Prohibition and Nascar - Free Essay Example

Alcohol consumption has been part of the American culture for decades; however, in the early 1800s drinking saloons were established across the United States and the threat of alcoholism, family violence and political corruption was ever existent. The good people present at the establishment of the anti-saloon league wanted nothing more than to rid their nation of alcohol and its evil effects. Little did they know that they were also priming the country for the events that led to the creation of a uniquely American racing sport. Americans incorporated excessive drinking into their daily habits. Many started with a pick-me-up in the morning and ended it with a night cap before bed. They would drink whiskey, wine, beer, or rum with each meal, and every interval in between. Alcohol was integrated into cultural celebrations, private social events, political venues, military settings, and some workers even found leisure drinking while on the job. Locals would find themselves spending all hours at the saloon. Alcoholism was having a serious impact on communities and families. Men were losing their jobs due to their consistent drinking habits. Woman and children were in physical danger from the drunken offenders. Alcohol was a disease and people of the community were beginning to take notice. Prohibition organizations began forming throughout the United States. The Womens Christian Temperance Union consisted of religious women concerned about the effects alcohol has on families and society. Religious activists and supporters of the Temperance Movement came together and began lobbying for the prevention in manufacture, sale, or transport of beer, wine and spirits in the United States. In 1893 the Anti-Saloon League was founded and revived the prohibition movement, expanding rapidly, the league became a powerful political force among the state legislature. In December 1913, 1000 men from the Anti-Saloon League and 1000 women of the Womens Christian Temperance Union banned together and marched for a constitutional amendment to prohibit the sale of intoxicants in the United States. Three years later, on January 16, 1919, the 18th Prohibition Amendment passed. It wasnt illegal to drink alcohol during the Prohibition, only forbade its manufacture, sale, and transportation of i ntoxicating liquors†not their consumption. By law, any wine, beer, or spirits Americans had stashed away in January 1920 were theirs to keep and enjoy in the privacy of their homes, and that they did. Once the people began to run out of alcohol, gang warfare and organized crime flourished in America. It wasnt long before drinkers began to experience the withdrawal of their sinful lifestyle and sought alternative means to acquire their liquid vice, therefore bootlegging (the illegal manufacture and sale of alcohol) and speakeasies (illegal bars) became very popular. Bootleggers began the black market trade of making, importing and selling alcohol during this time to meet the demand of the people and incorporate a personally large profit. In order to transport the supply, illegal moonshine runners chose a standard stock car, which they customized with a powerful engine, better handling with heavy duty suspension, and increased cargo capacity. Bootleggers enjoyed using their mechanical knowledge and skilled driving techniques on back country roads to elude law enforcement. When the runners werent smuggling, they held informal races with other runners to earn bragging rights. In 1929, large-scale bootlegger and infamous mafia leader, Al Capone, led the establishment of organized crime, capitalizing on the illegal alcohol industry, and sought to consolidate control by eliminating his rivals in the illegal trades of bootlegging, gambling and prostitution. This included assassinations of competitors, as well as bombing restaurants that refused to do business with him. Lawlessness and violence consumed the streets of Chicago in 1920 to 1930 as Capones conflicts with other rival gangs led to the Saint Valentines Day massacre, which seven members and associates of Chicagos North Side Gang were murdered at Capones order. Once it was understood that the 18th Amendment could not be enforced and failed to have the intended effect of eliminating crime and other social problems, Congress was forced to ratify the 21st Amendment, which repealed Prohibition on December 5, 1933. With souped-up cars, and no work, runners were left kicking their heels. In 1938, Lakewood Speedway became the first to hold a race, allowing known bootleggers to participate. Due to dishonest promoters and inconsistent rules, a mechanic and racing participant, Bill France Sr., held a meeting with other drivers, car owners and mechanics to establish rules and regulations for the races, hence the National Association for Stock Car Auto Racing was founded. NASCARs first official race was held two months later, February 15, 1948 and is one of the most popular family-friendly sports in America today.

