The Samples - No Room
The cold January air sent chills down my spine as my sister Susan and I hustled down the streets of New Haven, Connecticut. Our destination was a small club called Toads' Place. When we finally arrived at the club I was relieved to feel the warm air inside begin to restore the numbness that had taken over my body. We made our way in to find that the club was virtually empty. This was to be expected, considering we arrived forty-five minutes before the opening band was scheduled to play. I immediately clung to the heaters trying to warm my frozen body, but Susan ripped me away and dragged me to the front of the stage where Andy Sheldon, the bass guitarist of The Samples, would soon stand. My sister had dreams of one day marrying him, overlooking the fact that he was married and had kids. As we waited I stood and took in the surroundings, which included walls covered with pictures, albums and autographs. Jackson Browne, Bob Marley and Bruce Springsteen are only a few of the famous names; history was seeping out of the walls. At first the club seemed large, but as the people piled in it became smaller and smaller. A thick haze of smoke began to collect above us and hover under the dim lights.
The atmosphere was perfect for an incredible show. The opening band began to play and herds of people rushed in charging their way to the front. Susan and I stood our ground bonding together to keep our ideal spot. As the opening band played, Sean Kelly, the lead singer of The Samples, video taped the crowd from behind the stage as Jeep, the drummer, ran around trying to get our attention. Eventually The Samples took the stage opening with "Did You Ever Look So Nice;" the song that would set the tone for the rest of the show.
The song opens with the quiet tap of Jeep's drumsticks and then Al joins in on the keyboard with a beat that you can't help jumping to. It becomes your pulse; the crowd begins to jump up and down in unison; if you stop you don't know what will happen. The rest of the band slowly works its way in and then Jeep jumps in on the drums completing the sound. Sean begins to sing.
For a long time, women were oppressed and controlled by men. Particularly in early 19th century, these thoughts and stereotypes bound women stronger than ever. "The Yellow Wallpaper", written by Charlotte Perkins, Gilman shows us how men and women were treated differently during early 19th century by alluding men and women figures into her two characters, the narrator and her husband. “Yellow Wallpaper” is about one man who controls the narrator and forces her to hide herself and makes her isolated from the world by giving her wrong diagnosis and one woman who is absolutely forbidden to do anything and isolated from the world because of her “depression”. In the story, Gilman conveyed her view of men as authorized, controlling figure that doesn’t appreciate women’s feelings or thought and women as powerless figure that were ignored and oppressed by men through the use of characterization of husband, wife (the narrator), and symbolization.
To sufficiently take a side in the ever-growing debate of pornography, one must first define the concept around which this discourse surrounds itself. A working definition for pornography is a piece of material that has the object purpose of arousing erotic feelings. Radical feminists, however, strictly define it as “the act of sexual subordination of women” (Dworkin 1986).
We often wonder why we act a certain way in certain places and there must be a reason why? Why is that we act a certain way when we go to concerts or when we go to the library? Through a showcase of articles, we will discover the reason why we act a particular way. This is because we are entering a liminal space that has its own set of rules and boundaries where people can act out differently than the social norms because it is acceptable. We will specifically be looking at how the punks and ravers of the ‘70s entered the liminal space and what they experienced while they were in that space, along with a ritual clown from a Native American tribe.
In recent years, same-sex relationships have become more encompassing in US society. State legislation is changing such as accepting gay marriages, enforcing anti-discrimination laws, and legal gay adoptions; the lesbian, gay, bisexual, and transgender community is becoming public. Gay-headed families, like heterosexuals, are diverse and varying in different forms. Whether a created family is from previous heterosexual relationships, artificial insemination, or adoption, it deserves the same legal rights heterosexual families enjoy. Full adoption rights needs to be legalized in all states to provide a stable family life for children because sexual orientation does not determine parenting skills, children placed with homosexual parents have better well-being than those in foster care, and there are thousands of children waiting for good homes.
Stuart, Reginald. "ON THE RISE?" Crisis (15591573) 114.4 (2007): 16-20. Academic Search Elite. EBSCO. Web. 4 Oct. 2011.
Emma's personality is largely shaped by the nature of her upbringing. Emma had no motherly figure guiding her as she grew up, due to the fact that her mother passed away at a young age, and her governess, Miss Taylor, became her best friend instead of an authority over her. At the start of the novel Miss Taylor gets married to Mr. Weston, leaving Emma with her despondent and hypochondriac father, Mr. Woodhouse. Although Mr. Woodhouse often confines Emma to the house because of his paranoia of her being harmed, he gives her little guidance. Emma becomes accustomed to being the "princess" of her house, and she applies this role to all of her social interactions, as she develops the ability to manipulate people and control them to advance her own goals. Emma views herself with the highest regard, and feels competition and annoyance with those who threaten her position. Emma has much resentment toward Mrs. Elton, as Mrs. Elton becomes a parody for Emma's mistakes and interactions. Mrs. Elton's attachment to Jane Fairfax is much like Emma's attachment to Harriet Smith; both Mrs. Elton and Emma attach themselves to young women and try to raise their...
