Marilyn Manson s Music Video Based On A Song The Dope...

â€Å"The Dope Show† is Marilyn Manson’s music video based on a song â€Å"The Dope Show† from the album â€Å"Mechanical Animals†. The video was directed by Paul Hunter. Marilyn Manson was the co-director. The video was filmed in the beginning of August 1998 and has its premiere on 20th August in the same year. In the music video can be seen the leader of the rock band, Marilyn Manson himself, who appears in the area of Hollywood Hills as an androgynous, red-haired person. In the further part of the video the singer is being kept in a mysterious laboratory and then transported to a place where he performs a music concert as a leader of his rock band. He performs in front of amazed fans who are being under control of the police. The video starts with a flash of white light (key light), close-up on syringes and the main character in the video. The singer may be seen in a vast mountainous area. The light represents the dominant light source in the scene. (Jackson, 2010, p. 196) It seems to be a signifier of the importance of the person who is in the middle of action. A big number of quick zooms indicates both him and mentioned in the beginning of the paragraph objects. It leads to conclusion that they may be considered as keynotes in the music video (Jackson, 2010). The syringes filled with a liquid that may be considered as a kind of drug, which is present in the whole video. It leads to a conclusion, which may suggest that drugs are synecdoche that represents a wide range of harmful

Communication Is An Important Staple Of Human History

Communication is an important staple of human history. From the use of Egyptian hieroglyphs to the first appearance of emojis in Japan during the late nineteen-nineties. Methods of communication are ever-evolving and it is only a matter of time before the next sweeping form of interaction changes how we communicate. Before exploring the revolution which took place in the late nineteenth century, it is important to look at the pre-telephone era, the factors that went into the invention of the telephone, how the telephone changed the world, and how it impacts society today. When talking about the pre-telephone era, many people fail to realize that their were many well-established forms of communication. The first official United States Post Office was established on July 25, 1775 and was headed by Benjamin Franklin. (USPS) The Telegraph was the fastest form of communication prior to the telephone, with it’s utilization of the electric signals through wire, it was an excellent fo rm of communication which allowed for messages to be sent across sea in relatively reasonable time. (USDS) Postal Service and Telegraphy were great methods of communication, but they never reached the heart of communication, conversation between two people can only exist in short hand in telegraphy and it would take weeks for mail to come back and forth between sender and receiver. However, on a diligent March day in the Basement of a Boston University Professor, the first phone call was made only aShow MoreRelatedRelationship Between Management And Labor1301 Words   |  6 Pageswhich led to the staple of trust and respect between management and labor by the â€Å"Labor-management joint declaration† establishing in 1962. â€Å"The Toyota way† is expressed in the organization’s culture through implementing procedures and plans that improve employee self worth and awareness (2008). Several examples of procedures and plans are examined from researching the comp any. Following Toyota’s two major keys, â€Å"respect for the people† and †continuous improvement,† communication between employeesRead MoreGreat Communication Secrets Of Great Leaders1263 Words   |  6 Pages1) In â€Å"Great Communication Secrets of Great Leaders† John Baldoni identifies ways in which communication defines leadership. Communications defines leadership by developing and reinforcing the bond of trust, affirming the organizational vision, facilitating a two-way flow or information, creating the impetus for organization effectiveness, and driving results. All of these traits of communication are important for a leader to convey. They allow him or her to inform people, involve everyoneRead MoreHow Money Has Changed Society Essay709 Words   |  3 Pages Marshall McLuhans lasting contribution is his vision of the ways technology affects and changes history and culture. McLuhan proposes that technologies are not mere add-ons to who and what humans are but, rather, alter them as though the technologies really are extensions of humans. Technology determines culture and history to the extent that it shapes and controls the scale and form of human association and action. 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Richard III Power of Language and Own Villainy Free Essays

