Racial profiling

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Numbers, and, therefore, statistics may often be manipulated in such a way as to present an obscure side of the general picture by pointing out small and inconsequential details while ascribing false significance to those very details. In so doing, when a reader or observer is presented with such an incomplete whole, it is no wonder that he or she is predisposed to form an opinion about the subject matter that the numbers do not necessarily support. However, even though only a "crooked" picture was presented, people are prone to form their beliefs based on the information readily available to them. While a scenario like this is not by all means the only reason for such concepts as racial profiling, it is then not at all surprising that such close-minded ideas still permeate our society. love love love love. I love you. I love you.Numbers, and, therefore, statistics may often be manipulated in such a way as to present an obscure side of the general picture by pointing out small and inconsequential details while ascribing false significance to those very details. In so doing, when a reader or observer is presented with such an incomplete whole, it is no wonder that he or she is predisposed to form an opinion about the subject matter that the numbers do not necessarily support. However, even though only a "crooked" picture was presented, people are prone to form their beliefs based on the information readily available to them. While a scenario like this is not by all means the only reason for such concepts as racial profiling, it is then not at all surprising that such close-minded ideas still permeate our society. Numbers, and, therefore, statistics may often be manipulated in such a way as to present an obscure side of the general picture by pointing out small and inconsequential details while ascribing false significance to those very details. In so doing, when a reader or observer is presented with such an incomplete whole, it is no wonder that he or she is predisposed to form an opinion about the subject matter that the numbers do not necessarily support. However, even though only a "crooked" picture was presented, people are prone to form their beliefs based on the information readily available to them. While a scenario like this is not by all means the only reason for such concepts as racial profiling, it is then not at all surprising that such close-minded ideas still permeate our society. Numbers, and, therefore, statistics may often be manipulated in such a way as to present an obscure side of the general picture by pointing out small and inconsequential details while ascribing false significance to those very details. In so doing, when a reader or observer is presented with such an incomplete whole, it is no wonder that he or she is predisposed to form an opinion about the subject matter that the numbers do not necessarily support. However, even though only a "crooked" picture was presented, people are prone to form their beliefs based on the information readily available to them. While a scenario like this is not by all means the only reason for such concepts as racial profiling, it is then not at all surprising that such close-minded ideas still permeate our society.

Please note that this sample paper on racial profiling is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on racial profiling, we are here to assist you. Your cheap research papers on racial profiling will be written from scratch, so you do not have to worry about its originality.

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My life

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----Speech----

I have so many great memories that it is impossible to share them all with you tonight. I am sure that everyone here has wonderful times in their lives that are unforgettable. Think about it. Your tenth birthday, your first valentine, when you got your driver's license, having a blast when the year turned to 000. All of these memories are special in their own way. One of my memories that I would like to share with everyone tonight is about taking risks. If you don't take risks then you cannot enjoy the outcome. If Bill Gates listened to everyone and didn't play around with computers all day, he probably wouldn't be where he is today. If the guy who plays the lottery says "Ah, these numbers are never going to hit!" and loses to the numbers he had been playing for years, then what??, then what?? The same goes for me!

I moved down to Tampa about two years ago, not knowing anyone but my step-sister who was cool enough to let me stay with her, for a price of course. I had to run out, get a job, enroll in school, and just start becoming mature. It was tough and the thought of moving back to New Jersey crossed my mind several times. Lucky for me I got a job, met some real cool people, started having a good time, and eventually ended up in school. Now I am working for my AS degree at this beautiful technical institute, making money parking cars, and having a blast every opportunity I get.

In conclusion I would just like to remind everyone that taking risks isn't always a bad thing. Sure there is a negative side, but is it worth not taking the chance??? I am glad I took the risk of moving down to tampa, being 17 years old, with some clothes and no money, and generating that life into a 0 year old, with some clothes and no money!!Custom Essays on my life

THANK YOU!!!!!!