Another form of Emma’s neglect is one of manipulation, mostly through her control over Harriet Smith. Emma is “willful, manipulative, an arranger or rather a misarranger of other people’s lives. Much of the time she fails to see things clearly and truly, and her self-knowledge is uncertain” (Goodheart)25. “One significant effect of harping on Emma's snobbery is to set in relief her romantic notions of Harriet's origin and destiny” (Brooke)26. Although to Harriet, Emma’s “help” to her is one that will reveal optimistic results and a proper husband, Harriet is incapable to taking up for herself against Emma, but if “[s]he would form her opinions...
A total of ten characters are mentioned by name in the first chapter of Emma, though of these only three speak, the dialogue of each of the three serving to reinforce the description of each which is given in the narrative (Austen 362-67). Emma, the eponymous character, is introduced in the first sentence of the novel as being a young woman who is “handsome, clever, and rich,” a character who seemed to unite some of the best blessings of existence” (Austen 362). But though the author describes her character with such glowing terms,, she is not ideal, much less perfect: the fourth paragraph opens by saying that “the real evils, indeed, of Emma’s situation were the power of having rather too much her own way, and a disposition to think
Laura Kipnis has described pornography as “an archive of data about...our history as a culture”. Therefore if, she described it as such, what can it tell us about the sexual history of the 20th century? Examining the history of the forms of archive from pornographic playing cards to blu-ray discs and the internet, this shows the ever changing form of how as a society we view pornography. From the forms of archive come the social implications of pornography. This will be examined through the 1986 Meese Commission in the United States of America into the pornographic industry. Finally, this exposition will also examine the differing views of Gay and Straight pornography and the changes that have taken over the 20th century. Overall, the 20th century was a fundamental shift in sexual attitudes towards pornography.
Driving up Route 9 towards Poughkeepsie in a snow storm was not something I wanted to do. The time itself—an hour’s drive—was elongated by the pretty, but dangerous, falling snow. As my Beetle and I plowed up through Fishkill and made our way to the town of Poughkeepsie, I started getting nervous. I would be interviewing a real live DJ! Since I was a child I had always loved music and the radio. I remember leaping up onto my kitchen counter and perching there, anxiously listening to who would be crowned Number One that week on the Top 40. Or I would be in my cool, newly-furnished bedroom listening to the most-requested five-song countdown on Monday and Wednesday evenings at 8pm.
Perhaps the most formative years for rock and roll were from 1945 to 1964. It is evident that the social climate of the time period shaped music. However, the music also shaped the social climate. The musical meaning of the songs of the era is vital to an understanding of the social implications of the music. On a primitive level, the lyrics of a song give some insight into its musical meaning. Often, however, the lyrics paint an incomplete picture of a song’s true social significance. By studying other factors, such as the instruments, the melody, and the artists themselves, one can gain much more insight into a song’s musical meaning. Through this analysis, common themes of sex, drugs, and race relations are usually found.
My mother and I had sat down an order some appetizers and we continued listening to the music. It was very peaceful with the music playing and the atmosphere. As I cotinued to lisetning and watching them I could see they were very engaged in the rythem. They were not just playing but they were active in the music. You could tell they were very passionate about it. It was comforting sitting down and listening to the music. There were hardly any people there and I knew it was good chance to personally talk to the band members when they had an intermission. I had listened to three different songs before I spoke to them. “Beautiful Love”, “Misty” and You’d Be So Nice to Come Home to” I was able to gather this information when I was interviewing them. Misty was very soft and had a slow tiempo to it. While the other two were a faster tiempo with a louder volume to them but were not so overwhelming. The saxophone player was Pierre, a French name he told me. The upright bass player was Mike and Chris was on the piano. The songs that we had listened to were mainly jazz standards. The only vocals sang were by Pierre on “Misty”. The tone quality was easily distinguished throughout the songs. The piano was heavily involved in all three songs meaning order of the soloists Chris (piano), Mike, (upright bass), and Pierre
Then audience members who were perfect strangers who were screaming loudest would turn to each other with knowing glances and smile because they were sharing the same excitement and connecting with one another over their love of this man’s music. There was no pushing or shoving to get closer to the stage – it wasn’t that kind of crowd. Instead, there was mutual respect for one another’s space within the confines of the too-small venue. Nobody wanted to be the person who ruined it for someone else. It was this respect that made the audience members’ connections with one another that much stronger – we were all here to listen to this wonderful man’s music and see his performance – and, of course, we were here to enjoy it.
Jones, John. The Egotistical Sublime, A History of Wordsworth’s Imagination. London: Chatto & Windus, 1960.
To some, pornography is nothing more than a few pictures of scantily clad Women in seductive poses. But pornography has become much more than just Photographs of nude women. Computer technology is providing child molesters and child pornographers with powerful new tools for victimizing children. Pornography as "the sexually explicit depiction of persons, in words or images, Sexual arousal on the part of the consumer of such materials. No one can prove those films with graphic sex or violence has a harmful effect on viewers. But there seems to be little doubt that films do have some effect on society and that all of us live with such effects.