The Stonewall Riots of 1969 Jumpstarted the Gay Movement...

There are certainly various points in history that can be construed as trailblazing for the lesbian, gay, bisexual, and transgender community. One event in particular, however, sparked awareness and a call to action that previously could never have been conceptualized in the United States. This unforgettable incident, the Stonewall riots of 1969, altered the public’s view of the gay community and arguably jumpstarted the next revolution in an entirely new civil rights movement. In the wee hours of June 28th, 1969, members of the gay community were forced to enter a string of intense protests when the New York City Police began to raid the Stonewall Inn, a popular hangout spot for drag queens and members of the LGBT community, in Greenwich†¦show more content†¦#2 The late Harvey Milk once said, â€Å"If a bullet should enter my brain, let that bullet destroy every closet door.† The concept of one’s â€Å"coming out† story is often thought of as a single life-changing moment in which all instances and experimental experiences from one’s life prior to affirming a new identity are deemed insignificant when one permanently takes on the role of said identity, which is also referred to as â€Å"passing.† However, many researchers argue that this is simply not the case. Antithetically, some individuals contend that nobody is ever truly â€Å"out,† as he or she will be forced to continue affirming their identities t o nearly everyone he or she encounters throughout life. In â€Å"Epistemology of the Closet,† an in-depth analysis of the preconceived notions that accompany coming out, Eve Kosofsky Sedgwick radically asserts that the closet is the single delineating obstacle representing gay oppression and that there really is no such thing as a â€Å"stable† identity. Accentuating the fact that there is a clear distinction between the private and public sphere, cleverly, Sedgwick also relates ideas regarding the closet and gay disclosure to Jewish identity, explored heavily in the Book of Esther. This is perhaps one of the most noteworthy aspects of her essay, as Sedgwick takes a predominantly intersectional approach in her study, linking one’s

The Bracero Program - 2140 Words

The Bracero Program The extraordinary Mexican migration that delivered millions of immigrants to the United States over the past century is one difficult to ignore. At times the border did not exist, however in more recent times the US has created policies to curb Mexican migration into the states. The relationship the US has with it’s southern neighbor has always been a complicated one. Both countries have a relationship like no other two countries in this world, in which depending on the time period is a give and take relationship. Each group of immigrants have their own story about coming to America, but none quite like the stories of Mexican immigrants. The Bracero Program, planted the seeds of Mexican migration between 1942 and 1964. An estiminated 4 million of Mexican men were contracted to work in the United States as part of a war effort called the Bracero Program.Of the millions U.S. Mexicans, who self-identified as being of Mexican, trace their family’s arrival to the United Sta tes to a Bracero.Cheap and foreign labor has always played an important role in the development of agriculture in the United States. And for the first time, an official program for migrant farm workers was developed and Mexican ‘Braceros’ - Bracero loosely translates into â€Å"arms†- flocked to the United States in order to harvest crops. The most important concept to understand about the Bracero Program, was that these men were not seen as humans, but instead as commodities that should beShow MoreRelatedEssay on Bracero Program692 Words   |  3 PagesThe Bracero Program The Bracero Program was a temporary contract labor program initiated in 1942 by the United States and Mexico. Designed originally to bring a experienced Mexican agricultural laborers to harvest sugar beets in Stockton, California, but soon spread to most of the United States and to the railroad industry. Although the railroad program ended in 1945, after World War II the agricultural program continued until 1964. Originally, the program was designed to protect the illegalRead MoreThe Bracero Program Essay1167 Words   |  5 PagesThe Bracero Program War creates all kinds of hardships on everyone involved whether it is overseas on the front line or right in our own backyard. During World War II one hardship faced in the United States was the lack of laborers to work the land and other taxing jobs here in the United States. The solution, bring migrant workers from Mexico to complete the work; otherwise known as the Bracero Program. What is the American and Mexican history leading up to the Bracero program? Were these workersRead MoreThe Benefits Of Mexican Government Essay1945 Words   |  8 Pagesinitial concerns. After the signing of his agreement the recruitment stations were created. The braceros were recruited in Ciudad Juarez across from El Paso, Texas. The recruitment sites became crowded of Mexicans who were unemployed and wanted to go to the U.S. to work. Although the braceros that were chosen were those who had agricultural experience many other Mexicans who were unable to obtain a bracero permit bribed the official s into selecting them. Many individuals who were not able to obtainRead More Cesar Chavez: A Great Organizer and Leader Essays2055 Words   |  9 Pagesprevious to 1964 were often unsuccessful because of the Bracero program that was implemented by both the United States and Mexican governments. Farm owners encouraged this program because of labor shortages during wartime, but by the 1950’s the Bracero workers were being used to undercut wages and break strikes by the migrant workers. This caused migrant workers to keep a low profile because anyone who went on strike could be replaced by a Bracero (Tajada-Flores). Cesar Chavez was an advocate of nonviolenceRead MoreLiterature Review : Wage Suppression / Bracero Program1424 Words   |  6 PagesElsa Gomez Pena Professor Murshid POSC 349B 02 November 2015 Literature Review: Wage Suppression/Bracero Program In a capitalist society, profit maximization is the primary concern of firms and corporations. Because wages are a deduction from profit, one often reads in our texts and other articles inspired by Marx that wage can never be low enough for capital. 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Wells’ argument of capitalism being an unjust system due to politics affecting the class structure and workforce through the Bracero program, enactment of the Alien Land Law, and the return to sharecropping is quite strong even though there is a weakness in her argument due to her straying from the topic at hand and not offering an argument for the capitalist side. Wells establishes

