Kurt Cobaines death and impact on fans essays

Kurt Cobaines death and impact on fans essays Its not fun anymore. I just cant take it anymore. The words that would later haunt the world are clumsily scribbled onto a pad of paper. The room grows silent and cold...then BANG! On April 7, 1994, the music world died with a single gunshot wound to the head. Kurdt Donald Cobain took away a music legend and left a void in the music world. When Cobain ended his life on that fateful day, he not only stunned fans, but also destroyed one of the most talented bands of all-time. The sad sense of loss that Seattle began to feel quickly spread to the rest of the country and to the world as well. The youth of an entire sub-culture was devastated. A few days after his death, 7,000 mourners gathered in Seattle to remember the musician. As Cobains widow, Courtney Love read her husbands agonizing suicide note, people lit candles, and threw burning toilet paper for the iconoclastic anti-hero. Although today some of the pain may have faded, the loss of Cobain and his band Nirvana is still being felt by teens across the country. Good men die young. Kurt was a great songwriter, musician and person. He has joined the ranks of great artists such as Jimi Hendrix, and the Nirvana legacy will be with us forever, expressed Ryan Runkewich, a Nirvana fan. The sediment is not only expressed by fans, but also by such famous musicians as R.E.M., Neil Young and the Cranberries who have all dedicated songs in Cobains memory. Before the boom of the phenomenon known as Nirvana, the Seattle music scene was most famous for its hard-rock blues. In 1988, the Aberdeen native along with Krist Anthony Novoselic and Dave Grohl began with a demo song entitled Big Cheese and captivated the hearts and souls of a forgotten generation that had yet to make a name for itself. Nirvana had the guts to express the emotions that young people were too afraid to display. The band and its ri...

Concentrated Animal Feeding Operation (CAFO)

Concentrated Animal Feeding Operation (CAFO) Although the term is sometimes used loosely to refer to any factory farm, Concentrated Animal Feeding Operation (CAFO) is a designation by the United States Environmental Protection Agency meaning any operation in which animals are fed in confined spaces, but specifically those which store a large number of animals and produce a large amount of water and manure waste as well as contributing pollutants to the surrounding environment. The disambiguation of the term CAFO from AFO can be a bit confusing, but the main focus of the distinction lies in the size and impact of the operation, with CAFO being worse all around - which is why it is often associated with all factory farms, even if they dont meet EPA standards to qualify as a CAFO. The Legal Definition According to the EPA, an Animal Feeding Operation (AFO) is an operation in which animals are kept and raised in confined situations. AFOs congregate animals, feed, manure and urine, dead animals, and production operations on a small land area. Feed is brought to the animals rather than the animals grazing or otherwise seeking feed in pastures, fields, or on rangeland. CAFOs are AFOs that fall under one of the EPAs definitions of Large, Medium or Small CAFOs, depending on the number of animals involved, how wastewater and manure are managed, and whether the operation is a significant contributor of pollutants. Although nationally accepted as a federal mandate, state governments can choose whether or not to enforce punishments and restrictions the EPA sets on these facilities. However, a repeated lack of compliance  with EPA regulations or repeat excessive pollution from factory farms could result in a federal case against the company in question. The Problem with CAFO Animal rights activists and environmentalists alike argue against the continued use of factory farms, especially those that qualify under the EPA as Concentrated Animal Feeding Operations. These farms produce an inordinate amount of pollution and animal waste as well as consuming large amounts of crops, manpower, and energy to maintain.   Furthermore, the harsh conditions animals kept in these CAFO are often seen as violating the basic rights U.S. citizens believe animals are entitled to - although the Animal Welfare Act  excludes farms from classification and investigation from their agencies.   Another issue with commercial animal farming is that the population of cattle, chickens, and pigs cannot be maintained at the current rate of global consumption. Either the food used to nourish cows to edible health will disappear or the cattle themselves will be overeaten and eventually go the way of the Wooly Mammoth - extinct.

Individualized Education Policy Case Study Example | Topics and Well Written Essays - 250 words

Individualized Education Policy - Case Study Example This study highlights that the quantity and quality of the information must be sufficient to sustain evidence against the teacher regarding discrimination. Formal report will be prepared concerning Joseph’s IEP implementation. Actions that can be taken in this case according to the district policy include placement on administrative leave. A formal letter of reprimand will be placed in the teachers’ file. From this paper it is clear that in determining the potential punishments, attendants in the meeting will include ARD committee members, Joseph’s parents, special education teacher, general education teacher, technology and career teacher, an administrator, school psychologist, Joseph’s case manager and any other person the parents feel should be present. The ARD will determine the outburst by Joseph was caused by disability. If there is no relationship between the behavior and disability, he will be disciplined as a non-special education student.

Compare and Contrast the theme of Good verse Evil in the two short Essay

Compare and Contrast the theme of Good verse Evil in the two short stories Barn Burning by William Faulkner and good Old Country People by Flannery O'Connor - Essay Example In both these stories, there is a struggle between good and evil but the outcome of the struggles differ from one another. The story Barn Burning is about the youngest son, Sartoris Snopess struggle of trying to do what is right for his family, against the wishes of his own father, Abner Snopes during the post Civil War period. Sartoris or Sartys wish to keep his family together is tested in the beginning of the story itself. When his father Abner was charged for arson, he knows that his father is wrong. But, Abner by constantly reminding him of the importance of family elicits a favorable response from him. He tells Sarty, "You got to learn to stick to your own blood or you aint going to have any blood to stick to you." (Faulkner). That is, Abner instills in Sarty that only if an individual is loyal to the family, even if it is right or wrong, he will in turn get familys help in needy times. But, in the course of the story Sarty feels an aversion towards his father because of his wrongs and violent behavior. Abner exhibits violence towards Sarty and also others who questions his authority. Sarty descri bes his father as: "There was something about his wolf-like independence" (Faulkner). So, the whole family including Sarty and his sisters dislike him. The main theme of Barn Burning is Sartys desire to stand by good and fight the evil which is represented by his wicked father. That is, when his father was bent on burning down Major de Spains barn, Sarty reveals to him about his fathers intentions, thereby leading to his fathers death and victory of good over evil. The theme of good verse evil is depicted in the story through Sarty’s struggle between loyalty for his family and morality. Similarly, the story Good Country People presents the theme of good verse evil. The protagonist of the story, Hulga is a thirty two year old woman. She had lost one leg in an accident