How to Conjugate Influencer (to Influence) in French

As you might suspect, the French verb  influencer  means to influence. Yet, when you want to say influenced in the past tense or influencing in the present tense, youll need to know how to conjugate the verb. A quick lesson will introduce you to the most important conjugations youll need. The Basic Conjugations of  Influencer French verb conjugations are not the easiest lessons and some are more challenging than others. Influencer is a spelling change verb and that may sound scary at first, but its not bad and theres a good reason for it. The spelling change affects the  c  at the end of the verb stem  influenc-. Typically, when that letter is followed by the vowels  a  or  o, the sound is hard as in cat. To retain the soft  c  sound in the conjugations with endings that begin with these vowels, the  c  changes to a  Ãƒ §. Other than that minor difference in some verb forms,  influencer  is conjugated like a  regular -er  verb. Using the chart, you can study these conjugations by pairing the subject pronoun with the present, future, and imperfect past tenses. As an example,  jinfluence  means I am influencing and  nous influencions  means we influenced. Present Future Imperfect j' influence influencerai influenà §ais tu influences influenceras influenà §ais il influence influencera influenà §ait nous influenà §ons influencerons influencions vous influencez influencerez influenciez ils influencent influenceront influenà §aient The Present Participle of  Influencer Due to the -ant  ending used to form the  present participle  of  influencer, the spelling change is required here as well. That gives us the word  influenà §ant. Influencer  in the Compound Past Tense Passà © composà ©Ã‚  is another way to say influenced in French. This compound past tense requires the  past participle  influencà ©Ã‚  and an auxiliary verb. To form this, conjugate  avoir  into the present tense for the subject, then add  influencà ©. This leaves us with phrases such as  jai influencà ©Ã‚  (I influenced) and  nous avons influencà ©Ã‚  (we influenced). More Simple Conjugations of  Influencer Among the other simple conjugations, you may need for  influencer  are  the subjunctive  and  the conditional. Both give the act of influencing some uncertainty, though the conditional says it will only happen under certain conditions. If you read or write much French, you will likely encounter  the passà © simple  and  the imperfect subjunctive. These are literary tenses and used frequently in formal French writing. Subjunctive Conditional Passà © Simple Imperfect Subjunctive j' influence influencerais influenà §ai influenà §asse tu influences influencerais influenà §as influenà §asses il influence influencerait influenà §a influenà §Ãƒ ¢t nous influencions influencerions influenà §Ãƒ ¢mes influenà §assions vous influenciez influenceriez influenà §Ãƒ ¢tes influenà §assiez ils influencent influenceraient influencà ¨rent influenà §assent It is possible that you will find some uses for  influencer  in  the French imperative.  When you do use it, all formality is dropped and you can skip the subject pronoun. Imperative (tu) influence (nous) influenà §ons (vous) influencez

