Monopoly An Analysis of Its Transactions Essay Example

Monopoly: An Analysis of Its Transactions Essay In 1933, Charles Darrow lived in the period known as the Great Depression. During this period the United States was experiencing massive unemployment and misfortune. This heightened period of economic ruin gave rise to the board game Monopoly which promised its players vicarious fame and fortune through characters such as a dog, a car, a horse, and many others. In addition to its leisure value, Monopoly provides valuable lessons in business, specifically for those interested in Accounting principles. The overall objective to Monopoly is to bankrupt all of your opponents. To do this, a player needs to acquire multiple properties while maintaining a reasonable amount of cash to pay debts such as rent and fees. The example company used in this analysis was Edwards Property Management (EPM) who managed properties for other companies and stayed at other properties in order to assess their competitive value. The company goal was to own/rent certain monopolies and to manage others for companies. To start the business, EPM borrowed $1500 from the local bank. This money will be used to purchase property, pay taxes and general operating expenses. These funds were acquired as a note payable at 10% interest. The starting capital was recorded in the journal on January 1, 2001 and the game began. In this scenario of game play, the four corners of the board represented the 4 quarters of the year for EPM. Adjusting entries for the interest due to Monopoly Savings and Loan were journalized to the Interest Expense and Accrued Expenses accounts. This was done to attempt to show the true value of EPM. If we had not made these entries, we would have been overstating the value of the company. The entries were tedious but proved to be helpful. An example of one follows: We will write a custom essay sample on Monopoly: An Analysis of Its Transactions specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Monopoly: An Analysis of Its Transactions specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Monopoly: An Analysis of Its Transactions specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Mar 31, 2001 Interest Expense 37.50 Accrued Expense 37.50 Description: First quarters interest on funds borrowed from Monopoly Savings and Loan for operating expenses. In the first year, Edwards Property Management invested in a hotel on Connecticut Avenue along with several other properties including Tennessee Avenue, Ventnor Avenue, and Pacific Avenue. These properties were bought with cash and intended to be rented by EPM for Rent Revenue. Their corresponding journal entries reflected their purchase with the balancing side of that entry to the Building-Hotel account and to the Hotel Property. We made an across the board assumption that twenty percent of the value was attributable to the land and eighty percent was attributable to the building. For example: Jan 1, 2001 Building Hotel 96 Hotel Property 24 Cash 120 Description: Purchased Connecticut Avenue with cash. Assumed 80% of value is in existing building and 20% was in the land purchased. Given the current accounting rules, the land was not amortized but the buildings were. These buildings were depreciated over 10 years using the straight-line method. Because the actual date of acquisition for each of the properties varied considerably from the start of the year, EPM used the half-year convention as visible in the chart below. As a fee to their clients for managing their properties, EPM charges a flat fee of $200 per year total (one turn around the board) regardless of the number of properties managed. This fee is collected as the EPM representative (in this case the dog) passes the proverbial Go corner which also triggers the new fiscal year. This $200 is booked to the Precollected Revenue account. This money is precollected for services to be rendered throughout the year. The cash is recognized but the revenues are not recognized until the service is provided. Jan 1, 2001 Precollected Revenue 200 Cash 200 Description: Received revenue from clients for managing properties. $50 to be earned per quarter. We use the liability account, Precollected Revenue, as a representation of our own obligation to provide property management services to our clients. Adjusting entries are made at the beginning of each quarter to show earned revenue. Throughout the year, Edwards Property Management stays at competitors properties to perform competitive analysis of their offerings including the state of the property, cost, availability of beds, and general hotel assessment. The competitors charge Rent for each visit. These values are part of the expense of day to day operations. For example, in July of 2003, EPM prepaid rent for the second half of that year. EPM anticipated only needing one visit to assess the hotel but nonetheless, prepaid rent for half a year at that visit. The total prepaid was $22 which our competitors gladly accepted. There were two adjusting entries for the third and fourth quarters to spread the expense over its potential service life (the second half of 2003). Journal entries were made against Cash and Prepaid Rent Expense for the outlay of the expenditure. The reconnaissance mission was a success and we benefited greatly from the experience. One visit to Community Chest showed that lady luck was no longer on the side of Edwards Property Management. The card had explained that we owed $100 for a hospital visit. This happened when a client had slipped and fallen on the ice while EPM was showing their prized property, Boardwalk. In order to avoid a lawsuit, EPM immediately called the hospital and had an ambulance sent over. The client was very understanding and accepted our apologies. The accountants viewed this expense as an entry to the Medical Expense account. Jan 1, 2001 Medical Expense 100 Cash 100 Description: Paid for hospital visit when Mr. Slipper E. Feet fell on ice at the Boardwalk property. The Medical Expense was aggregated into the Miscellaneous Expenses account at year end as there were no other medical expense attributed to the company. The competition in the property management business was tough for Edwards Property management. In their fifteen years, they built an empire that spanned from Baltic Avenue to Boardwalk. However, they eventually were outgrown by the Car and the Hat who formed a larger corporation containing two monopolies, one consisting of the red properties and the other consisting of the purple properties. Competitive analysis proved to be too costly while visiting properties such as Illinois Avenue or New York Avenue. Luckily, EPMs accounting records were as solid as their reputation and the new corporation paid handsomely for the goodwill that EPM had built.