Roles in the Courtroom Essay Example for Free

Roles in the Courtroom Essay Everyone has been in or seen a courtroom. If not personally, they have definitely seen one on television. Shows like Law Order and the First 48 gives the generalization of how a criminal is caught, brought to justice and it’s done all within one hour. Then there are civil court shows like Judge Judy and Judge Mathis, where you can see what actually happens in a court of law when someone is sued. All in all, when you watch these shows you never get the full effect of the roles each person in a courtroom plays to bring a person to justice. Some roles are more important than others, but people like Bailiffs, Judges or even Jurors all share an amount of responsibility in making sure that justice is served. In any courtroom you will see a Bailiff, Prosecutor, Defense Attorney, and a Judge. The Bailiff is usually a sheriff or a high- ranking police officer. Their presence alone keeps order in the courtroom amongst the audience all the way to the judge. A Bailiff’s role is simple. They swear in witnesses and they also play the go between man with the judge and jury. They call court to order and announce when the Judge enters the room. Their role is minimal but important still in its own way. Next are the Defense Attorney and the Prosecution whose duties and responsibilities are basically the same. They must gather and present evidence to the jury to discredit or give reasonable doubt that a crime was or wasn’t committed. The Defense is there to advice his client on the right plea to take. He is also there to make sure his client understands what is going on and make sure his client gets a fair and speedy trial. Other than that their duties are the same. They both are there to discredit the other. They both participate in jury selection and establish witnesses that will benefit their case. Both are responsible for presenting their case to the Judge and Jury, but if the case never reaches a trial it’s usually due to both sides plea-bargaining. This is ultimately the Judges decision but is usually the reason why some cases don’t go to trial. The Judge has a key role in the criminal justice system. He is elected into office by his peers and is ultimately the last person to make any decision in regards to a case. Although they don’t say much a Judge has a lot of duties and responsibilities and is one of the most important people needed in a courtroom. They are there from start to finish in any case. At the preliminary hearing they are responsible for making sure the accused is aware of their rights, they enter a plea of either guilty, not guilty or no contest, and the Judge also sets the bail. During the trial they decide what evidence will be allowed. Their understanding of the law is important when keeping order and how the court proceedings will be handled. During the trial the judge makes sure the accused rights aren’t violated. The Judge also makes sure that the jury understands what a person is charged with whether it is First –degree or second-degree murder. It is the Judges responsibility to make sure the Jury knows the difference. Last but not least they have control over the sentencing. This is the most important part aside from the Jury decision on whether or not the accused is guilty. Although The Judge’s role and responsibility seems to be the most important in the court, it is the role and respon sibility of the Jury that is needed more than anything. Everyone has the right to a trial by an â€Å"impartial† jury, which means that the trial will be fair. To be fair, some believe a person must be tried amongst a group of one’s peers. This means that they are from the same community/area. Sex, race and ethnicity have no bearings in any case, as far as jury selection. Jury’s bring diversity, different perspectives and views. It is up to the Defense and the Prosecution to make sure the right people are chosen, and that they will be more in favor of their case when presented in court. This is why Juror’s must go through a jury selection. People who will be beneficial to either the Prosecutions or Defenses case are kept and those who appear to have no bearings on the case aren’t selected. Once on the Jury they are given instructions by the judge on how the case will go, what they are to listen for, and what a person is charged with. Then they listen to the case and they are to determine if the accused i s responsible for their actions by a reasonable doubt. Meaning if there is any doubt in their mind that the accused is innocent, then the doubt is placed, and either they must be convicted of a lesser crime or the case must be dismissed period. All the evidence and witnesses presented in court is done with wondering how the jury will perceive it. Their impression on the evidence has the greatest impact and is ultimately what will determine the fate of the accused in all cases. That is why it is important that the Judge gives the verdict choices to the Jury and that he makes sure that the Jury understands them when they go to deliberate. They then return and give their verdict of guilty, not guilty to the offense the accused was charged or to a lesser charge period. Anyone can see that the Jury is important in any court proceedings. Jury’s will always have a key role in the court system and their role is most important. There are many roles and responsibilities in the court system. There are bailiffs, prosecutors, defense attorneys but the most important is the jury. Their roles and responsibilities are important and are needed to ensure that the criminal court system is run appropriately. That is why there is so much put into jury selection. They are the deciding factor in determining how long a person will be spending of their life in jail.

The old man in the sea :: essays research papers

Franklin Delone Roosevelt Franklin was born on January 30, 1882 just south of the village of Hyde Park, New York. Franklin came form a very wealthy Family, his father owned Springwood it was the Roosevelt country estate. His father name is James and his mother’s name is Sara. Franklin did not attend public school his mother tough him how to read and write before he was six. He was born for success he also had tutors whom tough him Latin, French, and German along with the usual. Every second of his day was scheduled – up at seven, breakfast at eight, lesson with his governess form nine to noon, an hour for play, then lunch and more lessons until four, then he was allowed to be on his own until supper. He spent much of his time around grown-ups so he matured quicker than the other kids so he did not quit fit in with the other kids so he did not have that many friends. Every thing they did was first class if they went on a trip it would be on their private rail car etc. Most rich boys like Franklin go away to boarding school when they turned twelve, but Franklin stayed home under his mother’s wing until he tuned fourteen. In 1896, he entered Gordon, an exclusive Massachusetts prep school; usually rich kids would go away to an Ivy League Co llage. At Gordon, they were expected to live by strict rules, show the proper school spirit, and act like gentlemen. After he graduated from Gordon, he attended Harvard, after he graduated from Harvard he goes into politics. He would travel around to little towns and meet every one and ask them stuff like what could be changed and what and what he could he could do to help them. After that, he would give a speech to the