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An Opera Singer Much More Than A Voice

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An Opera Singer Much More Than a Voice

When we think about opera, we examine a work of art that unites music, drama, dancing, stagecraft and the scenic arts, which we view primarily as a musical experience. However, opera is a vocal art. Opera relies upon the opera singer, who is the participant in the opera's drama, to bring forth the interpretation of song and music in which the composer has written (Encyclopedia Britannica). There have been many opinions on rather or not the opera singer is merely a voice. Though the gift of voice is essential in becoming and being an opera singer, the overall requirements are much more complex.

The opera singer is much more than a voice, but a human being. In this career field it is highly competitive, stressful and there are limitations on achieving artistic and financial success (Clifton Ware 0). With this knowledge it does not detour the collegiate study of becoming an opera singer. The typical lifestyle of a career bound opera singer does have its down falls at some point in their career. They sometimes began to experience depression, being lonely while on the road, family issues, coping with rejection, and financial doubts. With these dilemmas their life is out of control, with work and their career consuming every aspect of

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it (Ware 1). In order for the singer to maintain stability in their life, it is very vital to for he/she to prioritize least to greatest. Family relationships are key in providing a secure and comfortable life, which would ease the frustration the opera singer, feels. In a Classical Singer interview, world renowned stage director Fabrizio Melano says " Stay centered as much as possible and don't get distracted by all the craziness going on around you. That requires doing work on yourself. The opera singer has to find their center in everything they do and not just as singers but as human beings."

Within the vocal community singing is recognized as an extremely demanding profession mentally, emotionally, and physically. In addition, the opera singer is also looked at as a vocal athlete. Before an opera singer can do any type of singing for a performance or just rehearsing, he/she must first warm up. Just like an athlete warms up to stretch their muscles before a game or race, the singer also has a muscle, which is called a vocal chord. The vocal cords are folds at the upper end of the windpipe that vibrate and make voice sounds (Webster Dictionary 88). According to Ware a singer's total vocal instrument is his/her body, mental and physical conditioning are needed to organize sufficient energy for coping with performances that include leading opera roles and full-length recitals (). Some of the do's an opera singer considers are a variety of nutritious foods, beverages, and vitamins. He/she must stay away from inhaling or drinking a large consumption of caffeine products, alcohol, illegal drugs,

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tobacco, and polluted air. These are some of the ways that a opera singer conserves and protects their vocal instrument through good vocal hygiene.

Another aspect when dealing with the singer's health and well-being is looking at them as a processor. As a processor the singer observes the intake of sound through the ear, which is an organ of hearing. Though the singer gives considerable attention to voice improvement and care, the singer must also take into great consideration their hearing. Good hearing is essential for the singer in matching pitches, monitoring vocal quality, and providing interpretation when making appropriate adjustments during singing. In order for the opera singer to maintain excellent hearing he/she must avoid excessive noise, remove all impurities from ear such as wax build up and evade the exposure of high decibel noise levels (Ware5). An opera singer does much traveling state-to-state and country-to-country and the mend of transportation is mostly by plane. The travel by plane raises a concern for the singer due to the ear disorder that can be caused by air pressure in the aircraft cabin, when descending in altitude. Typical symptoms are pain, dizziness, and short �term hearing loss that can be alleviated by drinking, yawning, gum chewing, and gentle nose blowing (Ware 54). According to Clifton Ware there is another principal way the singer hears their own voice through bone conduction, which is the transmitting of nerve pulses (50). These nerve pulses cause a sensation of vibration to travel throughout the body, which enables the singer to be more effective with feedback, execution and

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communication. Though the opera singer may not have much control over some of the causes of vocal disorders, there are many preventive measures than can be taken over one's lifetime.