Life and Works of Lee Bontecou, Sculptor of the Void

Life and Works of Lee Bontecou, Sculptor of the Void American artist Lee Bontecou (January 15, 1931–present) came of age at the outset of massive change in the United States. She was born in the throes of the Great Depression, came into consciousness during the Second World War, matured into an artist as the Korean War and other conflicts arose, and continued her practice throughout the Cold War, confronting issues like the Space Race and the threat of nuclear powers in her work. Fast Facts: Lee Bontecou Full Name: Lee BontecouOccupation: Artist and sculptor  Born:  January 15, 1931 in Providence, Rhode IslandEducation:  Bradford College and the Art Students League of New YorkKey Accomplishments: Represented the United States in the So Paulo Biennale in 1961, received a solo exhibition at the star-maker Leo Castelli Gallery in 1966, and was featured in numerous group shows. Early Life Growing up, Bontecou split her time between the New England city of Providence, RI and Canada’s Newfoundland, where she spent her summers. She was deeply enthralled by her physical, natural world. In Newfoundland, she was given the freedom to roam, explore the minerality of wet sand on Canada’s Eastern coastline, and escape to her room to draw images of the flora and fauna she encountered on her adventures. Bontecou’s father invented the first all-aluminum canoe, while her mother had worked in armaments factories during World War Two, making wires for use by the army. It is not hard to see both of her parents’ life circumstances as having an effect on the artist’s work, as the machinery, rivets, and junctures that both mother and father would have known in their professional lives made their way into the synthesized mounted sculptures for which Bontecou became known. (Some compare Bontecou’s work to engines, others to guns and cannons, but there is no doubt that there is something of the constructed, man-made world of industry in them.) Art Education While Bontecou certainly showed signs of an artistic inclination in her youth, her formal training did not begin until after college, when she enrolled in the Art Students League in New York. It was there that she discovered her love of sculpture, a medium that  resonated with her artistic sensibility. The work Bontecou produced while at the Art Students League earned her a Fulbright Grant to practice in Rome for two years, where  she lived from 1956-1957. It was in Rome that Bontecou discovered that  by adjusting the oxygen levels on the blowtorch she used in studio, she could create a steady stream of soot with which she could effectively draw as if with charcoal. Unlike charcoal, however, this soot produced an even deeper black color, one by which Bontecou was captivated- whether this fascination was due to memories of playing in the primordial sludge on the beaches during  her youthful summers in Canada or the fact that the color reminded  her of the unknown abyss of the universe is unknown, but both are equally plausible explanations.   With this new tool, Bontecou produced drawings she called â€Å"Worldscapes. These drawings are reminiscent of horizons, but feel as if they encompass the depths of space and the human soul simultaneously in their dark surfaces. Success and Recognition In the 1960s, Lee Bontecou saw much commercial success for her work. She was notable for both her  young age (she was in her 30s) and her gender, as she was one of the few female artists receiving such honors at the time.   Bontecou represented the United States in the So Paulo Biennale in 1961, was given a solo exhibition at the star-maker Leo Castelli Gallery in 1966, and was featured in group shows at the Museum of Modern Art, Corcoran Gallery in Washington, and the Jewish Museum. She was also the subject of numerous  articles  in popular magazines with national readership beyond the bounds of the art world.   Lee Bontecou, Untitled, 1963.   Museum of Modern Art By the  decade’s close, however, Bontecou had retreated from the art world. She began teaching at Brooklyn College in 1971 and would teach there until the 1990s, after which she moved to rural Pennsylvania,  where she still lives and works today. Notable Motifs and Style Bontecou is known for the presence of black holes in her work, often protruding physically into the observer’s space. Standing in front of them, the viewer is overwhelmed with the uncanny sensation of confronting the infinite, the abyss. She achieved this astonishing effect by lining her canvas structures with black velvet, the matte textured surface of which would absorb light, making it difficult to see the back of the work and producing the sensation that it could be, perhaps, without any back at all. The structural part of these works are pieced together scraps of various materials, from the canvas strips she scavenged  from the laundry above which she worked to the abandoned U.S. Mail bag she found. Bontecou would sometimes distance herself from the vertical picture plane and take to the air in her construction of hanging mobiles. Though they depart formally from her earlier works, these hanging sculptures share similar preoccupations with the wall sculptures, as they can be simultaneously seen as constructions of our minutest structures of existence- the forms of interacting molecules- or of cosmic significance, that is, the orbiting of planets and galaxies. Lee Bontecou, Untitled, 1980-1998.   Museum of Modern Art For Bontecou, the strange foreignness of her work was comprehensible when approached from her life circumstances, which is not to say her works are autobiographical, but rather, she worked from what she gathered within herself. As she said of her work: â€Å"This feeling [of freedom I derive from my work] embraces ancient, present, and future worlds; from caves to jet engines, landscapes to outer space, from visible nature to the inner eye, all encompassed in the cohesiveness of my inner world. Legacy Lee Bontecou’s work was born from the complex geopolitical tensions in the world, the advent of a mechanized total war, and the jostling for power that ensued during the Cold War.  While her work evokes munitions factories and the Space Race, subsequent generations- born safe from the threat of Hitler and after the Vietnam draft- can and will stand in front of Bontecou’s abstract works and think of the infinite mystery of which we are all a part. Sources Modern Women: Veronica Roberts on Lee Bontecou. YouTube.  . Published August 2, 2010.  Butler, C. and Schwartz, A. (2010).  Modern Women. New York: Museum of Modern Art, pp. 247-249.  Munro, E. (2000).  Originals: American Women Artists. New York: Da Capo Press.

American History Research Paper Example | Topics and Well Written Essays - 250 words

American History - Research Paper Example Clayton Holbert’s mother and grandmother were freed in this way but later captured by â€Å"what they called ‘nigger traders’† and sold them back into slavery (p. 287). The Holbert family experienced the end of slavery like so many others: they were free, but had no way to earn a living, no place to go, and no education. The Holberts stayed on with their former master and eventually bought a small farm nearby (pp. 288-289). The concept of freedom for these families only meant that they were no longer owned by someone; they continued to live their lives in familiar places doing what they had always done. Looking back on their slavery experiences, both Holmes and Holbert remember their former lives with some nostalgia. Clayton Holbert comments, â€Å"People were more friendly than they are now. They have almost lost respect for each other† (p. 286). Joseph Holmes comments, â€Å"in dose days white folks wuz white folks an black folks wuz black folks† (p. 7). Admittedly, both of them were children at the end of the Civil War, and both had lived a vast majority of their years as free men. The difficulties and hard living which happened to them and their families after the war affected how they felt about slavery, and when white people and black people mixed together freely the black people were exposed to many more hateful whites than when they were segregated. Reading these interviews gives us an interesting perspective on what freed slaves felt and thought, both about their freedom and about their lives afterward. Everybody remembers their lives through the filters of time. These two men did not remember being mistreated by their masters, and so they have few bad memories of their former lives. For them the transition from slavery to freedom made little difference in how they eventually led their