Similarities and Dissimilarities Between Shelley and Keats

Similarities and dissimilarities Though P. B. Shelley and John Keats were mutual friends, but they have possessed the diversified qualities in their creativity. These two are the great contributors of English Literature, though their lifecycle were very short. Their comparison are also little with each other, while each are very much similar in thoughts, imagination, creation and also their lifetime. 01)  Attitude towards the Nature P. B. Shelley: Whereas older Romantic poets looked at nature as a realm of communion with pure existence and with a truth preceding human experience, the later Romantics looked at nature primarily as a realm of overwhelming beauty and aesthetic pleasure. While Wordsworth and Coleridge often write about nature in itself, Shelley tends to invoke nature as a sort of supreme metaphor for beauty, creativity, and expression. This means that most of Shelley's poems about art rely on metaphors of nature as their means of expression: the West Wind in â€Å"Ode to the West Wind† becomes a symbol of the poetic faculty spreading Shelley's words like leaves among mankind, and the skylark in â€Å"To a Skylark† becomes a symbol of the purest, most joyful, and most inspired creative impulse. The skylark is not a bird, it is a â€Å"poet hidden. † John Keats: Keats’s sentiment of Nature is simpler than that of other romantics. He remains absolutely influenced by the Pantheism of Wordsworth and P. B. Shelley. It was his instinct to love and interpret Nature more for her own sake, and less for the sake of the sympathy which the human mind can read into her with its own workings and aspirations. Keats is the poet of senses, and he loves Nature because of her sensual appeal, her appeal to the sense of sight, the sense of hearing, the sense of smell, the sense of touch. Both men were great lovers of nature, and an abundance of their poetry is filled with  nature  and the mysterious magnificence it holds. Their attitudes towards the Nature are slightly difference. P. B. Shelley treats the natural bjects as the supreme elements of inspiring him. Natural elements are successfully glorified by Shelley. He worships Nature and wants some of power from nature to enrich his poetical power to transmit his message to the people in this older world. On the other hand Keats treats nature as an observer, as a traveler. He finds interest to appreciate the physical beauty of Nature. Both writers happene d to compose poems concerning autumn in the year of 1819, and although the two pieces contain similar traits of the Romantic period, they differ from each other in several ways as well. Keats' poem â€Å"To Autumn† and Shelley's poem â€Å"Ode to the West Wind† both contain potent and  vivacious  words about the season and both include similar metaphors involving autumn. However, the feelings each writer express in their pieces vary greatly from each other, and Keats and Shelley address nature in their poems with  different  intentions as well. Shelley and Keats  exhibit  their genius for rich energized word use within these two poems wonderfully. Also, interesting similarities between the two pieces are some of the metaphors the poets  implement. Hair  is a subject both writers explored as ametaphor  for nature. Shelley, in â€Å"Ode to the West Wind,† claims the wind is â€Å"like the bright hair uplifted from the head/ Of some fierce  Maenad,† while Keats views autumn as â€Å"sitting careless on a granary  floor,/ Thy hair soft-lifted by the winnowing wind. † Hair, often used in poetry metaphorically, tends to symbolize feminine beauty and strength; in this case, both poets make use of thesubject  of hair when describing certain aspects of nature. The speakers in these two poems also express their thoughts on theportent  of the coming spring. In the final couplet of Shelley's poem, the speaker asks, â€Å"Oh wind,/ if Winter comes, can Spring be far behind? † The speaker in Keats' poem inquires, â€Å"Where are the songs of spring? Ay, where are they? † Both poets look upon autumn as an  indication  of the coming season which is opposite of autumn. The subjects of seeds and budding plants are also touched upon within the two pieces. Autumn is when, as Shelley writes, â€Å"the winged seeds† are placed in their â€Å"dark wintry bed† and â€Å"lie cold and low. And Keats writes that autumn is the time when the hazel shells are â€Å"plump  with a sweet  kernel; to set budding more. † These similarities between the two pieces are interesting; however there are many differences in the poems as well. Keats and Shelley express different emotions about the fallseason. Shelley looks at autumn as being wild and fierce while Keats has a more gentle view of the season. Shelley perceives a utumn as an annual death, calling it â€Å"Thou  dirge/Of the dying year,† and he uses words such as â€Å"corpse† and  sepulchre† in the poem. He also employs words such as â€Å"hectic† and â€Å"tameless†, and looks upon the autumn horizon as being â€Å"the locks of the approaching  storm. † Also, he claims the autumn winds are where â€Å"black rain and fire and hail will  burst. † Lines such as this reveal the speaker's attitude that autumn is a ferocious and reckless season bearing  morbid  portence of the coming winter. On the other hand, Keats fills his poem with lighter words such as â€Å"mellow,† â€Å"sweet,† â€Å"patient,† and â€Å"soft. The speaker of this poem looks out upon the landscape and hears the â€Å"full-grown lambs loudbleat  from hilly bourn,† and listens as the â€Å"gathering swallows twitter in the skies. † These lines indicate a much softer and moreamiable  emotion felt by the speaker; sentiments quite opposite to those felt in â€Å"Ode to the West Wind. † Another great difference in these poems is the intenti ons of the poets themselves. Shelley, in his thirst for being known, wants to attain power like the wind has. He asks of the wind, â€Å"Be thou, Spirit  fierce,/ My spirit! Be thou me,  impetuous  one! He pleads for it to move his thoughts â€Å"over the universe/ Like withered leaves to quicken a new birth,† and to â€Å"scatter, as from an unextinguished hearth/ Ashes and sparks, my words among mankind. † Shelley's more  ambitiousapproach to the weather differs from Keats, who merely enjoys the season for what it holds and asks nothing from it. Keats thoroughly enjoys the â€Å"stubble-plains with rosy hue,† and listening as â€Å"the red-breast whistles from a garden-croft. † Although both writers examine the autumn season, each express different intentions in the poems they have written. Shelley's â€Å"Ode to the West Wind† and Keats' â€Å"To Autumn† have striking similarities when it comes to their rich metaphors; however, the poems differ in almost every other sense. Shelley holds a much more  savagenotion about the season, while Keats looks upon autumn as being soft and  gentle. Shelley's ambitions are expressed in his piece, while Keats only reflects the beauty of what he sees. Both writers display their own unique talent as poets,  deserving  their titles as being two of the greatest Romantic writers of the period. 02)  Imagination Imagination is one of the striking characteristics of Romantic Poets. P. B. Shelley's poem â€Å"To a Skylark† and John Keats's poem â€Å"Ode to a Nightingale† are both centered on nature in the form of birds. Both poems are classified as Romantic and have certain poetic elements in common, but in addition both poems have differences in style and in theme that differentiate them clearly. Both poets are spurred to react and to write because of their encounter with a bird. Shelley is addressing the bird that excites his interest more directly, while Keats turns to reverie because of the song of the nightingale more than the nightingale itself. In the latter case, the song of the poet has a different tone from the song of the bird–the joy of the bird becomes a contemplative song for the poet. Each poet begins with the reality of the bird or its song and then uses that as a beginning point for aesthetic and philosophic speculation. P. B. Shelley: If the West Wind was Shelley's first convincing attempt to articulate an aesthetic philosophy through metaphors of nature, the skylark is his greatest natural metaphor for pure poetic expression, the â€Å"harmonious madness† of pure inspiration. The skylark's song issues from a state of purified existence, a Wordsworthian notion of complete unity with Heaven through nature; its song is motivated by the joy of that uncomplicated purity of being, and is unmixed with any hint of melancholy or of the bittersweet, as human joy so often is. The skylark's unimpeded song rains down upon the world, surpassing every other beauty, inspiring metaphor and making the speaker believe that the bird is not a mortal bird at all, but a â€Å"Spirit,† a â€Å"sprite,† a â€Å"poet hidden / In the light of thought. â€Å" In that sense, the skylark is almost an exact twin of the bird in Keats's â€Å"Ode to a Nightingale†; both represent pure expression through their songs, and like the skylark, the nightingale â€Å"wast not born for death. † But while the nightingale is a bird of darkness, invisible in the shadowy forest glades, the skylark is a bird of daylight, invisible in the deep bright blue of the sky. The nightingale inspires Keats to feel â€Å"a drowsy numbness† of happiness that is also like pain, and that makes him think of death; the skylark inspires Shelley to feel a frantic, rapturous joy that has no part of pain. To Keats, human joy and sadness are inextricably linked, as he explains at length in the final stanza of the â€Å"Ode on Melancholy. † But the skylark sings free of all human error and complexity, and while listening to his song, the poet feels free of those things, too. Structurally and linguistically, this poem is almost unique among Shelley's works; its strange form of stanza, with four compact lines and one very long line, and its lilting, songlike diction (â€Å"profuse strains of unpremeditated art†) work to create the effect of spontaneous poetic expression flowing musically and naturally from the poet's mind. Structurally, each stanza tends to make a single, quick point about the