional musicals, Urinetowns extreme emotionalism is followed by cynicism. When a metaphor pops up, it is promptly diffused by literalism, such as the gazes to the distance. Even the resolution of the plot contrasts idealism with tragedy and harsh reality. Literalism is present throughout the show, from the conversations between Lockstock and Little Sally about the show itself, to the opening number that tells the audience where the bathroom is and what should be on their tickets. Of the two love songs, one focuses less on emotion and more on the literal body, and the other is relayed through Little Sally, as one of the lovers is already dead. Urinetown is satirical, laughing at the sappy old-fashioned musical comedy, but also laughing at shows like Les Miz or Passion which reject those conventions and perhaps go too far the other way. Urinetown raises questions about what we expect from musicals, whether or not musicals confronting an issue are satisfying entertainment, why certain stories or topics are musicalized, whether or not serious musicals are too serious. Hollmann and Kotis use musical theatre clichà ©s ironically throughout the show, using traditional musical comedy and making it more cruel, dark, and modern. Each time Officer Lockstock and Little Sally talk about what musicals shouldnt do, theyre also talking about devices certain musicals have used traditionally. When Urinetown kills off its hero, the joke is on Carousel. The violent-rage dance number, Snuff That Girl, consciously parodies Cool in West Side Story, right down to the finger snaps. Cladwells self-justification songs comically mirror Javerts Stars in Les Misà ©rables. In the original Broadway production ofUrinetown, one bit of choreography even invoked the now famous Les Miserables March. The scene in which Cladwell bribes Bobby mirrors the same scene in The Cradle Will Rock. And of course, Urinetown both uses and abuses the devices of Bertolt Brecht and Kurt Weill and their Threepenny Opera. The song Mr. Cladwell is a stab at traditional musicals which laud over the lead, like Hello, Dolly, Mame, and others, but instead of celebrating love for the leading lady and her optimistic spunk, here the adoring chorus is celebrating murderous, unchecked capitalism. The Cop Song is both a tribute to Threepenny but also an ironic nod to hip-hop culture. While hip-hop music has historically taken violence against the poor and turned it back on the police, here the violent imagery usually used for anti-police rhetoric is given to the police themselves, with the violence now turned back on the poor again. Other names in the show follow the Dick Tracy, with Robbie the Stockfish, Billy Boy Bill, Soupy Sue, Little Becky Two Shoes, Tiny Tom, and Hot Blades Harry. Sallys description of why Urinetown isnt a good musical is funny precisely because the aspects she thinks are missing are no longer essential aspects to musical theatre. She thinks all musicals are 1920s musical comedies, but one of the central jokes of this show is that almost no musicals are like that anymore. Urinetown takes musical comedies, serious book musicals, political musicals, and concept musicals and takes them at extremes, showing us exactly how far we have strayed from the 1920s. Its very existence mocks anyone in the audience who still holds those mindsets about musicals in this age of Rent, Assassins, Passion, Bat Boy, Reefer Madness, Chicago, Floyd Collins, A New Brain, and Hedwig and the Angry Inch. Urinetown demonstrates that at conventional musical is no longer the convention. Bobby Strong is the archetypal American musical comedy lead being charming, cocky, and heroic. This traditional character extends back to George M. Cohan in his 1904 musical Little Johnny Jones, Billy in Anything Goes, Joey in Pal Joey, Larry Foreman in The Cradle Will Rock, Billy in Carousel, Woody in Finians Rainbow, Harold Hill in The Music Man, Nathan in Guys and Dolls, and Ponty in How to Succeed in Business Without Really Trying. Ms. Pennywise is another archetypal musical theatre character, the immoral but realistic older woman that Bertolt Brecht seems to have invented with Threepenny Opera, and well as in other musicals such as Mrs. Lovett in Sweeney Todd, Fraulein Schneider in Cabaret, and Joanne in Company. Josephine Strong is the archetypal older wise woman, joining Aunt Eller in Oklahoma!, Nettie in Carousel, Lady Thiang in The King and I, the Mother Abbess inThe Sound of Music. But here, the older woman does not have much to offer in the way of wisdom. Urinetown also takes much inspiration from Marc Blitzsteins 1937 political musical The Cradle Will Rock, which was itself heavily influenced by Brecht and composer Kurt Weill. The Cradle Will Rock label names like Mr. Mister, Editor Daily, Dr. Specialist, Reverend Salvation, Harry Druggist, and Larry Foreman. Greg Kotis did the same thing in Urinetown, with the heroic Bobby Strong, the well dressed Mr. Cladwell, the optimistic and rich Hope Cladwell, the amoral but practical Ms. Pennywise, and the cops Lockstock and Barrel. The cops names are funny in relation the literal meanings of the phrase. But its also why the original staging of The Cop Song was ill-conceived; if Lockstock and Barrel are the only two cops on the force, if they are the whole police force, lock, stock, and barrel. Urinetown is created with the spirit of Bertolt Brecht, particularly his Threepenny Opera and other political theatre. Brecht aimed to engage the audience through their brains instead of their hearts, to get them to think about the issues and questions put before them on stage and constantly reminding them of the over the top nature of storytelling while maintaining levels of wonder and self-criticism. The set projected an environment rather than representing it; the small chorus, songs to the audience, and elegance with which even the most serious scenes are performed commented on the fable nature of the show and the actions shown on stage. Reflecting the mindset of his work, Brecht once wrote, Nothing is more revolting than when an actor pretends not to notice that he has left the level of plain speech and started to sing. Its a bold statement, but not an unfair one. Brecht wanted truthfulness and realism on stage, not the performance. He rejected the ignoring of the Fourth Wall and thought that the Rodgers and Hammerstein naturalistic acting isnt actually the least bit naturalistic since most people in the real world dont break into four-part harmony. To Brecht, the act of singing onstage is more honest, more real, and connects the actor to the audience more fully because hes not trying to fool them. This isnt an approach that works with shows such as Brigadoon, but is almost necessary for Urinetown. Urinetown uses all of these ideas presented by Brecht. Urinetown is satirical in its theme, plot, characters, and music numbers, parodying traditional musicals as well as modern anti-musicals. Urinetown particularly gains influence through the satirical principles of Berlolt Brecht.