When studying to become an opera singer one usually starts in their freshman collegiate year. There is much thought that is placed in the decision making of where the student will go. Once the decision is made they are engaged in an intensive curriculum that includes major courses such as theory, ear-training, and performance ensembles each requiring extra time and effort. Among the intensive course load one of the most important classes is diction. Diction teaches the singer to become a linguist, someone who studies a language with serious intent to understand and speak it. There are four languages that are studied -English, Italian, German, and French, primarily because these are the four major languages that operas are written in. Once the language has been learned and the singer has a working knowledge of it, they then move on to the four interrelated functions (1) articulation- a spoken sound (vowels and consonants), () pronunciation- the proper use of speech phonemes according to standard speech, () enunciation- the clear and accurate utterance of phonemes and (4) expression- the full-meaning conveyance of all words and phrases (Ware 50). Thus, the singers role as a linguist is to translate the text clearly, accurately, and expressively, assuring that the audience understands the meaning of every word, nuance, and phrase, that the composer and writer is trying to convey.

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In addition to learning all the major languages the singer must also apply technique and artistry. Technique is concerned with means, process, and manner of how a song is executed. Once a singer has mastered or developed a technique it then enables them to learn a song quickly and thoroughly, produce productive tone with ease, and express in performance using a wide range of vocal, musical, linguistic, and dramatic skills (Ware 6). When the opera singer is ready to develop their artistry he/she must first master the skill of interpretation which is defined by Ware as the act of explaining or clarifying a song's essence (6). With interpretation comes expression, which shows feelings and character. It is also said by Ware that artistry is a right brain activity but also the desired outcome of creative imagination (70).

Once the opera singer has learned the concept of diction, technique, artistry and the necessary precaution measures that are needed in maintaining good health, he/she is then ready. The opera singer then prepares themselves for the learning and studying of an opera role (character). The way that this task is executed is by the singers voice type. There are five basic voice classifications soprano, mezzo-

soprano, tenor, baritone and bass. Within these voice types there are more specifics, such as Lyric soprano, coloratura soprano, dramatic mezzo-soprano, counter-tenor, lyric baritone and bass-baritone etc. All roles are not suitable for every voice type. This is why it is very important that the singer knows his or her voice and what type of voice the role is requiring. Once the singer has found the

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role or roles of their choice, they then proceed to dissect the part; with the basic application of studies they have learned.

Once an artist of a female gender has taken on a leading lady role that she is then known as a "Primma Donna". The noted Primma Donna in the world of opera in the words of William Madison has "Transformed from an entirely positive description to one with frequently negative connotations"(). Though the term "Primma Donna" is no more than a leading lady, many female opera singers enjoy and despise being called that. Opera singer Carol Vaness says "The way I feel when I'm called "primma donna" is how I feel when people call me a star." On the other note opera diva Marilyn Horne expresses that a primma donna is very temperamental in a bad sense (Madison 4). Although the title primma donna is not always welcomed, diva is one that is welcomed but the meaning of it is often related to "primma donna" so what is the big fuss about.

Finally, opera is a diverse art form with much complexity. But when we look at what an opera singer is we can now denote that he/ she is much more than

just a voice, but a primary need of being a human being, vocal athlete, linguist, educator, processor and earning the respect of being one day called a diva and or "primma donna".

Please note that this sample paper on An Opera Singer Much More Than A Voice is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on An Opera Singer Much More Than A Voice, we are here to assist you. Your cheap college papers on An Opera Singer Much More Than A Voice will be written from scratch, so you do not have to worry about its originality.

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The Crucible – Character Analysis

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The Crucible Character Analysis

The Crucible by Arthur Miller takes place in Salem, Massachusetts, where a theocratic government defines relationships in the town; the townspeople's reputation within the church and community plays a major role in the fate given to them. The people's righteousness is tested when a group of girls begin a wave of deceit that witchcraft is being practiced among them. The strong moral outlook of the towns people changes as they blame others to relieve themselves of being condemned. Elizabeth Proctor is one of those accused of witchcraft, and unlike the general public, doesn't try to blame others in an effort to save herself. In the beginning of the story, Elizabeth acts as a moral woman who is judgmental of her husband, however she is later transformed into a person who allows love to overshadow her moral standards; and in the end she combines both her love and ethic character in sacrificing her husband.