J.S. Bach Flute Sonata in B Minor the Development of the Baroque Flute Free Essays

J. S. Bach Flute Sonata in B minor (BWV 1030): the development of the Baroque Flute, the flautists and the music Johann Sebastian Bach (J. We will write a custom essay sample on J.S. Bach Flute Sonata in B Minor: the Development of the Baroque Flute or any similar topic only for you Order Now S. Bach) is no doubt one of the greatest composers of all times. He composed many works for flute including works for solo flute, flute with harpsichord and/or continuo and, two flutes and harpsichord. However, there has been a controversy, over the flute works, whether they were composed solely by the composer, assisted by someone or under the guidance of J. S. Bach. In addition, some scholars doubted that some of works are not written for flute and they are actually transcribed for flute by the composer. Especially, the Sonata in B minor (BWV 1030) raises most number of controversies. The J. S. Bach flute compositions are standard repertoire for the flute even today. As a professional flute player, it is very important to have comprehensive knowledge on the background of these works because they directly affect the way of interpreting them. By reviewing the development of Baroque flute and analyzing the time period of the compositions would greatly help flutists to have a deeper understanding on these important repertoire in flute especially the B minor sonata (BWV 1030). The development of the instrument, Baroque flute, plays no doubt very important role on influencing the work written for it. The difference in range, tonality, mechanisms greatly affect the compositions written for it. Unlike other wind instruments, the Baroque flute was developed later than others. Since it is made differently, it is definitely impossible to apply the styles of other instruments on the Baroque flute. Some research suggested that J. S. Bach has little familiarity of the flute and flute players because, although the style of the compositions are similar to the other pieces of the composer, the flute works do not show that he understands the characteristic and the quality of the instrument. 1 And, the lack of knowledge of the flute would probably be because the composer did not listen much works for flute and meet flutists in where he worked. As mentioned above, the development of Baroque Flutes has great impact on how the pieces were written for it. Consequently, it is impossible to overlook this element when doing this research. â€Å"Flute† is a general term for a large and diverse woodwind instrumental family of which players blow air across the surface of any hollow object to produce sound. The appearance of the instrument, not only in western music, is found all over the globe like di-zi in China. 2 In Western music, flute plays an important role from ancient Greek music to contemporary music nowadays. The design, uses and playing styles keep changing even today. As one of the oldest instruments in Western music, â€Å"flutes† first appear in a picture of a shepherd playing the flute from the sermons of St Gregory of Nazianzus in a manuscript of early eleventh century. 3 It is mostly associated with nature and pastoral life. In Renaissance, flute was one of the instruments in mixed ensemble. More importantly, it played a notable role in sacred concerti or sacred symphonies. Johann Hermann Schein (1586-1630), one of J. S. Bach’s predecessors, composed seven ensemble works that featured a transverse flute which is always assigned to the second voice. This tradition went on to the Baroque era and solo flute works became more popular from 1670. There were large changes in its mechanisms. The new instrument is now built in three or four sections instead of one piece; it is modified from a large cylindrical bore to a conical bore in which the diameter of the headpiece was greater than the foot piece which improves the tuning of the upper notes; most importantly, one key was added in the foot piece so there is an extra note which the little finger of the right hand cannot reach originally and it produces the new note d#’. These inventions are very important. However, there is a common misunderstand, however, regarding â€Å"the flute† as a single instrument. In fact, it refers to an instrumental family in the Baroque Period. There are, generally speaking, eight different kinds of flutes including concert flute, descant flute and flute d’amour. Different kinds of flutes appeared in different pitches. 5 In the music that Bach wrote for flute, he did not, like all the composers at that period of time, specify the type of flute they writing for. In addition, there is a possibility that different flutes were used in different performances. All flutes were written as if they were in the key of D especially in the first quarter of the 18th century. As a result, it is difficult to judge which flute the composer had in mind from the music. 