Multicultural Issues in Human Communication Essay

Multicultural Issues in Human Communication - Essay Example The fact is that many African American students are facing academic problems due to their inability to speak and fully comprehend standard English and, therefore, the use of AAVE as a language of instruction during the transitional stage towards learning standard English, will improve the academic performance of these students and teach them standard English fluency. There are several dialect within American English. As Pei (1958) explains, the coexistance of two or more languages, each fulfilling different purposes, or the same one, is as old as language itself. According to Pei (1958), AAVE is the most widely spoken of these dialects in the United States and its use, as a tool in language instruction, will not threaten Standard English. Indeed, the use of Ebonics as a language of instruction in the transitional stage towards teaching African American students fluency in Standard English, will strengthen, and not threaten, the linguistic unity in the United States. ... The implication here is that the adoption of AAVE will not threaten standard English but can positively contribute to the acquisition of fluency in it. The academic performance of African American students illustrates that there is linguistic disunity in the United States. This can be solved through the use of AAVE as a tool for eliminating the language barriers that exist between blacks and whites. AAVE will not only improve the Standard English linguistic skills of African American students, leading to better academic performance but, will give white teachers the ability to understand their black students as students and not as black students, distinguished from the whites by more than colour. The social psychologists, Williams and Whitehead (1973) have observed that African American children are stereotyped according to whether they speak AAVE or Standard English, creating a communication problem between the student and the teacher. The teacher is unable to objectively evaluate the child and the child becomes nonresponsive to the teacher. As Williams and Whitehead (1973) report subjects listened to dialogues spoken in different d ialects and described the personality of the speaker accordingly. Non-English, or non-standard English speakers were given negative personality characteristics. The authors argue that it is, therefore, important to teach teachers what AAVE is and to help them understand it as a valid dialect and not jump to the conclusion that those who speak it are of poor intelligence, come from poor backgrounds, live in violent neighborhoods and are not very interested in school. Williams and Whitehead (1973) also point out that this attitude is clearly communicated to the African American students and becomes an obstacle to academic

Answer the questions Assignment Example | Topics and Well Written Essays - 500 words - 4

Answer the questions - Assignment Example Secondly, McCoy was tired from the lock trek he had already been on; therefore, carrying the Sadhu down the slope was going to be a more than impossible task to accomplish. Additionally, everyone in the group was disjointed, and thus there was no common ground to make a decision. As a defense for McCoy, I would say that the circumstances that prevailed in the mountain provided him with little or no rope on which to make an informed decision. Each decision he would have made would have had consequences. The decision he made to treat the Sadhu for hypothermia helped a great deal to bring the Sadhu back to vigor from the lifeless state he had been in prior to the McCoy’s intervention. In conclusion, McCoy did something to mitigate the situation even if it was enough to suffice the situation. In this case, I think McCoy would have stopped to help. Women and children are vulnerable and as such, McCoy would have been motivated to help. Additionally, there is a vast chasm between the Western culture and Asian culture since McCoy hails from the western culture he would have stopped to help the western woman. Besides, children are a responsibility of everyone in the Western culture; therefore, he would have also been forced to help if it were a child. McCoy helping a western woman or a child matters because failure to do so would lead us to question his values, as well as moral grounding. Women and children are vulnerable and as such, it is essential to assist them. Context is essential for us to empathize with McCoy in this situation. Besides, context enables to learn from experiences and hence make a better decision in the future. The conditions that prevailed in McCoy’s case were grave, and McCoy was in danger of being spent up or getting an attack of altitude sickness. Absolutely. The dangers that one faces on top of the mountain are life-threatening in nature – altitude sickness, accidents, hypothermia – to mention but a few. When making a judgment, in