In the beginning of the play, Elizabeth is an ethical and moral woman who refused to lie to save herself from accusations others formed about her. Even her husband John admitted that she has never lied, and is a very religious and conservative woman. She is also unsure about her ability to fully trust others, especially her husband. Her marriage with John has been in turmoil ever since the affair between John Proctor and Abigail Williams was revealed to her. From the time when John admitted his lecherous actions with Abigail, Elizabeth has been confused about where their relationship presently stands. In addition to judging John for his involvement with a seventeen-year-old girl, Elizabeth distrusts Abigail's accusations as well. Although John admits to his relations with Abigail in a conversation with Elizabeth, she finds it hard to believe his is being truthful. This quote presented later in the play, shows you how she is still skeptical about John's feelings for Abigail; and also Abigail's intensions in loving John. "Spoke or silent, a promise is surely made. And she may dote on it now- I am sure she does- and thinks to kill me then to take my place" (64). Even though Proctor is frustrated with Elizabeth's lack of faith in him, he knows how honest she is, " In her life, sir, she have never lied..."(116).

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Towards the middle of the play, Elizabeth strays from her truthful character out of a sense of loyalty to her husband. She moves beyond the Puritan perspective of right and wrong, and her real love for Proctor is revealed. When the court asks John if he did, or did not commit lechery with Abigail Williams, he breaks down and confesses it. John makes one desperate bid for this authority by finally overcoming his desire to protect his good name, he hopes to replace his wifes suspected guilt with his own guilt and bring down Abigail in the process. After the judges question John, Elizabeth is asked the same question and she deviate from the normal moral stance. Elizabeth starts to feel different about John and tries to make sense of his behavior. In this next quote she tries to explain to the judge that he is sincerely a good man, "I- in that time I were sick. And I- my husband is a god and righteous man" (118). She then said Proctor had not had an affair with Abigail, not knowing that John had already confessed he was a lecher. She lied despite knowing it was sinful, she wanted to save her husband, and risked her own security in the process of doing so." Is your husband a lecher!"…" No, sir"(118). Elizabeth lies for John because she loves him and feels she owes this to him, for giving him a difficult time about trusting and forgiving him.

In the end of the play, Elizabeth is transformed into a more trustful woman who is not so judgmental, and allows love to modify her moral principles. By this time, she assures herself that John is a good man, and although he has made some wrong decisions, his faults should not overcome the goodness of his character. For the first time, Elizabeth tells John directly that she knows deep down that he is a good person,"Only be sure of this, for I know it now Whatever you will do, it is a good man does it" (14). Elizabeth knows that John's decision to not confess and suffer the consequences of witchery by being hung is the moral and honorable one." He have his goodness now. God forbid I take it from him!" (15). Elizabeth's quote shows how she and John's understand one another. To help save herself and her husband's dignity, she doesn't hold John back from making his life ending decision.

Through the course of this play, Elizabeth seems to starts as a woman lives the life of a Puritan, as honorably as she can, not because she is afraid of the consequences, but rather for the assuring self- respect. Elizabeth changes dramatically. She realizes her love for John Proctor is more important than the subconscious guilt caused by lying. Although she risks everything to help save Proctor, she still values her own life. In the play of The Crucible, Elizabeth Proctor evolves from a one-dimensional woman to one who is strong, and self-assured of her morality. During the chaos of the witch trails in Salem, she begins to bend her morality for her own principles, by lying for John. Finally, comprehending how important the ideas of life and love meant to her.

Please note that this sample paper on The Crucible – Character Analysis is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on The Crucible – Character Analysis, we are here to assist you. Your cheap research papers on The Crucible – Character Analysis will be written from scratch, so you do not have to worry about its originality.

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Pythagoras Theorem

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Pythagoras Theorem is a + b = c. a being the shortest side, b being the middle side and c being the longest side (hypotenuse) of a right angled triangle.