The Back to Africa Effect :: essays research papers fc

What role did Marcus Garvey play in the Civil Rights movement? When many people think about leaders during Black History Month (February) they think about people like Martin Luther King Jr., George Washington Carver, Harriet Tubman, and Booker T. Washington.. Now that is acceptable, but rarely does anyone remember the man who sparked the Civil Rights movement in America, my cousin, Marcus Garvey. I want to acknowledge my cousin on his achievements and also thank him for what he has done for the African-American race. Marcus Garvey may not have made the same kind of contributions that other Civil Rights leaders have made, but that doesn’t mean he didn’t fight for his people Marcus Garvey made one of the greatest contributions of the Civil Rights movement by trying to help out the Negro community all over the world, in a movement known as â€Å"Back to Africa.† Marcus Garvey had two very different parents.’ Marcus’s mother was a gentle, slim, beautiful woman. â€Å"She was known for being kind and helpful woman to her neighbors and for working hard to bring up her family† (Lawler 15).Marcus’s father was different of another sort; he was hard, stern, and stubborn. â€Å"A skilled stonemason, he cut and shaped white rock for the walls of nearby plantation houses belonging to Jamaica’s wealthy estate owners. But he only worked when he felt like it.†(Lawler 16).Now although these were good qualities to have, in addition to â€Å"brilliant intellect and dashing courage,† his father’s bold, determined, strong, stubborn, and fearless attitude led to his downfall. Marcus’s father liked to read and received a newspaper every week for 20 years and he thought it was a gift from the editor, yet when the publisher died, the executors of the estate sent Garvey Sr. a bill that he steadfastly ignored and as a result he was then taken to court and in a series of events his including property being sold to cover the debts and quarrels with neighbors over land boundaries the Garvey estate was soon down to the little land that their house stood on. Now Marcus Garvey’s father was stubborn but that runs deep in his blood lines as a Maroon. The Maroons were a group of escaped Jamaican slaves who fought British colonial rule during the 17th & 18th century. Marcus Mosiah Garvey, named after his father, was born on April 17, 1881, to Sarah and Marcus Garvey.

Men’s Review of the Film ‘Honey’