Musical Cabaret Overview And Analysis Theatre Essay

Musical Cabaret Overview And Analysis Theatre Essay I choose the musical Cabaret as it is a very powerful story, set in 1931 Berlin as the Nazis were rising to power; it focuses on different controversial issues of its time period. A number of issues are explored throughout the unfolding story of the cabaret such as sexual freedom, politics and anti-semitism I feel audiences will be attracted to this Musical because of its powerful lyrics and storyline, in particular, the two love stories: Cliff Bradshaw and Sally Bowles; Fraulein Schneider and Herr Schultz, and the way the different characters are portrayed in the musical. 2. Text: What are the ideas the playwright/ librettist is trying to express? What is the relevance of the musical to contemporary Australian audiences? The romantic love stories of two couples and the impact society has on their relationships: the story of a young English cabaret performer Sally Bowles and her relationship with the young American writer Cliff Bradshaw; and the other story of a German boarding house owner Fraulein Schneider and her elderly suitor Herr Schultz, a Jewish fruit vendor. Both relationships are doomed to failure. The musical is very relevant to contemporary Australian audiences Audience will want to see this production, not only does it have excellent music but it portrays some very strong controversial issue of the time period. These issues are still present in our time. It is also important that we as Australians are reminded of the historical past and what we can learn to fight intolerance. 3. Costume, Sets and Props: What requirements are there in each of these areas? Costume Emcee wearing a long black leather coat and boots, eyes highlighted with blue eye shadow, lips coloured blood red, bowtie attached to parachute harness Each cabaret girl to portray a distinct personality need to sing, dance, act and play musical instrument, they do not have to look spectacular, look like scanky low class girls. Cabaret girls wear scant lacy undergarments with holes and ladders in the stockings. The figures onstage look ghoulish. Sally Bowles various refer to photograph images below: Ernst Ludwig dressed in trench coat in Act 1, Scene 2, and brown suite, etc. Cliff Bradshaw dressed in woollen suit and vest + tie. Herr Schultz -see photograph images below Fraulein Schneider -see photograph images below Fraulein Kost -see photograph images below Sets Act 1 Scene 1: Cabaret Scene Broken light bulbs surrounding stage see model. Act 1 Scene 2: Train Carriage Front of stage Act 1 Scene 3: Fraulein Schneider Boarding House Backdrop of 3 doors with light fixture dropped from ceiling, see model. Act 1 Scene 4: Cabaret Scene Kit Kat Klub full stage Act 1 Scene 5: Cabaret Scene Kit Kat Klub near spiral staircase Sallys dressing room Act 1 Scene 6: Cliffs room -backdrop of 3 doors left side of stage Act 1 Scene 7: Cabaret Scene full stage again, focus on kit kat klub Act 1 Scene 8: Living Room of Fraulein Schneiders boarding house right side of stage Act 1 Scene 9: Front of Stage Act 1 Scene 10: Cliffs room -backdrop of 3 doors left side of stage Act 1 Scene 11: Living Room of Fraulein Schneiders boarding house right side of stage Act 1 Scene 12: The Fruit Shop window suspended Act 2 Scene 1: Cabaret Scene Act 2 Scene 2: The Fruit Shop Act 2 Scene 3: Front of Stage Act 2 Scene 4: Cliffs room -backdrop of 3 doors left side of stage Act 2 Scene 5: Cabaret Scene Kit Kat Klub Act 2 Scene 6: Cliffs room -backdrop of 3 doors left side of stage Act 2 Scene 7: Railway Station / Cabaret Scene Props Optional 6 tables with telephones in cabaret scene Train carriage bench seat or 3 chairs Brown suitcase x 2 Black briefcase Typewriter and case Newspaper Table or large trunk and 2 chairs Optional dressing table, mirror to one side near stage left spiral staircase front of stage Suitcase (Sally) + 3 more Sally wearing fur coat 6 chairs. Girls dance on them for caberet scene Brown paper bag containing pineapple Small wind-up gramophone Table and 2 chairs Bottle of Gin + 2 glass Large gift-wrapped package Envelope with money Box containing fruit bowl Suitcase (Schultz) 4. Briefly outline how lighting and sound will contribute to your production. Prepare a list of the sound and light effects you would like and indicate when they occur in the production. Lighting Design A single normal house bayonet light hanging down in the centre of stage, this would be used for a symbolism of inside a room and the lighting which would normally illuminate the room. For this musical, the lighting design will have to be very carefully planned, in terms of position such as, angles and thrust distance. As well as fixture selection taking into consideration the physical characteristics such as beam size, wattage, luminosity, fixture type, etc. To light this stage effectively the stage will be broken up into a grid and each part of the stage will be illuminated I would like to use intelligent fixtures with conventional fixtures. The intelligent fixtures would be great for scenes like the Kit Kat Club as this scene depends on colours and shadows to give the audience the right illusion of a seedy night club. Also, the beam of an intelligent fixture is quite sharp and doesnt really produce much spill on stage so it would be fantastic for solo spots. I would incorporate the use of follow spots, as I would like to keep the show in its traditional form and in keeping with the historical context. Follow spots are good for things like the Emcee as he moves around the stage. For the cabaret scenes, use of deep blues, purples and pinks colours silhouetting the Kit Kat Club girls on stage. Lightings surrounding the stage and suspended window, door arches (e.g. I have included photos from previous shows I have designed to illustrate my ideas see at the end of this report), and the second stage level floor will be bordered with festoon lights. These lights can then be chased. I want to portray a very dingy, run down club where some of the globes will be broken or missing, at the same time as the girls on stage will look sexy, as well as giving the set a very seedy appearance. There are three main different sets common in this production: train scene, inside Fraulein Schneiders boarding house, and inside the Kit Kat Klub. Each one of these different sets has a different appearance where the lighting is used to highlight and mark the difference to the set. For the train scenes, the lighting on stage will be focused mainly in front of the proscenium line with the rest of the stage in darkness. The colours used for this particular scene will consist of open white, fixtures will not be at full intensity as I want to achieve a dull Tuscan amber appearance. Lighting in the train carriage is not really bright and the majority of the light source will be coming from windows letting in the outside light from outside lights. The second set scene is inside Fraulein Schneiders boarding house the lighting will be very much the same as in the first scene inside the train carriage. However, more of the stage will be lit, up to the back walls revealing three doors. Top level of the set remains in darkness as it is for the cabaret scenes for the Kit Kat Klub. There will be at least 3 hot spots for the boarding house scene where both Cliff and Fraulein Schneider move in most of the scenes. These hot spots will be located along the front proscenium line along the edge of the stage, and 3 lighting hotspots along in front of each door. Colours used will remain dim; most of the light on stage will look like its coming from the one hanging lighting batten as a light fixture which is incorporated into the set. The lighting will aim to show an old run-down boarding house where maintenance has been neglected. The final set is inside the Kit Kat Klub, the entire stage will be washed in purples, pinks, reds, blues and a bit of white thrusters to illuminate faces. The scene is set in a seedy and dirty-looking night club. For the lighting of this scene I want the lighting to cast a silhouette effect on the girls dancing for the cabaret numbers. As the music changes and different scenes are set in different parts of the Kit Kat Klub the lighting changes with the mood. The majority of the lighting for these scenes will be coming from sources side, top, and behind of stage. The lighting creates a powerful perspective