6 In the journal â€Å"J. S. Bach’s Compositions for Solo Flute: A Reconsideration of Their Authenticity and Chronology† by Robert L. Marshall, he suggests: â€Å"It is still widely believed that Bach wrote eight works for the solo flute. But the view that has prevailed among Bach specialists for the past fifteen years is that the rather similar Sonatas for flute and harpsichord obbligato in G Minor (BWV I020) and E Flat Major (BWV io31) were probably composed by someone else-most likely Carl Philipp Emanuel Bach–and that the Sonata in C Major for flute and continuo (BWV 1033) was written by one-or two-of Bach’s students (one of them, again, might have been Emanuel Bach), presumably in part under the composer’s active supervision and intervention. † 7 This suggestion probably comes from the lack of normal musical style in his writing. Moreover, his writing shows no understanding of the qualities of the instrument. However, this argument seems invalid when considering the type of flute Bach was written for. The first flute solo work by Bach, Partita in a minor (BWV 1013), was written between about 1720 and 1730. He was one of the first German composers who started composing music for solo flute. This may be stimulated by the new four-piece design of the Baroque flute. The instrument has an advanced feature to have an extended footjoint giving the note c’ however, Bach did not use this new feature in his B minor flute sonata (BWV 1030). Also, its middle joint has different length and can be replaced so that the pitch of the instrument can be altered to accommodate different pitches in different areas. Moreover, it now has a clearer and accurate tone. Fast passages and big leaps can now be played with ease. 8 This is probably one of the reasons why there are more compositions for solo flute. In addition to the development of the instrument, flautists’ involvement plays another crucial role in flute music composition. Bach first work with flute players in Cothen. The Prince of Cothen happened to be a keen musician ho was not in favor of elaborate church music, so Bach concentrated on instrumental music. Interestingly, the flautists were considered assets to the court because the salaries of the flautists in the courts were around three times higher than other musician. And, in this Cothen period (1717-1723), flute appeared as a solo instrument in his Brandenburg Concerto No. 5 (1719) and the B minor Suite for f lute (BWV 1067). 9 Later, the â€Å"violinlization† of music in Paris was taken place of which a style characterized by constant semiquaver and arpeggiated passagework in Dresden. This style was achieved by the new Baroque flute. Bach moved to Leipzig in 1723 and he met new flautists there and started composing a large amount of flute chamber music. They begin with the Flute sonata in E minor (BWV 1034) dated c. 1724. Then, the later works are the C major (c. 1731), Eb major (1730-34), B minor and A major sonatas (c. 1736). These pieces seem match well with the larger-bored four-joint flutes with the most effective range. 10 However, two of Bach’s flute chamber works do raised some questions with the fact that if they were written for flute because there is more than one score written by the composer and they seem not written for flute. They are the sonata in B minor (BWV 1030) and sonata in G minor (BWV 1020). The sonata BWV 1030 is the most important one. There are two scores written for the keyboard part, one in B minor and the other one in G minor. Some Oboists claimed that the G minor is the original version of the sonata for oboe and it is transposed for flute later in B minor. However, there is evidence that flute was a transposing instrument and there is no reason for Bach to write two separate version of music for different instrument. But, as mentioned before, Baroque flute is a family of instruments. There is a possibility that the piece is written for flute but that is not the concert flute. Every instrument’s ideal sound is to emulate the â€Å"singing quality† of the human voice – the music was written in a range that more suitable in lower range flutes. The sonata in B minor (BWV 1030) particularly has a strong vocal quality which may suggests that the flute part is actually written for the flute d’amour. Like his Church Cantatas, the flute obbligatos part is intended for the d’amour. 11 Flute d’amour is an alto instrument tuned to D at French Chamber pitch. It sounds a major or minor 3rd below the normal pitch of harpsichords, and played at transpositions. But, this is a French tradition of transposing the pieces in the â€Å"Clef francoise† with the G on the bottom line. As a result, Bach wrote two separate scores for the flute and keyboard parts in his flute sonata in G minor based on the â€Å"Clef italienne†. It is understood by the flautists who worked with Bach and they should recognize it at a glance. 12 To conclude, the B minor flute sonata (BWV 1030) by Bach is written for flute, Flute d’amour precisely. It raised much doubt about this because the composers of the time did not specified what kind of flute they wrote for. And, nowadays, with misunderstanding that â€Å"Baroque flute† is a term for a single instrument, people may suggest that this flute piece is not suitable for a particular Baroque flute. However, with a clearer picture of the development of the Baroque flute family, the intention of Bach to write two separate scores and the common practice of the flautists those days, the Sonata in B minor should probably be intended for the Baroque flute, the flute d’amour. How to cite J.S. Bach Flute Sonata in B Minor: the Development of the Baroque Flute, Essay examples