The numbers , 4 and 5 satisfy this condition

+ 4 = 5

because = x =

Help with essay on Pythagoras Theorem

4 = 4 x 4 = 16

5 = 5 x 5 = 5

and so + 4 = + 16 = 5 = 5

The numbers 5, 1, 1 and 7, 4, 5 also work for this theorem

5 + 1 = 1

because 5 = 5 x 5 = 5

1 = 1 x 1 = 144

1 = 1 x 1 = 16

and so 5 + 1 = 5 + 144 = 16 = 1

7 + 4 = 5

because 7 = 7 x 7 = 4

4 = 4 x 4 = 576

5 = 5 x 5 = 65

and so 7 + 4 = 4 + 576 = 65 = 5

, 4, 5

Perimeter = + 4 + 5 = 1

Area = ½ x x 4 = 6

5, 1, 1

Perimeter = 5 + 1 + 1 = 0

Area = ½ x 5 x 1 = 0

7, 4, 5

Perimeter = 7 + 4 + 5 = 56

Area = ½ x 7 x 4 = 84

From the first three terms I have noticed the following -

• a increases by + each term

• a is equal to the term number times then add 1

• the last digit of b is in a pattern 4, , 4

• the last digit of c is in a pattern 5, , 5

• the square root of (b + c) = a

• c is always +1 to b

• b increases by +4 each term

• (a x n) + n = b

From these observations I have worked out the next two terms.

I will now put the first five terms in a table format.

Term Number n Shortest Side a Middle Side b Longest Side c Perimeter Area

1 4 5 1 6

5 1 1 0 0

7 4 5 56 84

4 40 41 0 180

5 11 60 61 1 0

I have worked out formulas for

1. How to get a from n

. How to get b from n

. How to get c from n

4. How to get the perimeter from n

5. How to get the area from n

My formulas are

1. n + 1

. n + n

. n + n + 1

4. 4n + 6n +

5. n + n + n

To get these formulas I did the following

1. Take side a for the first five terms , 5, 7, , 11. From these numbers you can see that the formula is n + 1 because these are consecutive odd numbers (n + 1 is the general formula for consecutive odd numbers) You may be able to see the formula if you draw a graph

. From looking at my table of results, I noticed that an + n = b. So I took my formula for a (n + 1) multiplied it by n to get n + n. I then added my other n to get n + n. This is a parabola as you can see from the equation and also the graph

. Side c is just the formula for side b +1

4. The perimeter = a + b + c. Therefore I took my formula for a (n + 1), my formula for b (n + n) and my formula for c (n + n + 1). I then did the following -

n + 1 + n + n + n + n + 1 = perimeter

Rearranges to equal

4n + 6n + = perimeter

5. The area = (a x b) divided by . Therefore I took my formula for a (n + 1) and my formula for b (n + n). I then did the following -

(n + 1)(n + n) = area

Multiply this out to get

4n + 6n + n = area

Then divide 4n + 6n + n by to get

n + n + n

To prove my formulas for a, b and c are correct. I decided incorporate my formulas into a + b = c -

a + b= c

(n + 1)+ (n + n)= (n + n + 1)

(n + 1)(n + 1) + (n + n)(n + n) = (n + n + 1)(n + n + 1)

4n + n + n + 1 + 4n4 + 4n + 4n + 4n= 4n4 + 8n + 8n + 4n + 1

4n + 4n + 1 + 4n4 + 8n + 4n= 4n4 + 8n + 8n + 4n + 1

4n4 + 8n + 8n + 4n + 1 = 4n4 + 8n + 8n + 4n + 1

This proves that my a, b and c formulas are correct

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The Steinbeck Center at San Jose

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Environment-as-meaning is, of course, not new in the fictional mode, for man's interaction with his environment is indeed the very essence of fiction itself. But Steinbeck's romantic attachment to his country and its people is, in his best work, transmuted into authentic emotion, revealed in vivid, evocative passages which are distinctive. Couched in prose reminiscent of romantic poetry, they arouse sensations which unfold in dramatic action often destructive of dreams, hope, and even life itself

-Martha Heasley Cox

"In Search of John Steinbeck

His People and His LandCustom writing service can write essays on The Steinbeck Center at San Jose

The Steinbeck Center at San Jose State University, once located within the University Library and now existing within the Module buildings on campus, first breathed life in February of 171 with the organization of a three-day Conference and Film Festival celebrating the man whose work has influenced so many. The conference, slated for five hundred individuals, attracted more than eight hundred registrants from sixteen states, Canada, and Japan.