illustrating the emotions portrayed on stage. An effect only seen when we are inside the Kit Kat Klub is the festoon lights surrounding the edges of the stage and the suspended mirror in the backdrop of the set. When inside the Kit Kat Klub these lights are just on still, but when during song numbers these lights will be chasing forward, the classic Broadway lighting effect. Main actors will be lit with use of the follow spot, the rest will remain in silhouette. Sound Design All the music for the songs would be performed live by the band/orchestra which I intend to incorporate into the production by having them seen by the audience and positioned in acting blocked areas framed upstairs in the suspended picture frame. Various sound effects will be used to help portray to the audience realism. For Act 1 Scene 2 Cliff is on a train to Berlin a screeching sound effect of a steam train travelling is used as background sound as if they are actually in a train carriage. To mark the opening of scene 2, a train whistle sound effect is used. Another effect used is of a crashing symbol to mark the change of scene. A sound effect used for act one scene 9, is of a voice of a young boy singing beautifully and the sound of a steam train in the background. Another sound effect is of a window shattering to mark the end of Act 2 scene 2. 5. Characters and actors: what kind of people are the characters of the musical? In what kind of world do they exist? If you had complete freedom of choice, what actors would you cast in your production? Emcee Sally Bowles Cliff Bradshaw Fraulein Schneider Herr Schultz Fraulein Kost Ernst Ludwig is a member of the Nazi Party and befriends Cliff Cabaret Girls Cabaret Boys are homosexual and work at the Kit Kat Klub 6. How many production crew/ staff are required to stage this production (during the season ignore pre-production)? Draw up a running crew list, with a description of what each person will be responsible for. Title Quantity Description of responsibility S7tage manager 1 Production week ensure all set building, lighting equipment, props, costumes, furniture and equipment ready. Do cue sheets, prop settings and running order Prepare assistant stage managers running plot Do lighting and sound synopsis Organise time fro technical rehearsal and dress rehearsal At technical rehearsal, make all final checks and discuss all effects with Director Time cues and calls in prompt book Finalize all elements of prompt book Attend dress rehearsal and note any problems. First night and performance run Check everything Remain calm Reset play after performances Give calls and check all actors and crew present Liaise with front of house staff Note any alterations or repairs necessary. Lighting Designer 1 Rehearsal: Go though the musical scene-by-scene with the Director to plan precise lighting details. Work out presets and cues and help stage manager to mark the prompt book Buy or hire equipment as needed Work out a lighting synopsis with the stage manager Production week: Rig and focus lighting fixtures Attend technical rehearsal and test lighting and solve problems Make final adjustments and prepare controls Lighting Operator 1 Program lighting cues as discussed during rehearsals with stage manager and director. Attend technical and dress rehearsals. Fix any problems with lighting designer. Assist with lighting designer with making final adjustments. Makes sure has all cues written in script Operate the lighting console for the session Sound Engineer/ operator 2 Attend Production meetings and rehearsals Research, planning and purchasing sound effects recordings, equipment, supplies Met with Director Hire and rig sound equipment Sound plot, mark in script with Director Attend final dress and technical rehearsals Operate the sound console for the session Orchestra 8 12 Rehearsal all music parts from the score with all members of the orchestra Conductor meets with director, stage manager and sound engineer to discuss cues for lead in and out. Organise the running of the show Attend all shows of the session, Stage Hands 4-6 Assist the stage manager. Move props and set pieces around the stage for each scene change. Organise the actors and escort and cues actors to when to come onto stage and off. Director 1 Is to organise and meet with every department to ensure that everyone is ready for the upcoming session week leading up to the opening night Polish final rehearsals. Make sure all problems have been solved before show commences. Attend light and sound plotting sessions Attend all rehearsal leading up to the show discuss notes. Set Designer 2 Attend Dress And Technical Rehearsals Make minor alterations Load in the set and help with the construction Supervise the Set Builders. Organise props Make notes of any problems in the last rehearsals leading up to opening night Make sure all props and sets have been finished been built and ready to be put in place on stage Transport set from work shop to theatre venue Costume Designer And makeup artist 6 Check all costumes are finished Make sure any last minute orders have arrived ready in time for opening night, eg wigs Attend all rehearsals leading up to show opening Have all actors in costume for the dress rehearsals Check make up, and add suggestions to individual makeup artist, check how all actors look on stage. Administration 10-12 Organise the box office Sell tickets Work in FOH; sales, bar, ushering Organise and arrange FOH displays, Print Programs Look after the audience. Organise the theatre ready for the audience members Attend final rehearsals Set Builder 6 Install the set Repair any wear and tear damagers Fix all the minor details and finishing touches to the set. Paint the set Assist the set designer 7. Design: How would you describe the imaginative world of the musical? What is its Location? What is the period of your production? The period of this production is set in Pre-World War Two 1930s in Berlin, the capital city of Germany. This should be a minimum of 300 words, and rather than giving a synopsis of the productions. Should give an understanding of what you liked about it why it inspired you. It should be a personal response to the production, and should at least touch on how the technical elements of the production supported the narrative. Wicked My experience in theatre has been with amateur productions it was exciting to see a professional show of the magnitude of Wicked. The stage for Wicked was imaginative and impressive. The lighting in Wicked was particularly inspiring and I could easily make connections to my past lighting experience such as in Wizard of Oz, an amateur production I was involved in with a similar storyline. I can see how aspects of Wicked could be incorporated into the Wizard of Oz production to make it more professional. Special effects were projected throughout the production to add to the set and properties, to portray illusions into the audience. The image of Glinda opening entrance when she descended in a bubble onto the stage was fabulous. Another example was seen in the creating of rain. I was awed by the lighting effects produced by the projectors to create the backdrop of the magical green sparkle on the backdrop of the map of Oz which was seen as the opening and closing of the production. In the final scene in Act one during the song Defining Gravity, Glinda is singing about her feelings of being scared, after she was tricked by the wizard to use her magical powers to turn the talking monkey into an evil flying monkey unable to talk. She uses her flying broom stick to escape, I was inspired by the lighting as it was used in a dramatic way as she rises into the air, use of prism scattered gobos in all 5 intelligent fixtures focuses on her as she ascended into the sky, creating a powerful silhouette of colour and rays of light in all directions, ending in a quick blackout to end the song a very powerful ending using the lighting. The use of lighting elements such as colours to create mood, gobos to add patterns and shapes allows the audience to move from reality to the imaginary world of Oz. In Wicked the attention to detail was very obvious. The use of fairy lights built into the set and the use of tracks to move sets on and off stage was amazing and resulted in an impressive production. My goal is to produce theatre as amazing and as professional as what I saw in this production especially in lighting and sound.