Asset Pricing Model-Free-Samples for Students -Myassignementhelp

Question: Write a Literature on the Historical account of the Development and Application of Capital Asset Pricing Model in Managerial Finance. Answer: Introduction This study deals with understanding the concept of Capital Asset Pricing Model and purpose of CAPM model in executive business. In this particular assignment, proper emphasis has been given on the theories of CAPM model and how it is helpful for the financial managers (Zabarankin, Pavlikov and Uryasev 2014). The current segment explains about historical account of the progress as well as purpose of Capital Asset Pricing Model in supervisory business in the most appropriate way. Historical account of the development and application of Capital Asset Pricing Model in managerial finance Capital Asset Pricing Model is one of the asset pricing theories that estimate the cost of capital for business firm for the purpose of assessing the performance of managed portfolios. This particular pricing model offers powerful as well as pleasing predictions on matters relating to risk measurement and the relation between expected return and risk (Moosa 2013). The empirical problems of CAPM model show theoretical failings those results to get simplified assumptions. Capital Asset Pricing Model is used for describing the relationship between risk as well as return in the most appropriate way. CAPM can be used for pricing of risk securities and this model was introduced in the year 1964 as an extension of the Modern Portfolio Theory (Barberis et al. 2015). In addition, the theories explore ways where investors need to construct portfolios that have minimal risk levels for maximizing returns. This pricing model is used by financial professionals for calculating the required return t hat is based on risk measurement. The model particularly relies upon risk multiplier that is known as beta coefficient (Berk and Van Binsbergen 2016). It is the responsibility of the business financial manager to calculate the cost of equity capital of business enterprise. It is quite a difficult task to estimate the cost of equity and often result is subjective by nature as well as open to question as a reliable benchmark. In addition, Capital Asset Pricing Model is one of the tools that explain how financial markets price securities as well as formative expected returns on capital investments. Furthermore, the model give details about the method for quantifying risk as well as translating that risk into estimates of expected return on equity (Dempsey 2013). By using CAPM model, it will be easy to understand the nature of predictable cost of equity. This model cannot be used in separation as it explains in detail about world of financial markets. CAPM is a tool that deals with risks as well as returns especially on financial securities. In addition, the rate of return need to be ascertained by an investor for receiving from buying a common stock as well as holding it for specific period of time as it equals cash dividend received and adding up capital gains (Fama and French 2017). Conclusion At the end of the study, it is concluded that CAPM can be used by financial managers as it supplement with other techniques as well as their own judgment for developing realistic and useful cost of equity calculations. Capital Asset Pricing Model shows hypothetical illustration of the performance of economic that need to be engaged for estimating cost of equity capital. The above analysis puts emphasis on understanding all the factors that govern use of CAPM model by financial managers in the most appropriate way. Reference List Barberis, N., Greenwood, R., Jin, L. and Shleifer, A., 2015. X-CAPM: An extrapolative capital asset pricing model.Journal of Financial Economics,115(1), pp.1-24. Berk, J.B. and Van Binsbergen, J.H., 2016. Assessing asset pricing models using revealed preference.Journal of Financial Economics,119(1), pp.1-23. Dempsey, M., 2013. The capital asset pricing model (CAPM): the history of a failed revolutionary idea in finance?.Abacus,49(S1), pp.7-23. Fama, E.F. and French, K.R., 2017. International tests of a five-factor asset pricing model.Journal of Financial Economics,123(3), pp.441-463. Moosa, I.A., 2013. The capital asset pricing model (CAPM): the history of a failed revolutionary idea in finance? Comments and extensions.Abacus,49(S1), pp.62-68. Zabarankin, M., Pavlikov, K. and Uryasev, S., 2014. Capital asset pricing model (CAPM) with drawdown measure.European Journal of Operational Research,234(2), pp.508-517.