Formally dedicated in 174, and originally instituted my Martha Heasley Cox, an instructor at SJSU since 155, the Steinbeck Center houses books on California history and politics, secondary articles on Steinbeck, a complete archive of over 10, 000 reviews clipped the national newspapers, signed first editions, donated items, such as script drafts for films based upon the author's work, letters to friends, "The Long Valley Ledger", a manuscript of Steinbeck's short stories written in 1, and furniture which belonged to author.

Much of Steinbeck's observations focus upon areas south of San Jose, so one might ask, "Why is the center centrally located in San Jose?" San Jose if frequently mentioned in Steinbeck's fiction. Molly Morgan, the young schoolteacher in The Pastures of Heaven, attended Teachers College, which is now San Jose State University. Perhaps one of most important works, Of Mice and Men, was worked on while he resided in nearby Los Gatos. Steinbeck also had family connections within the area through is mother and his first wife, Carol, both of whom possessed roots a few blocks from San Jose State University.

The Center's mission, as stated by current director Susan Shillingslaw, is, essentially "…to promote Steinbeck studies". To this end the periodicals, transcripts, and archive manuscripts are easily accessed either personally or through an extensive database. The Center also sponsor's several programs, including the Steinbeck Fellows Program, made possible by former director Martha Heasley Cox, which "…offers new writers of any age the opportunity to pursue significant project in collaboration with other writers, faculty and graduate students." The John Steinbeck award, "in the souls of the people" is awarded to those individuals who best represent, through creative endeavor, the passion, beauty, and immaculate suffering of so many others. Past recipients have been Bruce Springsteen (16), John Sayles (18), Arthur Miller (1), and Jackson Browne (00). Twice a year the center publishes Steinbeck Studies, a newsletter of Steinbeck related topics.

Please note that this sample paper on The Steinbeck Center at San Jose is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on The Steinbeck Center at San Jose, we are here to assist you. Your persuasive essay on The Steinbeck Center at San Jose will be written from scratch, so you do not have to worry about its originality.

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For rich or for poor

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In 1th century society, money and social status controlled people. The rich clique has a high social status and, therefore, marry the people with the same ranking. The lower class people are rarely given a chance to advance socially. Jane Austen's novel, Sense and Sensibility, explores the personal, social, and economic difficulties of human relationships during these times. These difficulties can be seen in the sister's, Elinor and Marianne's relationships with (a) family and friends, (b) potential suitors and ( c) each other.

Following the death of Mr. John Dashwood, Elinor and Marianne's father, the girls notice a change in how they are treated by family and friends. In the 1800's it is traditional for the son to inherit the majority of the money after the death of a parent. When Mr. Dashwood died, his money was left to his son, Mr. John Dashwood. With the inheritance also came an obligation to make certain his step-mother and three half-sisters are well taken care of financially. Although the Miss Dashwoods were not directly given any money, they trusted their brother would fulfill his obligation to his father. The girls soon realized that Mr. John Dashwood was not going to keep his promise and that they were left with nothing. [Mr. John Dashwood] … finally resolved, that it would be absolutely unnecessary, if not highly indecorous, to do more for the widow of his father, than such kind neighbourly acts as his own wife pointed out (Austen 10). Mrs. John Dashwood is a very greedy, self-centered woman who was excellent at getting her way. So the inheritance money looked really good to her, and even better if she didn't have to share it. Since the Dashwood's are now left

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