Paul Monettes Love Alone :: Poetry Poem Poet Essays

Paul Monette's Love Alone Loss. Grief. Mourning. Anger. Disbelief. Emotions are in abundance when a loved one passes away. People need to find a way to cope with the situations and often need to express themselves by writing their feelings down in order to get them out. This is exactly what Paul Monette does in his book of poetry title â€Å"Love Alone† in remembrance of his companion Rog. Through writing his poetry Monette describes his emotions and the events that occurred during Rog’s battle with AIDS. By Monette’s transitioning through different emotions, the reader begins to understand the pain the author is dealt. Touching upon Kubler-Ross’ five stages of death including denial, anger, bargaining, depression and acceptance, Monette transitions to Rog’s decline in health. Using different fonts and no punctuation, the lines are interpreted by the reader using instincts to know when to begin and end a sentence. Evident in the poems â€Å"The Very Sameà ¢â‚¬ , â€Å"The Half-life†, and â€Å"Current Status†, Monette gives a description of loss that makes the reader tingle. The poem â€Å"The Very Same† was written at Rog’s funeral. Family and friends of Paul try to get him to move on but Monette, being insulted to think that he can move on so quickly, does not adhere to the advice. Monette felt a special connection with Rog and felt as if a part of him died when Rog died He felt as if he lost his other half. To express the intonation in which the reader should interpret the poem different styles of font express the emotions and give the tone of Monette’s voice. â€Å"BUT THIS IS MY PAGE IT CANNOT BE TURNED†(Monette 20). Written in all capital letters the reader interprets this as an exclamatory remark. The italics on â€Å"is† emphasizes that word should be stressed. Monette is very angry at this point that everyone is telling him to move on, to â€Å"turn the page.† But he feels as if there is no page to turn to. He and Rog were one soul in two bodies. How can someone live with half a s oul. The use of italics is interpreted as a softened way of speaking.