Death Of A Loved One - 1060 Words

Death of a Loved One Studies have shown as many as 5-15% of bereaved people seem to develop severe long- term reactions to their loss. (Horowitz, M.J., Siegel, B., Holen, A., Bonanno, G.A., Milbrath, C., Stinson, C.H). Most people have experienced some type a loss their life. One of the most traumatic is a death of a loved one. Coping with the passing of a loved one can be extremely challenging and distressing. Crisis workers need to understand the grieving process, use the Schneider’s Growth Model and The Texas Revised Inventory of Grief. (TRIG)assessment as well as any intervention strategies for them to facilitate healing after the death of a loved one. Grieving Process One way for the crisis worker to help a person who has experienced a death of a loved one, they must understand the grieving process. A good way to that is to learn terms associated with loss. Some of the terms are bereavement, grief, mourning, uncomplicated bereavement and complicated grief or prolonged grief just to name a few. According to Brown and Goodman (2005), Bereavement is understood to be the experience of having lost a loved one to death and grief is the various emotional, physiological, cognitive and behavioral reactions to the loss and mourning is the cultural practices which express bereavement and grief. (Brown, E. J., Goodman, R. F. (2005). Reactions to death are unique to a person. The response depends on the several factors those being the severity of the loss, how close theShow MoreRelatedThe Death Of A Loved One1668 Words   |  7 PagesThe death of a loved one is not something that is easy to live through. For Cheryl Strayed that was no different, but Stray ed used it as her driving force at a chance to pursue her dreams as well as an opportunity make her grieving heard. She battle with the death of her mother as well as her whole life being turned upside down as acknowledged in, â€Å"I’d find my strength again, far from everything that had made my life ridiculous† (Strayed 57). One thing that did not change throughout it all was thatRead MoreThe Death Of A Loved One1482 Words   |  6 Pages The death of a loved one is an incredibly difficult loss to overcome. The death of a loved one could happen anytime in a person’s life and never becomes easy to cope with. Although everyone must confront this reality, not all cope with their grief in the same manner. One person’s grieving process could differ to another’s with differing variables, such as: length of process, details of loss, manifestations, and severity of grief. People’s grieving processes may slightly differ from one anotherRead Mo reThe Death Of A Loved One1688 Words   |  7 PagesThe death of a loved one can be difficult to understand especially when it involves a child. People often use an experience like the loss of a loved one as a chance to redefine their own life and to change the way they view and experience life. In the novel Catcher in the Rye by J.D. Salinger, Holden Caulfield’s life is forever altered by the death of his brother. When Holden’s kid brother Allie passes away, he does not have the expertise to handle the emotions that flood him, and he has a mentalRead MoreThe Death Of A Loved One Essay1187 Words   |  5 Pagesâ€Å"Death of a Loved One† Have you ever had someone that was close to you die? I have had pets that I was close to die, but not someone I saw on weekly bases, until my great grandfather died. Death is something everyone experiences some time in their lifetime and people deal with it in many different ways. In the August of 2016, I was forced to learn how I was going to learn to deal with it. My great grandfather Bob Howell, who we called Papa Bob, was one of the greatest men ever in my opinion. HeRead MoreThe Death Of A Loved One2206 Words   |  9 Pages The death of a loved one is an event that all of us is likely to experience during our lifetimes, often on numerous occasions. For many human beings, the subject of death could be creepy, undeniable, frightening and something too dark to face. The reality is that when a human being is born death is also born. Since we left the womb of our mother s, death is part of our journey through life and becomes a shadow forever. While such loss often transforms lives, it does not necessarily need to be forRead MoreDeath Of A Loved One Essay1826 Words   |  8 PagesThroughout life, each and every one of us will experience losses and grief. Grief is the normal response to loss, and affects people cognitively and physically, as well as emotionally. The main task of grief is to adapt to the loss, and to integrate the experience i nto ongoing life, after the loss (Winkover Harris, 2012). Death of a loved one is one form of loss in relationships. Separation, illness, and whenever a change is perceived within a relationship, can also be experienced as a loss (HumphreyRead MoreThe Death Of Loved Ones And The Mistreatment Of Their Bodies Essay1272 Words   |  6 PagesIn Homer’s Iliad and Thucydides History the death of loved ones and the mistreatment of their bodies provoke a variety of profound emotions and reactions. The mistreatment of Patroclus’ and Hector’s bodies results in the inability of the soul to pass into the afterlife, the grief of families and friends, and, once the funeral takes place, the celebration of their kleos and timÄ“ by their communities. The catastrophic plague in Athens, by contrast, creates a state of hedonistic lawlessness amongRead MoreAbortion, The Death Of A Loved One, And Terror980 Words   |  4 Pages Death â€Å"At that time, we were completely overwhelmed, the burden was more than we could bear, in fact we told ourselves that this was the end. Yet, we believe now that we had the experience of coming to the end of our tether that we might learn to trust, not in ourselves, but in God who can raise the dead.† (2Corinthians 1:8b-9 PH) We all know that humanity will submit to God’s plan, death. Its ripple effect varies from one person to the other based on a person’s own experience. Death mayRead MorePoem Analysis : The Death Of A Loved One 1421 Words   |  6 PagesI chose this poem because I do believe that we will lose everything at some point in time. We will lose our loved ones and eventually ourselves. Yes, we do find ways to cope but we will never get over it. The way she was struggling to admit that she wasn’t over a loved one, was similar to the way I had the struggle to admit that I wasn’t over the death of a loved one. Before, I have never expected it to be so hard until it happened to me. It took me years to let go and finally admit that person wasRead MoreMilitary Death and the Families’ Reaction to Losing Their Loved Ones1103 Words   |  5 PagesLosing a loved one is always a difficult and traumatic time that every person in his or her life has to go through. People go through many stages of grief and react to death differently. Some people tend to have flat a fleck, while others are seen whaling to miss that loved one. Many people feel an intense sadness or lost when someone close to them dies. This affects the way they react to others, extend of their physical and mental health in which is tested as well the length of healing to get over