skylark, or to look at it in a sudden, brief new light; still, the poem does flow, and gradually advances the mini-narrative of the speaker watching the skylark flying higher and higher into the sky, and envying its untrammeled inspiration–which, if he were to capture it in words, would cause the world to listen. John Keats: With â€Å"Ode to a Nightingale,† Keats's speaker begins his fullest and deepest exploration of the themes of creative expression and the mortality of human life. In this ode, the transience of life and the tragedy of old age (â€Å"where palsy shakes a few, sad, last gray hairs, / Where youth grows pale, and spectre-thin, and dies†) is set against the eternal renewal of the nightingale's fluid music (â€Å"Thou wast not born for death, immortal bird! â€Å"). The speaker reprises the â€Å"drowsy numbness† he experienced in â€Å"Ode on Indolence,† but where in â€Å"Indolence† that numbness was a sign of disconnection from experience, in â€Å"Nightingale† it is a sign of too full a connection: â€Å"being too happy in thine happiness,† as the speaker tells the nightingale. Hearing the song of the nightingale, the speaker longs to flee the human world and join the bird. His first thought is to reach the bird's state through alcohol–in the second stanza, he longs for a â€Å"draught of vintage† to transport him out of himself. But after his meditation in the third stanza on the transience of life, he rejects the idea of being â€Å"charioted by Bacchus and his pards† (Bacchus was the Roman god of wine and was supposed to have been carried by a chariot pulled by leopards) and chooses instead to embrace, for the first time since he refused to follow the figures in â€Å"Indolence,† â€Å"the viewless wings of Poesy. The rapture of poetic inspiration matches the endless creative rapture of the nightingale's music and lets the speaker, in stanzas five through seven, imagine himself with the bird in the darkened forest. The ecstatic music even encourages the speaker to embrace the idea of dying, of painlessly succumbing to death w hile enraptured by the nightingale's music and never experiencing any further pain or disappointment. But when his meditation causes him to utter the word â€Å"forlorn,† he comes back to himself, recognizing his fancy for what it is–an imagined escape from the inescapable (â€Å"Adieu! he fancy cannot cheat so well / As she is fam'd to do, deceiving elf†). As the nightingale flies away, the intensity of the speaker's experience has left him shaken, unable to remember whether he is awake or asleep. In â€Å"Indolence,† the speaker rejected all artistic effort. In â€Å"Psyche,† he was willing to embrace the creative imagination, but only for its own internal pleasures. But in the nightingale's song, he finds a form of outward expression that translates the work of the imagination into the outside world, and this is the discovery that compels him to embrace Poesy's â€Å"viewless wings† at last. The â€Å"art† of the nightingale is endlessly changeable and renewable; it is music without record, existing only in a perpetual present. As befits his celebration of music, the speaker's language, sensually rich though it is, serves to suppress the sense of sight in favor of the other senses. He can imagine the light of the moon, â€Å"But here there is no light†; he knows he is surrounded by flowers, but he â€Å"cannot see what flowers† are at his feet. This suppression will find its match in â€Å"Ode on a Grecian Urn,† which is in many ways a companion poem to â€Å"Ode to a Nightingale. In the later poem, the speaker will finally confront a created art-object not subject to any of the limitations of time; in â€Å"Nightingale,† he has achieved creative expression and has placed his faith in it, but that expression–the nightingale's song–is spontaneous and without physical manifestation. 03)  Idealism Idealism is the very much common characteristics especially in second generation Romantic Poets. Romantic idealism favored this hermeneutic and phenomenological outlook on life. At this juncture, we want here to address and emphasize the question of the poem’s inspiration by the natural phenomenon, the luminous star. P. B. Shelley: Among the great Romantics whose poetry, in the early nineteenth century, forms one of the most glorious chapters in the whole of English Literature, no one perhaps was inspired by a purer and loftier idealism than P. B. Shelley. Shelley’s is divided by three sub categories:  · Revolutionary Idealism  · Religious Idealism  · Erotic Idealism â€Å"Penetrates and clasps and fills the world† —Epipsychidion â€Å"That Beauty in which all things work and move† —Adonais John Keats: â€Å"The hush of natural objects opens quite To the core: and every secret essence there Reveals the elements of good and fair Making him see, where Learning hath no light. † With regard to Romantic idealism, there are undoubtedly elements here that show Keats’s enthusiasm for nature. Even if Keats’s conception of nature has affinities with spirituality as discerned in the works of Romantics like William Wordsworth (1770–1850), Samuel Taylor Coleridge (1772–1834) and Percy Bysshe Shelley (1792–1822), the intention of this write-up is not primarily the fullness of spiritual experience in nature. Nature plays a vital role in the understanding of his aesthetic ambitions and achievements. Though there are a number of characteristic features in Keats’s poetry which affiliate with Coleridge and Wordsworth, his nature-consciousness will be seen to take a slightly different turn. Keats’s poetry and prose show proof of certain monistic traits common in the two elder poets, justifying the assertion that he can be discussed within the mainstream of Romantic idealism with regard to nature, even if he does not handle the matter in a like manner. It can be argued equally that his poetry lends credence to apprehend nature from an organics viewpoint. Yet, his eco-poetics, as we intend to analyze, does not place priority on the visionary and transcendental and, therefore, the dominant spiritual dimension of nature is not like that of his elder colleagues, for it tends to reduce nature primarily within the confines of his aesthetic quest rather than brood over it fundamentally as a universal force or the basis of his spiritual longings. 04)  Revolution M. H. Abrams wrote, â€Å"The Romantic period was eminently an age obsessed with fact of violent change†. Especially the second generations Romantic Poets are the pioneer to revolt against society, religion and state. P. B. Shelley: Shelley resembles Byron in his thorough-going revolt against society, but he is totally unlike Byron in several important respects. His first impulse was an unselfish love for his fellow-men, with an aggressive eagerness for martyrdom in their behalf; his nature was unusually, even abnormally, fine and sensitive; and his poetic quality was a delicate and ethereal lyricism unsurpassed in the literature of the world. In both his life and his poetry his visionary reforming zeal and his superb lyric instinct are inextricably intertwined. Shelley was the most politically active of the Romantic poets. While attempting to instigate reform in Ireland in 1812-13, he wrote to William Godwin, author of Political Justice. (Note also Godwin's connections with Wordsworth and Coleridge. ) Shelley's pure idealism led him to take extreme positions, which hurt the feasibility of his attempts at reform. By 1816 he had mostly given up these politics in favor of the study and writing of poetry; his Queen Mab later became popular among the Chartists. The longest-lasting effects of his extreme views were the fact that he met and eloped with William Godwin's brilliant daughter Mary, abandoned his wife, and was eventually forced to leave England. Even far away in Italy, however, he was incensed by the Peterloo massacre and wrote The Mask of Anarchy in response to it. He also turned into an attack on George IV his translation of Sophocles, Oedipus Tyrannus; or Swellfoot the Tyrant. John Keats: Keats was neither rebel nor Utopian dreamer. As the modern seemed to him to be hard, cold, and prosaic, he habitually sought an imaginative escape from it. Not like Shelley into the future land of promise, but into the past of Greek mythology, as in Endymion, Lamia, and the fragmentary Hyperion. 5)  Symbolism P. B. Shelley: Shelley uses symbolism successfully in his famous sonnet Ozymandias. Nothing, in this world is immortal. Even things that are cast in stone, can be one day undone; that things may fall and crumble there; forgotten one by one. It has been said time after time for as long as most anyone can recall, a small saying that says nothing is cast in stone. This poem is just another example that unlike something cast in stone, nature will always conquer over all despite the way that mankind may think. The poet Percy Bysshe Shelley tells us the same thing in the poem ‘Ozymandias' through both exquisite wording and beautiful imagery. The poem is a genius work about strength and the fall of false greatness, told from the eyes of a traveler who encounters an elderly stranger. In the poem the stranger tells him about the fall of a great kingdom that had thought itself unbeatable by even time. The author uses the image of a statue as a symbol for this kingdom. The image of a broken stone man, which has been beaten down by nature and time plays as an example for many things. The reader learned throughout the poem that not only did time and nature beat this great kingdom, but also they themselves did it during their struggle to be great. The image of two trunkless legs still planted and slowly being covered by the sand is, in a way, exposing how mankind thinks. Men often believe they are unstoppable even by nature and time, often comparing the elements to other men, believing that the best surpasses even their power. In another line the writer refers to the face of the statue, left fallen in the sand, its lips curled in a look of cold and cruel command. This is a play on the way that mankind is by nature. Mankind is a race that spends all it's time rushing about, using commands and war to strive for survival. It is a common belief that he who is