Free and Open Elections Are the Cornerstone to Any Democracy Essay

Free and open elections are the cornerstone to any democracy. The citizens of the United States have fought for years to increase this right to everyone, but also keep each vote as strong as the next. However, it has become obvious to many that their voting power is being shortened each election cycle. Money and influence from powerful, wealthy interest groups and corporations have made their way into politicians’ coffers in the form of major campaign contributions. This system has resulted in voters calling for further campaign finance reform including more regulation of election funding and a higher level of transparency. When it comes to financing presidential campaigns, an entirely new playbook is being written. The traditional yardstick, the money raised by individual candidates, may countless this time. Instead hundreds of millions of dollars may come from a relatively new political animal, the Super PAC. This financing vehicle sprang up in the wake of a 2010 Supreme Court decision, Citizens United, which wiped away limits on corporate and labor union campaign spending (1). Super PAC is a term to describe the new independent-expenditure-only committees that form to fund issues and specific canidates. Basically, the Citizens United decision said that labor unions and corporations could spend unlimited amounts of money independently of candidates to convince voters to vote for or against someone. There is a lot of money that can be raised and spent on independent advertising along with other things. A very important point is this can all be done without coordinating with the candidates (1). A candidate’s ability to raise money on his or her own does still count for a lot. Financial reports released this weekend show Texas Gov. Rick Perry outpacing his Republican rivals, hauling in more than $17 million for the third quarter. With $15 million in the bank, he put away half-a-million dollars more than former Massachusetts Gov. Mitt Romney, who pulled in $14 million during the same period 2). No other major GOP contenders raised as much. Ron Paul was next with more than $8 million, but the rest raised substantially less and also had far less cash on hand 2). As for the man they all hope to replace, President Obama brought in nearly $43 million last quarter. And by the end of September, the incumbent Democrat had $61 million in the bank, more than all the Republicans combined 2). Some of that will likely be spent responding to attack ads from the new super PACs, like this one from the conservative group American Crossroads airing in North Carolina and Virginia (2). In just the last three months, according to the filings, the Obama campaign has spent more on payroll, more than $4 million, than several of the Republican candidates have raised 3). Fundraising in a post Citizen United world is characterized by a system of public secrecy and private disclosure 5). There are no current laws that prohibit any organization from spending large sums of money supporting a candidate and remaining private, while keeping the public in the dark. The most significant innovation is the rise of so-called Super Pacs, which can solicit unlimited contributions. These Super-Pacs would have happened without Citizens United. The organizational entrepreneurs that pioneered the Super Pac form, Speech Now, came up with this idea in 2007 and pursued this strategy long before Citizens United (1). A majority of the candidates campaigning in Iowa for the Republican Party’s presidential nomination are associated with at least one super PAC — one candidate had seven at last count 4). They are expected to pump hundreds of thousands — possibly millions — of dollars into political advertising leading up to Iowa’s Jan. 3 Republican Party caucuses and through other presidential primary contests continuing into next year 4). Fundraising numbers are important because they help generate buzz and excitement, and because in politics, money makes more money. It is unclear what problem, increased corporate disclosure is designed to solve, and given the past track record of campaign finance reform, there is good reason to be skeptical that disclosure will improve the political process at all. Research shows that campaign finance reform typically fails at achieving its intended ends 4). To give just one example, â€Å"clean elections† laws, under which candidates receive government subsidies in exchange for forgoing private contributions, did not change politics in states like Maine and Arizona, and earlier this year the Supreme Court ruled that the most popular version of these laws to be unconstitutional (1). It has been said that to evaluate the political effects of Citizens United (CU) by itself is a fool’s errand. It was the latest (and not the last) in a series of libertarian campaign finance cases from the Roberts Court (1). Much of the alleged consequences of that case are activities (such as unlimited spending by corporations on candidate related ads that shied away from specific messages of endorsement) these ads were also legal the day before the Court decided that case. Though certain activities by corporations may have been allowed even before CU, the extent of the decision has made such activities more likely (1). These ads are now sanctioned as core First Amendment activity. This decision points the definition of corruption away from inconsistent access and toward bribery. This seems to remove the appearance of corruption as a compelling target of campaign finance reform (1). The Court’s post-CU decision in the Arizona Free Enterprise v. Bennett struck down a public campaign funding scheme that also showed the broader implications of this ruling. Those cases have will have consequences beyond campaign finance because they raise important questions as to how and when laws burden on speech (1). The firestorm of public criticism that followed CU was unique. Campaign finance decisions do not usually rise to a level where the public pays attention to such cases (let alone to have a case mentioned in a State of the Union address) (1). One of the effects that the Citizens United decision had on politics worth mentioning is the almost flawless transition of â€Å"good government† groups from advocating for more direct limits on speech (1). Large, publicly traded corporations might be less likely to get involved in election financing than many people tend to assume – particularly if that involvement must be publicly disclosed (1). A recent study concludes that sixty percent of companies in the S & P 100 Index have already responded to CU by prohibiting spending corporate money on politics or disclosing their direct polit ical spending (1). Such spending could alienate potential customers; it could also trigger a shareholder backlash. Privately-held companies or those controlled by a single shareholder, are probably more likely to engage in election spending. On the other side, those who favor the status quo argue that tighter rules on these funds constitute a clear violation of First Amendment rights. The one good thing about this law is Justice Anthony Kennedy, reading from his majority opinion, emphasized that â€Å"Congress may not censor or regulate political speech, whether it is a person doing the talking or a corporation or union.† â€Å"At the core of the First Amendment,† Kennedy said, â€Å"and laws banning speech, infringe those basic constitutional protections.† Kennedy also pointed out that â€Å"under those laws,† â€Å"Congress also could diminish the voice of the media business if it chose.† â€Å"Government,† he said, â€Å"may not suppress political speech based on a speaker’s identity† 7). One group that supports Texas Governor Rick Perry, known as Make Us Great Again Inc., started the flow last week, buying nine days of advertising spots on local television to introduce the governor to Iowa Republicans 4). Des Moines television stations WHO, KCCI and WOI sold advertising slots that began Nov. 2 and ran through Friday for a combined $60,000 4). The Des Moines purchase was part of an overall $200,000 spent to air the 30-second spot in television markets across the stat. Meanwhile, the 9-9-9 Fund, a Super PAC aligned with former Godfather’s Pizza CEO Herman Cain, reported last week to the Federal Elections Commission that it had spent $5,000 for Internet advertising in Iowa and another $20,000 for contact calling to Iowa voters(4). And it isn’t just the Republican presidential candidates getting support from super PACs. Priorities USA Action, a committee formed by supporters of President Barack Obama, raised $3.1 million in its first six months and has spent $1.3 million. That super PAC recently began airing advertising on the Internet that is highly critical of Mitt Romney (4). Super PACs have much more muscle than other types of political action committees they have unlimited money-raising potential. Presidential campaigns can raise no more than $5,000 from an individual donor — $2,500 each for the primary and general elections, under federal election rules (4). Super PACs don’t have such restrictions, allowing them to raise and spend significantly more money. Obama campaign officials say their goal is to raise a combined $60 million in contributions to the campaign and the Democratic National Committee (3).That figure will likely top all of the Republican candidates combined. While they are courting large donors, campaign officials also are hoping to show that Obama has the same kind of broad appeal he did in 2008, when a record four million people donated to his campaign. President Obama is using his early lead in campaign fund-raising to bankroll a grass-roots organization and information technology system that is critical in general election battlegrounds. He is doing so even as the Republican candidates conserve cash and jockey for position in what could become a drawn-out nominating battle(3). Since the beginning of the year, Mr. Obama and the Democratic National Committee, for which the president is helping raise money to finance his party’s grass-roots efforts, have spent close to $87 million in operating costs, according to a New York Times analysis of campaign finance reports filed with the Federal Election Commission (3). That amount is about as much as all the current Republican candidates together have raised so far in this campaign. In recent months, that money has helped open campaign offices in at least 15 states. In contrast, the best-financed Republican candidates, Mitt Romney and Gov. Rick Perry of Texas, have physical presences in just a handful of early primary states like New Hampshire, South Carolina and Florida (5). Mr. Obama has spent millions of dollars investing in social media and information technology, applying a savvy and brute technological force to raising small-dollar donations. This same system is also firing up volunteers and building an infrastructure to sustain his re-election campaign for the next year (5). Mr. Obama brings unmatched financial resources to the campaign trail, and a team that is knowledgeable of where and how to deploy money, people and technology. Though the Republican National Committee has enjoyed strong fund-raising in recent months, it is also still paying down large debts incurred during the 2008 cycle. At the end of September, the committee was still $14.5 million in debt, according to campaign reports (3). Independent spending on negative or positive advertising has proven effective in making some races more competitive. Traditional fundraising by political parties has helped develop the traditional grass-roots organizing essential to winning elections. The United States does not have the kind of disclosure system that would inform the public about exactly who provided for the ads, but existing law do require each sponsor of such ads to disclose how much was spent. The movement for more reform has taken a sudden and drastic turn back due to the recent Citizens United v. Federal Election Committee ruling. This ruling has thrown decades of reform out the window, and opened the door for a flood of election money this country has not yet witnessed. Also, the lack of oversight into nonprofit organizations has hampered the transparency in elections. This decision will ultimately hurt the U.S. economy, allow greater corporate and non-profit political influence, and cause increased political indifference within an already weary general public (6). Because of corporate money funding campaigns, it is nearly impossible for an unknown to run in any major election. With all the money donated to front-runners, someone from the general public doesn’t stand a chance. In addition to the amount of money spent, it has become increasingly difficult to trace its origins due to non-profit organizations not having to disclose who their donors are. It is imperative that we as voters be informed.