90 minutes worth of seductive Jessica Alba parading around wearing nothing more than just knickers and bra, one might think they were in for an enjoyable ride. My dear friend, how very wrong you are! As we watch Honey progress from club dancer to music video choreographer we can't help but snigger at the dreadfully cheesy script, and tedious clichis that partner this film. An example which would fittingly highlight this point would be the incident where the line â€Å"Bitch, how you gonna play me like that? is spoken. Now on first hearing this, if you are fortunate enough to have not endured this amateur movie you may primarily believe it is exclaimed by a young, intimidating, black New York thug. Even with such a description, its' likely you will still cringe. However, please prepare yourself for what is written beneath, I have no guarantee that you will survive reading this next section without a frightening, unhealthy bout of laughter erupting from you. The line is not spoken by a young man, as opposed to this, he is somebody we would instead consider most definitely over middle aged, nor is he intimidating either, the big time video director, Michael Ellis,(David Moscow) has middle length curly hair, is that not enough said? And in addition to this, the culprit is far from black; his skin instead is more of a milky colour, enriched with the misfortune of freckles and blemishes. I think a recap is most definitely necessary! â€Å"Bitch how you gonna play me like that? I can confirm, is spoken by a middle aged, approachable white man ! Based on this fact alone, I think I have given you more than enough evidence to suggest that five pounds of your hard earned money should not be spent on such garbage! Moving swiftly on, with a predictable storyline that's been covered far too many times already, please do not give yourself credit if you are on of the majority who correctly guesses the ending to this film. After just ten minutes had you not already guessed Honey would end up with the too good to be true barber (Mekhi Phifer)? Did you not already know that somehow, someway Honey Daniels would transform the lives of hundreds of children and did you not instantly figure out that another ten minutes of such dreadful drizzle would have you in a deep sleep, never wanting to awake? Yes, she might have an attractive face, and yes a somewhat mind-boggling figure, but it seems that Billy Woodruff (director) only selected Alba based on these two unessential facts. With facial expressions to rival a manikin's, and body language consisting of only gyrating and walking, it seems Alba has as good acting skills as one of the spice girls, and in my opinion, far worse dance moves. Now, if you're a naive thirteen year old girl, I can, on some level, understand how you may find this film bearable. However, the way in which the film has been produced means the target audience is extremely narrow, meaning anybody older, with more intelligence and depth would undoubtedly react in a similar way to me, that being a long undisputable chain of snores. Finally, to conclude I shall finish by saying, if you were contemplating going to see ‘Honey' this weekend . . . DON'T! The vital thing to remember here is that you only live once, so not only is it a waste of five pounds but additionally a waste of an hour and a half of your life. To put yourself through such torture will only be a decision you later regret. Take my advice and leave this movie for those teenage girls who simply aspire to be Honey Daniels, and think they understand the cringe worthy language spoken throughout. So remember, if ‘you're flavour's hot', I'm hoping that means your taste is too, I repeat, do not go and see this film !

Natural Law theory Essay

With reference to other aspects of human experience, explore the claim that Natural Law theory is irrelevant. Justify your answer. [15] Natural Law is becoming more irrelevant due to our secular culture. Natural Law depends on the belief that the world was designed by a creator, and that morality is absolute according to his standards. Aquinas assumes that all men must seek to worship God. What about an atheist? According to Thompson, if someone does not believe in God, then â€Å"the natural law theory loses its foundation.† Furthermore, in today’s society natural law has largely been replaced by utilitarianism, the belief that our moral choices are less absolute and should be based on creating the greatest amount of happiness for the greatest amount of people. It has even been referred to as, â€Å"the ethics of the planet.† It is far less restrictive and many argue it is a superior philosophy to natural law. According to Peter Mullen, Working with Morality, it may be necessary, for example, to torture an innocent person to save the lives of thousands. Peter Singer once wrote a piece condemning natural law in a magazine called Project Syndicate. He prefers practical ethics to theoretical ethics. He cites the case of a South American woman called Beatriz who was pregnant and suffers from lupus, this made the pregnancy difficult. Furthermore, the child had anencephaly. Singer was enraged that the natural law philosophy of Catholic El Salvador prevented her from getting an abortion. He wrote with regard to natural law, â€Å"The use of the term â€Å"being with a rational nature† is very broad, perhaps too broad.† Even the Pope has recently condoned the breaking of natural law in extreme circumstances. Pope Francis has indicated that women exposed to the Zika virus may be permitted to use contraception to avoid pregnancy, in a departure from Catholic teaching. His comments came as women in South America frantically try to terminate pregnancies for fear of giving birth to babies with microcephaly, which gives them unusually small heads. He said that unlike abortion, â€Å"avoiding pregnancy is not an absolute evil† and in certain circumstances it may be â€Å"the lesser evil†. This proves that natural law is becoming irrelevant even for the Catholic Church. Among more orthodox thinkers, objection to the natural law takes several forms. Many, Protestant evangelicals in particular, presume that natural-law thinking fails to take seriously the condition of human sin and places misguided trust in the powers of human reason debilitated by the Fall. Consequently, natural-law theory is thought to be insufficiently Christocentric and located outside the realm of grace, thereby engendering a version of works-righteousness. These critics remain sceptical out of a concern that natural law is autonomous and somehow external to the centre of theological ethics and God’s providential care of the world. On the other hand, many would argue that natural law is not irrelevant because it is instinctual within all humans. Some believe that God has implanted the natural law as a form of moral instinct. For example, the writer Johannes Teutonicus said that the natural law of men is based on an, â€Å"instinct proceeding from reason.† Therefore even if one is an atheist you cannot escape the urge to follow natural law based on your conscience. Finally, Natural Law continues to be central to Catholic teaching. Early teachers such as Aquinas supported it and so do modern day clergy. The RCC believes that everyone is subject to it from birth (natio), because it contains only those duties which are derivable from human nature itself, and because, absolutely speaking, its essentials can be grasped by the unaided light of human reason. Just recently in March 2015 Archbishop Salvatore Cordileone of San Francisco has invoked the natural law in stressing the moral unacceptability of gay sex and gay marriage.