Thursday, November 28, 2019

The Compromising of Integrity, Morality, and Principles in Exchange for Money Tour free essay sample

One of the most exhilarating moments of attending a concert may in fact be the anticipation of the doors opening. This was most certainly the case for show-goers Friday Nov. 28- Starland Ballroom, in Sayreville NJ. In the blink of an eye an already enormous line extended itself throughout a half-mile of an overly capacitated parking lot, where teens anxiously had been gathering six hours prior to the show’s commencement. The venue was featuring a recently signed band, The Friday Night Boys; Every Avenue; The Maine; Mayday Parade; and the headliner All Time Low. The indie-rock bands comprised of members as young as 18 were on the second to last show of two- month long â€Å"The Compromising of Integrity, Morality, and Principles in Exchange for Money Tour.† Coming from hometowns of VA, MI, AZ, FL, and MD, the bands had been driving cross country carrying with them the talent and inspiration teens internationally adore in tour buses (in The Maine’s case, a 15 passenger van adorned with signatures and phone numbers of girls who all claimed themselves to be the group’s biggest fans). We will write a custom essay sample on The Compromising of Integrity, Morality, and Principles in Exchange for Money Tour or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page A night filled with youthful passion and excitement began at 7 pm when The Friday Night Boys took their very first steps on stage. The lights grew dark as the screaming intensified. Playing songs off their EP- â€Å"Chasing A Rock Star†, â€Å"That’s What She Said†, and â€Å"Celebrity Life†- this power-pop band set the enthusiasm for the rest of what would be an unforgettable rhapsodic night. The jam-packed Starland Ballroom was inundated with teens screaming their hearts out awaiting Every Avenue’s performance. Just minutes after The Friday Night Boys left the stage, the lights yet again dimmed and Every Avenue’s hit song â€Å"Where Were You?† was being sung not only by lead vocalist, Dave Strauchman, but by the entire crowd. In between songs, â€Å"Think of You Later†, â€Å"Days of The Old†, â€Å"A Story to Tell Your Friends†, and â€Å"This One’s a Cheap Shot†, guitarist Josh Withenshaw and Strauchman chatted with the lively crowd further pursuing their fans zeal for the next performance who would be the young ambitious five member band from Phoenix, Arizona, The Maine. The night had really only just begun but heavy hearts were already being palliated as the ever-so anticipated boys of The Maine set foot on stage. With his back to the crowd, the lights completely down, heartthrob John O’Callaghan held the microphone to his lips and sang with emotion felt by teens and adults alike. Fans practically throwing themselves at the stage, hoping to make any contact with the boys, recited the lyrics to â€Å"Girls Do What They Want† with such confidence and amplitude that it became difficult to hear John â€Å"Ohhh’s† voice. The group’s stage presence was without a doubt unparalleled by any other. With teens being carried atop the crowd, and the flooding of the stage in an exceedingly tight area, O’Callaghan made sure to tell the crowd to pick up anyone that had fallen on the ground- adding that â€Å"stuff like that makes me nervous.† Often taking breaks between songs â€Å"We All Roll Along†, â€Å" The Way We Talk†, â€Å"Count em’ One Two Three†, John Ohhh spoke directly to the adolescent soul, encouraging them to â€Å"get crazy in here!† Not wanting to disappoint the boys, the crowd was left with no choice but to get off their feet and enjoy a night that would forever be a part of them. The night further intensified with Tallahassee’s Mayday Parade, a group with a unique sense of flair. Drummer Jake Bundrick’s essence was up-tempo and bright with every beat. As usual guitarists Brooks Betts and Alex Garcia’s performance was addicting with every chord. The five member band’s play list for the night included songs â€Å"Black Cat†, â€Å"Miserable At Best†, â€Å"Jamie All Over†, â€Å"Three Cheers For Five Years† and â€Å"When I Get Home You’re So Dead†, a motley flavor of boisterous indie Rock. With Mayday’s final steps off stage, the crowd only grew more tonic- demanding All Time Low’s presence. The screaming was surely deafening but elevating nonetheless. Hearts were beating at rapid paces, hands ardently waved in the air, and a feeling of adolescent temerity encompassed the venue. From the ceiling fluttered confetti and from the stage shone the members of All Time Low, their slap-in-the-face lyrics and an emotionally charged aura. Guitarist Jack Barakat, bassist Zack Merrick, and lead vocalist Alex Gaskarth were intimate with the crowd, tossing to them water bottles, guitar picks, and lyrics that spoke directly to each and every teen enthralled in a vicariously thrilling night. Every word was recited by every fan as Gaskarth competed with the volume of the crowd during the band’s â€Å"Dear Maria, Count Me In.† Their performance was fearless, fervent, and of course exceptional. The show came to an end with Gaskarth’s words of wisdom: à ¢â‚¬Å"Live like it’s a party and ROCK ON!† Nights like this sometimes come once in a lifetime, but the memory lasts indefinitely. Emotions could be felt even as ecstatic fans left the venue. For some lucky teens the night wouldn’t truly be over until pictures, laughs, and conversations were exchanged with the amiable down to earth boys from The Maine who expectedly came out to greet their fans. The night was pervaded with a sense of youthful invincibility, freedom, and soul. A long awaited night that would forever remain close to teen hearts would eventually turn into an indelible memory.