strongest will outlive them all. In this poem the writer shows that this is almost always outlived. Weather they are beaten by time, the elements, or themselves, the strongest kingdom will always crumble. The words written on the statues base are said in a beautiful passionate queue, â€Å"My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair! In this passage the writer says that the sculptor of this piece knew all to well, that even the strongest army will fall with time, look and despair that man is not eternal. The sculptor leaves a morbid example to all who would wander upon his works to look around and see what has become of greatness. It is, in a way, telling the reader that greatness is short lived, and that nothing is forever. The last lines are a beautiful expression of the fallen city, which lie in the sand about the pieces of the broken statue. Crumbled and dead, the sands stretch on still, holding the vast proof that forever is not so long a time in the eyes of the world and that life will continue on even after the walls have crumbled. It is this poem that sets a perfect example that mankind does not give credit to the strength that comes with time and the forces of nature, and will often put so much time into becoming the best and most powerful that they lose sight on life, becoming nothing more than a fallen king. Perhaps the writer hoped to express a greater understanding of the tragedy of greatness, or even express the value of life over the conquest of power. John Keats: In ‘Ode to a Nightingale’ one can discern the consciousness of the use of nature, symbolized in the bird and its melodious song, not only for poetic composition, but also for advancing the poet’s philosophical speculations. Both bird and song represent natural beauty, the poetic expression of the non-verbal song signaling the harmony of nature. Apart from the ecstasy that the bird’s song generates, the unseen but vivid pictorial description of the surrounding landscape adds to the bliss and serenity of the atmosphere: I cannot see what flowers are at my feet, Nor what soft incense hangs upon the bough, But, in embalmed darkness, guess each sweet Wherewith the seasonable month endows The grass, the thicket, and the fruit-tree wild; White hawthorn, and the pastoral eglantine; Fast fading violets cover’d up in leaves; And mid-May’s eldest child, The coming musk-rose, full of dewy wine, The murmurous haunt of lies on summer eves. (Stanza V, L. 41 – 50) These lines express the splendor of spring while foreshadowing the approach of summer, which will have its own store of nature beauty and luxury. As earlier said, nature here seems to be a springboard for intense speculations in the face of the impermanence and mutability of life which strongly preoccupies the poet. To put it in other words, the song seems to engender a phenomenological process of self-transformation or a psychological metamorphosis that enhances a deep desire for the eternal and unalterable through death. Yet the poet submits to a stoical fortitude, apparently emphasizing the material and sensuous realm of existence rather than the struggle to maintain a permanent and idealistic state. This has often been problematical as imaginative failure, or as a characteristic Keatsian trademark of ambivalence between reality and imaginative illusion. 06)  Melancholy Second generations Romantic Poets were Melancholic according to the bad effect of French Revolution. Their desires did not come true and their endeavor to the Ideal world remained in their dream. So they were very much frustrated and possessed agony to the real world order. P. B. Shelley: He is one of the greatest, successful Melancholic in his age. It is this unsatisfied desire, this almost painful yearning with its recurring disappointment and disillusionment, which is at the root of Shelley’s melancholy. His most famous and powerful lines, reveals the melancholy, are in Ode to the West Wind: Oh, lift me as a wave, a leaf, a cloud! I fall upon the thorns of life! I bleed A heavy weight of hours has chained and bowed One too like thee: tameless, and swift, and proud. His melancholy is thus vital to his poetry. It may be said that his music is the product of his genius and his melancholy. His melancholy is what the world seems to like best as: â€Å"Our sweetest songs are those that tell of saddest thoughts. † John Keats: In the poem â€Å"Ode on Melancholy,† Keats takes a sinister look at the human condition. The idea that all human pleasures are susceptible to pain, or do inevitably lead to pain, is a disturbing thought. Keats comments on the miserable power of melancholy, especially how it thrives on what is beatiful and desirable and turns it into its opposite. She dwells with Beauty — Beauty that must die; And joy, whose hand is ever at his lips Bidding adeiu; and aching Pleasure nigh, Turning to poison while the bee-mouth sips: Ay, in the very temple of Delight Veil'd Melancholy has her sovran shrine, Though seen of none save him whose strenuous tongue Can burst Joy's grape against his palate fine; His soul shall taste the sadness of her might, And be among her cloudy trophies hung. (ll. 21-30) In this passage, there seems to be an emphasis on lost hope. There seems to be this idea that true happiness is either ephemeral or unreachable. For example, Keats writes above about â€Å"Joy†¦ Bidding adeui† and Pleasure Turning to poison. Keats seems to be saying that happiness is a temptation which people are tragically prone to dream about, an illusion upon which is unrealistic. 07)  Hellenism & Platonism From the Renaissance to the nineteenth century Greece was a primary object of myth-makers' attentions, its history as well as its mythology fodder for the imagination. These two poets were deeply influenced by the Greek literature. Shelley wrote ‘Hellas’, which is the ancient name of Greece. Keats was also influenced by Hellenism, while P. B. Shelley was influenced by Platonism. John Keats: Shelley expressed the opinion that â€Å"Keats was a Greek†. Indeed, Keats was unmistakably a representative of Greek thought, in a sense in which Wordsworth and Coleridge and even Shelley were not. The Greek spirit came to Keats through literature, through sculpture, and through an innate tendency, and it is under Hellenic influence as a rule that he gives of his best. Keats has â€Å"contrived to talk about the gods much as they might have been supposed to speak†. The world of Greek paganism lives again in his verse, with all its frank sensuousness and joy of life, and with all its mysticism. Keats looks back and lives again in the time: When holy were the haunted forest boughs, Holy the air, the water, and the fire. —Ode to Psyche P. B. Shelley: Shelley's Platonic leanings are well known. Plato thought that the supreme power in the universe was the Spirit of beauty. Shelley borrowed this conception from Plato and developed it in his metaphysical poem: Hymn to Intellectual Beauty. Intellectual Beauty is omni potent and man must worship it. The favorite Greek conceit of pre-existence in many earlier lives may frequently be found in other poems besides the â€Å"Prometheus Unbound† quoted in part II of our series. The last stanza of â€Å"†The Cloud,† is Shelly's Platonic symbol of human life: I am the daughter of earth and water And the nursling of the sky I pass through the pores of the ocean and shores I change, but I cannot die. For after the rain when with never a stain The pavilion of heaven is bare And the winds and sunbeams with their convex gleams Build up the blue dome of air I silently laugh at my own cenotaph And out of the caverns of rain Like a child from the womb, like a ghost from the tomb, I arise and unbuild it again. 08)  Love & Beauty John Keats: Keats is called the poet of beauty or some critics address him as ‘the worshiper of beauty’. Keats’s notion of beauty and truth is highly inclusive. That is, it blends all life’s experiences or apprehensions, negative or positive, into a holistic vision. Art and nature, therefore, are seen as therapeutic in function. Keats was considerably influenced by Spenser and was, like the latter, a passionate lover of beauty in all its forms and manifestation. This passion for beauty constitutes his aestheticism. Beauty, indeed, was his pole-star, beauty in Nature, in woman, and in art. He writes and defines beauty: â€Å"A think of beauty is joy for ever† In John Keats, we have a remarkable contrast both with Byron and Shelley. He knows nothing of Byron’s stormy spirit of antagonism to the existing order of things and he had no sympathy with Shelley’s humanitarian real and passion for reforming the world. But Keats likes and worships beauty. In his Ode on a Grecian Urn, he expresses some powerful lines about his thoughts of beauty. This ode contains the most discussed two lines in all of Keats's poetry: â€Å"Beauty is truth, truth beauty,† – that is all Ye know on earth, and all ye need to know. † The exact meaning of those lines is disputed by everyone; no less a critic than TS Eliot considered them a blight upon an otherwise beautiful poem. Scholars have been unable to agree to whom the last thirteen lines of the poem are addressed. Arguments can be made for any of the four most obvious possibilities, -poet to reader, urn to reader, poet to urn, poet to figures on the urn. The issue is further confused by the change in quotation marks between the original manuscript copy of the ode and the 1820 published edition. P. B. Shelley: Shelley expresses love as one of the God-like phenomena in human life and beauty is the intellectual beauty to him. We find the clear idea of Shelley’s love and beauty through Hymn to the Intellectual Beauty. The poem's process is doubly figurative or associative, in that, once the poet abstracts the metaphor of the Spirit from the particulars of natural beauty, he then explains the workings of this Spirit by comparing it back to the very particulars of natural beauty from which it was abstracted in the first place: â€Å"Thy light alone, like mist o'er mountains driven†; â€Å"Love, Hope, and Self-esteem, like clouds depart†¦ This is an inspired technique, for it enables Shelley to illustrate the stunning