Pauline Hanson An Opinionative Essay essays

Pauline Hanson An Opinionative Essay essays Beginning close to three years ago as a tiny, inconsiderable speck on the political horizon, Pauline Hanson has since seen her influence and attention in Australian politics skyrocket. So much so, in fact, that she is now arguably the most talked about politician in Australia, ahead of even the Prime Minister. She now has her own political party, One Nation, who will contest the upcoming federal election with a feeling of confidence after the party's success in the recent Queensland state election. However dismayed the rest of the political world are about this new threat, no successful plan or strategy has yet been found to curb her ever increasing popularity. Besides the other political party's feeling of dismay at One Nation's success, they have also experienced a feeling of disbelief as to how One Nation could win support with the current collection unattainable ideals and promises which they call their policies. This is not to say that all of their ideals are bad, but the unfortunate (or fortunate, depending on your point of view) fact is that One Nation do not have a single viable or intelligent policy. However they continue to gain support, and this is what befuddles the vast majority of sensible, rational Australians. It has been said that One Nation has gained support because of people's dissatisfaction towards the other political parties, and this theory could have some merit, sad as that may be. You would think that in a country like ours, voters should have an alternative than to vote for a party whose policies and selfish idealisms could only be detrimental to the country. However, after receiving promise after promise from t he major parties only to hear them be broken with unnerving regularity, this line of reasoning can be understood, although certainly not endorsed, and it goes someways towards explaining how One Nation have become an important consideration in Australia's political field. ...

7 Bad Speaking Habits You Should Avoid [Infographic]

7 Bad Speaking Habits You Should Avoid [Infographic] You’re always making an impression in the workplace. Don’t make an amateur mistake and think that people don’t take note of your casual observations in the break room or  whispered hallway  complainfests. What you say in the workplace stays in the workplace†¦and colors how people perceive you and your level of professionalism. You need to remember that you aren’t among your buddies–you’re at a place of employment, where even the most talented employee can come across as negative, petty, and untrustworthy due to misspeaking in word or in tone. Read on to find Business Insider‘s 7 Habits of Bad Speakers, and then work to eradicate these habits from your daily speech.

Advertising and society Term Paper Example | Topics and Well Written Essays - 2750 words

Advertising and society - Term Paper Example I am able to decipher the true meaning of this advertisement through the insight that is available and the knowledge that I have attained over a period of time. I am sure that whosoever comes across this advertisement will have an impact in a significant way. This is the reason why people like me, my friends and the ones who are near and dear to me appreciate the true value of this advertisement, no matter how many times we watch it. This paper will take a keen look at an advertisement that has had an effect like none other, and pay close attention to the basis of semiotic theory – the signs and symbols used, the essence of social phenomenon, and a basic catharsis that is much required for a deep enough meaning that shall be attained regarding the advertisement under consideration. This advertisement which has been made by Japan Ad Council basically outlines how well The Children’s Foundation needs assistance on the part of just about everyone. The message in this adver tisement is very loud and if only one can understand what is being said, which is revealed in the ending; then the implied essence is clearly transmitted to the intended audiences of this advertisement. The need is to know where this advertisement is creating the ‘wow’ factor within the people and to what proportions because the ending reveals quite a revelation without a doubt. The empathy element seems to be present within this advertisement so that the viewers can feel for the children who are undergoing differential treatments at the hands of the authorities, and more specifically the school authorities. The empathy element is also predominantly strong since a young one is being denied the right to get educated in his own righteous way. Merely the fact that he is different from others does not give the people the license or tag a child as mentally unsuitable within the domains of the society. This is something that derives a great deal of value for the people and th e dimensions of the society. The child under discussion is being treated in a very wrong way and this has a major say in the make-up of this advertisement. The intended message is coming out loud which is much required. The people who will watch this advertisement again and again will feel that its storyline actually remarks their own life journey. They are doing much the same thing because they are not giving the young ones a chance to explore their entireties and reveal what is hidden within them to the maximum possible levels. Now is the time to touch base with the children so that they can become valuable citizens of this world and contribute with their respective talents, skills and abilities that they possess within their folds. However, this is always easier said than actually implemented within the related settings and it is a good idea to find out where the wrongs are coming into the fray and how these could be turned into the positives that are direly needed. As far as the semiotic theory is concerned, there is a pertinent need to find out where the message is making its way through and how the intended audience is being connected. This can easily be seen in the form of an ideology that suggests the assumption of empathy which works to good measure whenever children are used in an advertisement. The children premise is being correctly pointed out because it touches upon quite a few areas which are deemed as necessary to transmit the message in a fair enough manner. The semiotic theory easily mentions how planned a child was in his own thinking regimes, and how he was able to transmit this message through his drawings. The bigger picture could not be envisaged by the elders yet he was able to draw it somehow or the other, in a

As a Medical Administrative Assistant Assignment

As a Medical Administrative Assistant - Assignment Example Secondly, I would ensure that there are solutions for the above-mentioned drawbacks by providing an opportunity for patients to air their thoughts on all the areas of patient care. Further, I would conduct a survey on patient’s attendance to ensure they are provided with quality services. Lastly, proper documentation of the researched information would avoid confusion before the meeting because my thoughts would be well organized (Shelton 37). In the course of the meeting, I would present my findings in the most simplest way and engage my audience. I would make sure that the meeting is an open discussion while maintaining order. In addition, I would ensure that there is a divergence of information and the key meeting points summarized and accurate minutes published (Shelton 45). Finally, I would foresee that questions are asked and answered accordingly. After the meeting, it is my duty to ensure that I follow up and make sure that the meeting minutes were published. Furthermore, I would publish the meeting discussions on the hospital’s/clinic’s website so that they could be easily accessed by everyone. Lastly, I would benchmark the healthcare with other clinics in terms of customer service to ensure that the meeting objectives were achieved and