Sunday, November 24, 2019

Twelfth Night Essays - Olivia, Twelfth Night, Orsino, Viola

Twelfth Night Essays - Olivia, Twelfth Night, Orsino, Viola Twelfth Night Comedic Conflict and Love in Trevor Nunns Twelfth Night Trevor Nunn's direction of Shakespeare's Twelfth Night takes away some of the confusion present in the reading of the text, which begins with the complicated love interests of the main characters. Having been the artistic director for the world famous Royal Shakespeare Company for eighteen years, Nunn is vastly familiar with adaptations of Shakespeares plays. Part of the comedy of this film develops from the first three acts of the play, which allow for a complex circle of interaction to develop within the film. Nunns use of the prologue at the beginning of the film presents crucial information in an easy to understand, witty way. The films prologue makes clear much of the plays primary confusion, and establishes the foundation on which the rest of the film may balance upon. Nunns adaptation of Twelfth Night begins with the founding relationship in the play, the designs that Orsino expresses for Olivia. It is clear that this first interaction is the basis for others that occur, and it is also clear that both Shakespeare and Nunn utilize this interaction to create the comedic effects that happen because of the subsequent love interests. Orsino is not just an average courtly love, he is the Duke, and has considerable stature and respectability in his community. It is expected that his love for the Countess Olivia will be reciprocated, even in the midst of her grieving the loss of her brother. However, Duke Orsino's attempts at contact are met with disdain, but Olivia's lack of interest does not dissuade Orsino from continuing his pursuit. Duke Orsino is not a skilled romantic. His belief that he can compel Olivia into marriage through the expression of his feelings in messages demonstrates his lack of real passion in the situation and shows that he is of great stature, perhaps to belittle himself with courting. He is not Romeo hiding in the bushes for his Juliet, and this is one of the elements of separation that cause the comedic conflict to occur. If Orsino had taken it upon himself to persuade Olivia personally, instead of sending messengers, the outcome of the film would have been significantly altered. Both Shakespeare and Nunn support the importance of Malvolio's role through the love that he has for himself, as well as his love for Olivia. While Malvolio's love for Olivia creates a sub plot, including the actions manipulated by Maria's deception, this only builds on the comedic effect that is created by the other loves that develop. The comedic conflict is further developed in Malvolios Puritanesque wardrobe of his suit and shoes. This comedy seen in Malvolios wardrobe is extended to the end of the film when Malvolio appears wearing bright yellow tights and cross belts. Malvolio's character is significant because he at first attempts to bring an air of respectability and chastity to the whole film, though his essential flaws and his inability to recognize the reality of people's feelings, including Olivia's, removes him from the position of moral overseer to a simple player in the game of love. Malvolio's error is related to his self-perceptions and his consideration of his own self-importance, rather than his caring and compassion for his mistress Olivia. The other character of significance is Viola, and she is important in the development of the comedic conflict that occurs. She is a noblewoman who disguises herself as a boy, and becomes a servant of Orsino. Orsino uses Viola as a messenger to persuade the steadfast Olivia to hear his pleas of love. The problem with this scenario is that in the process of winning a position with Orsino, Viola falls in love with him, thus her voice as a messenger for Orsino is complicated by her own feelings. The comedic conflict of love occurs primarily within this love triangle of Olivia, Orsino and Viola. Olivia falls in love with a girl pretending to be a boy, as Orsino subsequently falls for a boy, who, fortunately for him, is in actuality a girl. Instead of persuading Olivia on Orsino's behalf, Viola, who is called Cesario as a boy, attacks the love of Olivia, complicating the film. Viola does not immediately recognize the affections

Thursday, November 21, 2019

Wk 10 (67) Essay Example | Topics and Well Written Essays - 500 words

Wk 10 (67) - Essay Example Beverly is upset because her surgery is next week and although she will not stop it, she is not sure how to talk to Sally about this final situation. From the conversation it seems that Beverly is asking the counselor to help her help Sally. The first strategy may be to explore the idea that Sally is grieving the loss of someone she dearly loves. This final step is the last identification that Sally has with Beverly as a man. This is now going to go away and Sally is probably going through the various phases of grief; this would be something to explore. According to Carroll and Gilroy (2002) counselors must first understand this issue and move part their own transphobia (p. 235). Certainly a man who is turning into a woman who legally married a woman can be cause for concern for the counselor, so they would need to deal with their own problems with the situation before counseling Beverly. Carroll and Gilroy also suggest getting more information through novels, films, biographies and periodicals (p. 235). In terms of counseling a client centered approach seems to be best because many transgendered people have challenges with trust in someone who is not transgendered because of ill treatment in the past (p. 238). Carroll, Gilroy and Ryan (2002) suggest that counselors should also have a growing knowledge of terminology that is evolving in the transgendered community along with "local, regional and national support networks (p. 134). This information can assist the client and give more information. Mark is a 35 year old male of mixed heritage. His father was black and American Indian and his mother identifies as "white" because her parents were Jamaican and Scotch Irish. Mark grew up in a home where he had no real understanding of any heritage because his family did not identify with any one group. As Mark grew older and left the family he has tried to interact