experience of natural beauty time and again as the poem progresses, but to push the particulars into the background, so that the focus of the poem is always on the Spirit, the abstract intellectual ideal that the speaker claims to serve. Of course Shelley's athe ism is a famous part of his philosophical stance, so it may seem strange that he has written a hymn of any kind. He addresses that strangeness in the third stanza, when he declares that names such as â€Å"Demon, Ghost, and Heaven† are merely the record of attempts by sages to explain the effect of the Spirit of Beauty–but that the effect has never been explained by any â€Å"voice from some sublimer world. † The Spirit of Beauty that the poet worships is not supernatural; it is a part of the world. It is not an independent entity; it is a responsive capability within the poet's own mind. If the â€Å"Hymn to Intellectual Beauty† is not among Shelley's very greatest poems, it is only because its project falls short of the poet's extraordinary powers; simply drawing the abstract ideal of his own experience of beauty and declaring his fidelity to that ideal seems too simple a task for Shelley. His most important statements on natural beauty and on aesthetics will take into account a more complicated idea of his own connection to nature as an expressive artist and a poet, as we shall see in â€Å"To a Skylark† and â€Å"Ode to the West Wind. Nevertheless, the â€Å"Hymn† remains an important poem from the early period of Shelley's maturity. It shows him working to incorporate Wordsworthian ideas of nature, in some ways the most important theme of early Romanticism, into his own poetic project, and, by connecting his idea of beauty to his idea of human religion, making that theme explicitly his own. 09) Diction One of the most distinct attributes of the  Romantic  writers  Percy Bysshe Shelley  and  John Keats  is their gift of using both  lush  and tactile words within their poetry. P. B. Shelley: Shelley uses terza rima in his Ode to the West Wind. Terza rima utilizes three-line stanzas, which combine iambic meter with a propulsive rhyme scheme. Within each stanza, the first and third lines rhyme, the middle line having a different end sound; the end sound of this middle line then rhymes with the first and third lines of the next stanza. The rhyme scheme thus runs aba bcb cdc ded efe, and so forth. Shelley's â€Å"Ode to the West Wind† (1820) instances one of the finest uses of terza rima in an English-language poem: O wild West Wind, thou breath of Autumn's being, Thou, from whose unseen presence the leaves dead Are driven, like ghosts from an enchanter fleeing, Yellow, and black, and pale, and hectic red, Pestilence-stricken multitudes: O thou, Who chariotest to their dark wintry bed Each of the seven long stanzas of the â€Å"Hymn to Intellectual Beauty† follows the same, highly regular scheme. Each line has an iambic rhythm; the first four lines of each stanza are written in pentameter, the fifth line in hexameter, the sixth, seventh, eighth, ninth, tenth, and eleventh lines in tetrameter, and the twelfth line in pentameter. (The syllable pattern for each stanza, then, is 555564444445. Each stanza is rhymed ABBAACCBDDEE. John Keats: Influenced by Greek literature, he applied those Classical characteristics of his poetry; Keats is one of the great word painters in English Literature. â€Å"Ode on a Grecian Urn† follows the same ode-stanza structure as the â€Å"Ode on Melancholy,† though it varies more the rhyme scheme of the last three lines of each stanza. Each of th e five stanzas in â€Å"Grecian Urn† is ten lines long, metered in a relatively precise iambic pentameter, and divided into a two part rhyme scheme, the last three lines of which are variable. The first seven lines of each stanza follow an ABABCDE rhyme scheme, but the second occurrences of the CDE sounds do not follow the same order. In stanza one, lines seven through ten are rhymed DCE; in stanza two, CED; in stanzas three and four, CDE; and in stanza five, DCE, just as in stanza one. As in other odes (especially â€Å"Autumn† and â€Å"Melancholy†), the two-part rhyme scheme (the first part made of AB rhymes, the second of CDE rhymes) creates the sense of a two-part thematic structure as well. The first four lines of each stanza roughly define the subject of the stanza, and the last six roughly explicate or develop it. (As in other odes, this is only a general rule, true of some stanzas more than others; stanzas such as the fifth do not connect rhyme scheme and thematic structure closely at all. ). 10) Their Odes John Keats: The odes explore and develop the same themes, partake of many of the same approaches and images, and, ordered in a certain way, exhibit an unmistakable psychological development. This is not to say that the poems do not stand on their own–they do, magnificently; one of the greatest felicities of the sequence is that it can be entered at any point, viewed wholly or partially from any perspective, and still proves moving and rewarding to read. There has been a great deal of critical debate over how to treat the voices that speak the poems–are they meant to be read as though a single person speaks them all, or did Keats invent a different persona for each ode? There is no right answer to the question, but it is possible that the question itself is wrong: The consciousness at work in each of the odes is unmistakably Keats's own. Of course, the poems are not explicitly autobiographical (it is unlikely that all the events really happened to Keats), but given their sincerity and their shared frame of thematic reference, there is no reason to think that they do not come from the same part of Keats's mind–that is to say, that they are not all told by the same part of Keats's reflected self. In that sense, there is no harm in treating the odes a sequence of utterances told in the same voice. The psychological progress from â€Å"Ode on Indolence† to â€Å"To Autumn† is intimately personal, and a great deal of that intimacy is lost if one begins to imagine that the odes are spoken by a sequence of fictional characters. When you think of â€Å"the speaker† of these poems, think of Keats as he would have imagined himself while writing them. As you trace the speaker's trajectory from the numb drowsiness of â€Å"Indolence† to the quiet wisdom of â€Å"Autumn,† try to hear the voice develop and change under the guidance of Keats's extraordinary language. P. B. Shelley: The wispy, fluid terza rima of â€Å"Ode to the West Wind† finds Shelley taking a long thematic leap beyond the scope of â€Å"Hymn to Intellectual Beauty,† and incorporating his own art into his meditation on beauty and the natural world. Shelley invokes the wind magically, describing its power and its role as both â€Å"destroyer and preserver,† and asks the wind to sweep him out of his torpor â€Å"as a wave, a leaf, a cloud! † In the fifth section, the poet then takes a remarkable turn, transforming the wind into a metaphor for his own art, the expressive capacity that drives â€Å"dead thoughts† like â€Å"withered leaves† over the universe, to â€Å"quicken a new birth†Ã¢â‚¬â€œthat is, to quicken the coming of the spring. Here the spring season is a metaphor for a â€Å"spring† of human consciousness, imagination, liberty, or morality–all the things Shelley hoped his art could help to bring about in the human mind. Shelley asks the wind to be his spirit, and in the same movement he makes it his metaphorical spirit, his poetic faculty, which will play him like a musical instrument, the way the wind strums the leaves of the trees. The thematic implication is significant: whereas the older generation of Romantic poets viewed nature as a source of truth and authentic experience, the younger generation largely viewed nature as a source of beauty and aesthetic experience. In this poem, Shelley explicitly links nature with art by finding powerful natural metaphors with which to express his ideas about the power, import, quality, and ultimate effect of aesthetic expression. Conclusion To an extent, the intensity of feeling emphasized by Romanticism meant that the movement was always associated with youth, and because Byron, Keats, and Shelley died young (and never had the opportunity to sink into conservatism and complacency as Wordsworth did), they have attained iconic status as the representative tragic Romantic artists. Shelley's life and his poetry certainly support such an understanding, but it is important not to indulge in stereotypes to the extent that they obscure a poet's individual character. Shelley's joy, his magnanimity, his faith in humanity, and his optimism are unique among the Romantics; his expression of those feelings makes him one of the early nineteenth century's most significant writers in English. Shelley is regarded as a major English Romantic poet. His foremost works, including Prometheus Unbound, Adonais, The Revolt of Islam, and The Triumph of Life, are recognized as leading expressions of radical thought written during the Romantic age, while his odes and shorter lyrics are often considered among the greatest in the English language. In addition, his essay A Defence of Poetry is highly valued as a statement on the moral importance of poetry and of poets, whom he calls â€Å"the unacknowledged legislators of the world. † While Shelley's significance to English literature is today widely acknowledged, he was one of the most controversial literary figures of the early nineteenth century. Keats was one of the most important figures of early nineteenth-century Romanticism, a movement that espoused the sanctity of emotion and imagination, and privileged the beauty of the natural world. Many of the ideas and themes evident in Keats's great odes are quintessentially Romantic concerns: the beauty of nature, the relation between imagination and creativity, the response of the passions to beauty and suffering, and the transience of human life in time. The sumptuous sensory language in which the odes are written, their idealistic concern for beauty and truth, and their expressive agony in the face of death are all Romantic preoccupations–though at the same time, they are all uniquely Keats's.