The Mind and Talent of Walt Disney Essay Example For Students

The Mind and Talent of Walt Disney Essay Walt Disney is arguably the most significant person in the history of animation. Disney began his career in animation in 1919 and went on to is known for releasing the first animated feature length movie, Snow White in 1937. The Disney studio still produces animated feature films and other material even after Walt Disneys death in 1966. The Disney company has become an entertainment empire and is today one of the largest media companies in the world. This essay will compare and contrast the writings of three different authorities, Paul Wells (2002), Leonard Maltin (1987), and Harry Benshoff (1992) who have written about Walt Disney and his contribution to the animation industry. All three authorities have identified Walt Disney as a key and pioneering figure and agree that he has both affected and shaped the industry. The main comparison will investigate the notion that Walt Disney was an animation auteur. Auteur is a word that is derived from the French language and has a connotation to the high art of literary authorship. It has come to mean; A filmmaker, generally a director, who creates a body of work with a unified sensibility that reveals, through the interplay of themes and styles, a personal worldview, it has also come to mean any filmmaker who performed or was intimately involved in all aspects of the movie making process writing, directing, producing, editing etc. ? (The Internet Movie Database). Popular culture animation can be seen as a hybrid art form, that is, animation involves a combination of drawing, painting (traditional or digital), story-telling, and music and is generally manufactured in a studio/factory by a large number of highly creative and skilled individuals. The work is created by many people through many stages of development over an extended period of time. The assumption that the person whose name is attached to the cartoon was the person who executed the drawings has been already been proven incorrect (Wells 2002). This highlights the problem in determining who the work should be credited to, and who has the primary claim of authorial ownership, in relation to the final artistic vision. Walt Disneys resolve to fully establish authorial ownership was a direct result of having one of his first successful creations Oswald the Rabbit taken from him and given to other lesser animators in 1927 (Maltin1987). Disney stated that he would never relinquish ownership of his films or creations again? (Maltin 1987, p33). After this incident Walt Disney stopped drawing and developed his most famous character Mickey Mouse. Disney did not draw or animate Mickey Mouse. The relationship between Disney and Iwerks represents at a small scale the authorial role that Disney established for himself, this later developed into a much lager hierarchical infrastructure with Disney as the key instigator and producer of work (Wells 2002). Paul Wells (2002) argues that Disney should be seen as an auteur. In the factory workings of the Disney studio, Walt Disney asserted his principle auteurist role by making personal Authorial decisions and corrections on behalf of others in the execution of his vision (Wells 2002, p83). Wells (2002), investigates the complex notion of authorship in animation and presents a framework to determine auteur status upon an individual by looking at how they were engaged in the production process. He uses Walt Disney as a case study and argues that he is an auteur. Wells (2002, p77) states that Walt Disney is the key pioneering figure in the creation of the art, commerce and industry of animation and that he is the most written-about individual in the field. ? Similarly, Leonard Maltin (1987), takes a very positive view of Disneys authorial role and refers to him as the spark plug and states that he is generally considered to be the motivating force behind all significant achievements in his company and under his name until his death. .u1b893e656d7f09104b92510bdcea7437 , .u1b893e656d7f09104b92510bdcea7437 .postImageUrl , .u1b893e656d7f09104b92510bdcea7437 .centered-text-area { min-height: 80px; position: relative; } .u1b893e656d7f09104b92510bdcea7437 , .u1b893e656d7f09104b92510bdcea7437:hover , .u1b893e656d7f09104b92510bdcea7437:visited , .u1b893e656d7f09104b92510bdcea7437:active { border:0!important; } .u1b893e656d7f09104b92510bdcea7437 .clearfix:after { content: ""; display: table; clear: both; } .u1b893e656d7f09104b92510bdcea7437 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u1b893e656d7f09104b92510bdcea7437:active , .u1b893e656d7f09104b92510bdcea7437:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u1b893e656d7f09104b92510bdcea7437 .centered-text-area { width: 100%; position: relative ; } .u1b893e656d7f09104b92510bdcea7437 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u1b893e656d7f09104b92510bdcea7437 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u1b893e656d7f09104b92510bdcea7437 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u1b893e656d7f09104b92510bdcea7437:hover .ctaButton { background-color: #34495E!important; } .u1b893e656d7f09104b92510bdcea7437 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u1b893e656d7f09104b92510bdcea7437 .u1b893e656d7f09104b92510bdcea7437-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u1b893e656d7f09104b92510bdcea7437:after { content: ""; display: block; clear: both; } READ: The term Artificial Intelligence comes to mind whe EssayWalt wielded the final power of veto over all animation material and used this power constantly and consistently in keeping with the development of his vision. Disney scrapped five months of work on the Pinnocchio film because it just wasnt right? (Maltin 1987, p58). In support of Maltin and Wells, Harry Benshoff (1992) in his article Heigh-Ho, Heigh-Ho, Is Disney High or Low? From Silly Cartoons to Postmodern Politics,? attributes all the decisions to include high art forms into the Disney animations, to Walt Disney himself. In Benshoffs writing there is interchangeability between Disney the man and Disney the company which intrinsically implies Walt Disneys authorial position. There is not such a direct evaluation of Walt Disneys authorial claims but there is a consistent underlying acknowledgement of them as in the reference to the Disney style,? which began to develop in the 1930s and has since become the popular measure of the quality of all other commercial animations ?(Benshoff, p63). The Disney style can be seen to be based on the realistic recreation of natural movement within a pictorial frame work reminiscent of European high art traditions including Southern European fairytale illustrations (Maltin 1987). This style was achieved by Disneys drive for technical perfection in animation and a visual style that he found personally fulfilling (Wells 2002) Benshoffs argument and examination of the ideological implications of stylistic change, and the Disney companies positioning in the high/low continuum does not at all challenge the position of Disney as the authorial figure head. In conclusion, it is fair to state that from the three authorities referred to in this essay, that Disneys contribution to the evolution of 20th century visual art practice, particularly in the animation industry is considered significant. It is apparent that even though he did not draw or animate any significant work after 1927 he was the key personality responsible for the Disney style. Walt Disneys position as the auteur? of the Disney animated cartoons is at least, un-challenged and at most, a certainty.