“Ozymandias” Themes Essay

The message or theme of the poem of â€Å"Ozymandias† is that man is insignificant and his efforts are vain when compared to the forces of time and nature. Shelly expertly uses diction in the poem to portray important ideas. By encompassing time and nature into a theme Shelley brings a divine sense to the poem. To consider the issue of the power of time and nature, the poet has the narrator reporting on a meeting with a traveler from ‘an antique land’ or Egypt, who told of seeing in the desert, the remains of a vast statue. Only the legs remained standing. The trunk was missing and the shattered face lay half buried in the sand, he told that the sculptor had skillfully captured the ‘frown, the wrinkled lip, and sneer’ on the ‘shattered visage’ through ‘passions well read.’ The importance of this traveler is that of symbolism. The traveler symbolizes the power that ‘Ozymandias’ has lost in his death. In health he was one of the most powerful people alive but now it takes a wandering traveler to spread a tale of the once great king. The power of nature is well represented by this part of the poem also. ‘Ozymandias’ told his subjects to ‘look on my works; ye Mighty, and despair!’ however, thanks to the power of nature there are barely and works left to look upon at all, let alone despair upon! It can be seen that nature has destroyed his works in the quotes, ‘shattered visage’ and ‘sand, half sunk.’ Thus the major theme of the poem is reavealed. The statue is described as a â€Å"colossal wreck boundless and bare† drawing a parallel for the reason in which it was built. The condition of the stones, descriptively worded by Shelley, only emphasizes the despair drawn into the stone by the sculptor’s hand. By using words such as â€Å"frown†, â€Å"sneer†, and â€Å"mocked†, the author provides us with a slight portrait of â€Å"Ozymandias.† It gives us a picture of a powerful king with no motivation or reason to smile. The phrase ‘cold command† portrays him as a militaristic leader that has seen more death and destruction than a whole army and has come to realize that even he is not able to compete with the Almighty. Shelley’s words â€Å"lifeless†, â€Å"decay†, and â€Å"wreck† apply not only to the statue the author is describing but also to the sculptor of the statue. These words encompass his entire being, and go far into bringing â€Å"Ozymandias alive in the reader. Shelley cunningly uses Nature and time to bring in the â€Å"Mighty† one. God is the only being that has been around since time and Nature began. He represents what â€Å"Ozymandias† could not achieve and that is immortality. â€Å"Ozymandias† did however leave a mark on the world but in time even that too will be overcome by the relentless forces of Nature and time that is God. In conclusion, the main themes of the poem are nicely summed up in mans insignificance to time and nature. Shelley also puts across the idea of despair superbly through delicate and subtle use of diction.

Stories of Scotboro essays

Stories of Scotboro essays Stories of Scottsboro. By James E. Goodman. (New York: Vintage Books. c.1994. pp. 274. $16.00) Currently in the United States of America, there is a wave a patriotism sweeping across this great land: a feeling of pride in being an American and in being able to call this nation home. The United States is the land of the free and the home of the brave; however, for the African-American citizens of the United States, from the inception of this country to midway through the twentieth century, there was no such thing as freedom, especially in the Deep South. Nowhere is that more evident than in Stories of Scottsboro, an account of the Scottsboro trials of 1931-1937, where nine African-American teenage boys were falsely accused of raping two white girls in Scottsboro, Alabama and no matter how much proof was brought forth proving there innocence, they were always guilty. This was a period of racism and bigotry in our country that is deeply and vividly portrayed though different points of view through author James E. Goodman. On March 25, 1931 nine African American youths were falsely accused and wrongfully imprisoned for the rape of two white girls. Over the next six consecutive years, trials were held to attempt to prove the innocence of these nine young men. The court battles ranged from the U.S Supreme court to the Scottsboro county court with almost every decision the same-guilty. Finally, with the proceedings draining Alabama financially and politically, four of the boys had the charges against them dropped with one boy plea-bargaining and the other four having to serve out their sentences given to them already by the court. Only one of the nine innocent Scottsboro boys was ever pardoned. Over time, the Scottsboro boys grew from boys to men and with the progression of their age so to do the attitudes of this country toward racism. Granted, there are still bigots and racist in the United States and in the south especiall...

What Makes Silicon Prairie The Best Place For Startups - CoSchedule

What Makes Silicon Prairie The Best Place For Startups You’ve probably heard startups have to be in Silicon Valley. That’s an understandable assumption. After all, it’s where many of the world’s biggest software successes call home. But, is it really where startups have to be located to be successful? Is it possible, or even probable, that there are other places where you can build world-class software without heading for the coast? For our team at , the answer is a resounding yes. In fact, as a proud North Dakota-based company (you read that right), we’re proof positive you don’t have to leave home to build great software. From local investment opportunities to a skilled and ambitious talent pool, we wouldn’t trade the benefits of our home state to be anywhere else in the world. With more than 8,000 customers located in 100-plus countries around the globe, we think the numbers speak for themselves. So, what makes the Silicon Prairie the best place for ? That’s the question we’ll answer on this episode of #OverheardFrom.What Makes Silicon Prairie The Best Place For Startups? | #OverheardAt Recommended Viewing: Where In The World Is Located? How to Focus on 10X Growth Projects How to Make Your Meetings Effective (And Not Suck) Transcript: Eric: Everyone knows the best place for a startup is Silicon Valley, right? Wrong. Welcome to the Silicon Prairie. Howdy everyone, this is Eric with and welcome to Overheard at , the show where we talk about the things we talk about a . Were flipping the script. Im out in the middle of the beautiful prairie here in North Dakota. Our customers jaws always drop when they find out that s based in Bismarck and I love it. We are merely miles from the geographical center of North America so you know what? How about we find out how the middle of nowhere suddenly becomes the middle of everywhere. All right, were here with Garrett Moon, CEO, Co-founder of . I find this absolutely incredible, Garrett. Were sitting behind the world map. Weve got 8,000 customers in 100-plus countries and were doing straight out of North Dakota, which I love. Youve got to fill in the rs out there, what is this North Dakota advantage? Garrett: Oh, theres tons, besides the weather we also have things like were a technology company in a state thats actively trying to grow in the technology sector, so theres a ton of economic advantages, incentives and things that come our way that way. I think theres also just this dynamic of were able to be a big fish in a little pond rather than being a little fish in a big pond. That helps us stand out, it helps us really differentiate ourselves from other employers and stuff in the state and it gives us a ton of value going forward. Eric: Hi Emma. Emma: Hey Eric. Eric: What do you love about North Dakota? Emma: Obviously the people. Definitely the hot dish. Eric: So good, right? Emma: So good. Third, the jobs. I actually moved here from Florida because of the job opportunities for millennials. Eric: You dont say? Youre so smart, Emma. Emma: Thanks Eric. Eric: Later. Emma: Later. Eric: Hey Jordan. Jordan: Hey man. Eric: Hows it going? Jordan: So good. Eric: Good. Youve been here a whopping month now, is that correct? Jordan: Thats right, yeah. Eric: Okay, this is the perfect question. Im asking folks why North Dakota and why ? Jordan: First of all, killer team, insanely cool product and its nice to be back in our hometown. Eric: Your hometown, youve got to tell me more here. Jordan: Thats right. Wife and I did Minneapolis thing, did the Denver thing, but theres something about being back in your hometown, family around, AKA built-in babysitters thats just too sweet to pass up. Eric: I got it. So built-in babysitter, check. Helping marketers be more productive, check. Helping them get [sound effect] down, triple check. Jordan: Amen. Eric: I feel you. Take care, man. Youve got to love that a state as notoriously known for its cold winters has suddenly become the hotbed for marketing technology. Im Eric with . Thanks for tuning in to Overheard at and our quest to organize the world one marketing calendar at a time. Yee-ha!

Business Planning- ECO chair Assignment Example | Topics and Well Written Essays - 1250 words

Business Planning- ECO chair - Assignment Example The group members plan to form a private limited company in making this echo chair in order to commercialize the idea in real market in the UK. The business is going to be funded 67% by the group members 33% by investors who are interested in our business. The mission of the business is to produce furniture that are environmentally friendly and use naturally available products that are cheaply available. The report presented the key elements of a conventional business plan such as production, marketing, profitability, and competitive advantages (Rumelt, 2011, p.66). The business concept of the group is based on environmental trends of concern to people’s daily life and the social importance of outdoor activates and events. The large printable surface of the chair can be a major strength in the commercialization process since it provides a special channel for advertising the product to the market. The process from market analysis to company financials guides the walk through the essential components of the plan. This includes how to come up with funding request or obtaining additional funds for the project (Vesper, 1996). These key elements of a business plan include product description, people involved in the project, marketing, and finance. The echo chair is a new and the unique product from the conventional innovative products. The concept is inspired by the need for environmental protection and use of natural renewable resources. The product developed by the group will use cheaply available renewable resources making it a viable idea. Initial production process of the product is to be outsourced to external manufacturers who will help with the design. This will help in reducing initial cost of establishing a manufacturing unit, human resource management, and equipments. In order to ensure quality control, the original materials for manufacturing the