Deformed in body and twisted in mind, Richard is in every way the dominant character of the play, to the extent that he is both the play’s protagonist and major villain. He is selfish, evil, corrupt, sadistic, and manipulative. His intelligence, political brilliance, and dazzling use of language keeps the audience fascinated and his subjects and rivals under his control. We will write a custom essay sample on Richard III: Power of Language and Own Villainy or any similar topic only for you Order Now At the beginning of the play, it is made clear to the audience that Richard has no justification for seizing the throne. This is because England is obviously not oppressed or subject to tyranny as the lengthy civil war has just ended, and Richard’s oldest brother, King Edward IV, now sits on the throne. Richard himself, states that ‘All the clouds that loured upon our house’ (1. 1, 3), the house of York, has been dispelled by the ‘son of York’ (1. 1, 2), King Edward IV. However, Richard intends to upset the kingdom by seizing power for himself. He says that ‘since I cannot prove a lover to entertain these fair well-spoken days, I am determined to prove a villain’ (1. , 28). This simply means that since Richard was not made to be a lover, he has no use for peace, and will happily destroy peace with his crimes. This shows Richard’s unabashed enjoyment of his own villainy as he can so blithely toss aside all of the things that the rest of humanity cherishes. Richard III is an intense exploration of the psychology of evil, and that exploration is centred on the workings of Richard’s mind and the methods he uses to manipulate, control, and injure others for his own gain. Perhaps more than any other play by Shakespeare, the audience of Richard III experiences a complex, indefinite, and highly erratic relationship with the main character. Richard is clearly a villain as he declares outright in his very first speech that he intends to stop at nothing to achieve his ultimate goal of becoming king. However, despite his open allegiance to evil, he has such a charismatic and fascinating personality that, for much of the play, we are likely to sympathize with him, or are at least impressed by him. In this way, our relationship with Richard reflects the other characters’ relationships with him, conveying a powerful sense of the force of his personality. Even characters such as Lady Anne, who have an explicit knowledge of his wickedness, overlook his dishonesty and violent behaviour and allow themselves to be seduced by his brilliant wordplay, his skilful argumentation, and his relentless pursuit of his selfish desires. Richard’s long, fascinating soliloquys, in which he outlines his plans and gleefully confesses all his evil thoughts, are central to the audience’s experience of Richard. Shakespeare uses these soliloquys brilliantly to control the audience’s impression of Richard, enabling this manipulative protagonist to work his charm on the audience. In Act I, scene i, for example, Richard offers a pretext for his villainy towards others by pointing out that he is unloved, and that he is unloved because of his physical deformity. Richard himself is brutally honest about his appearance. He admits to being imperfectly shaped and blames premature birth for his condition. He knows that he is ‘not shaped for sportive tricks’ (1. 1, 14) and while others delight in ‘an amorous looking glass’ (1. , 14), his misshapen body creates a ‘shadow in the sun’ (1. 1, 26) that alienates him from others. Hence, Lady Anne calls Richard a ‘lump of foul deformity’ (1. 2, 57) in Act I, scene ii. This proves that Richard’s claim not only makes the other characters of the play seem like the villains for punishing him for his appearance, but also makes it easy for the audience to sympathize with Richard during the first scenes of the play and even hope that he will succeed despite his obvious villainy. It quickly becomes apparent, however, that Richard simply uses his deformity as a tool to gain the sympathy of others, including the audience. This is already noticeable in his very first speech as Richard seems to take a deliberate perverse delight in his outward shape. He chooses words such as, ‘cheated’, ‘deformed’, ‘unfinished’, ‘half made up’, ‘dogs bark’ at him as he passes by because of his ‘deformity’ to describe himself. Richard’s unabashed villainy is a much more natural part of his character than simple bitterness about his ugly body. Nevertheless, he still manages to use speech to win our trust, and he repeats this throughout his struggle to be crowned king. An interesting secondary theme of Richard III is the power of language, or the importance of language in achieving political power. Language may not always be a necessary instrument of power, but for Richard, it is a crucial weapon. As we have seen, it is with his extraordinary skills with words that allows him to ridicule, insult, taunt and deceive all who stand in his way to power. Richard’s skill with language and argument is what enables him to woo Lady Anne, have Clarence thrown in prison and blame the king for Clarence’s death, all at very little risk to himself. In conclusion, I feel Richard III’s unabashed enjoyment of both the power of language and his own villainy makes him a character worthy of both respect and admiration, and therefore I completely agree with this statement. This is because Richard’s unabashed power of language shows off the ingenious wit and intellectual cleverness of the character, actor and playwright, while his own villainy makes the play all the more fascinating and entertaining as his heinous acts become more chilling. How to cite Richard III: Power of Language and Own Villainy, Essay examples

Navratri free essay sample

What is Navratri? Navratri, is a festival of worship and dance. The word Navaratri literally means nine nights in Sanskrit; The festival is celebrated for nine nights every year during September or October based on Hindu calander. There are many legends attached to the conception of Navratri like all Indian festivals but all of them are related to Goddess Shakti (Hindu Mother Goddess) and her various forms. Navratri is divided into three-day sets, each devoted to a different aspect of the supreme goddess. The first three days are devoted to Goddess Durga (Warrior Goddess to destroy all our ices, impurities, and defects) dresses in red and mounted on a lion. The next three day set is devoted to Goddess Lakshmi (the giver of spiritual and material wealth) dressed in gold and mounted on an owl, and the last set is devoted to Goddess Saraswati (the goddess of wisdom) dressed in milky white and mounted on a pure white swan. In some communities people undergo rigorous fasts during this season that lasts for the nine days of the festival, only to be opened on the tenth day of Dussehra. Traditionally, Navratri was celebrated by Hindu women only, in the honor f goddess Amba/Durga. Amba/Durga is believed to be a Shakti, originating from Lord Shankara. On the tenth day of Navratri, the holiday of Dussehra, an effigy of Ravana is burnt to celebrate the victory of good (Rama) over evil. During this colorful event of Navratri, young men and women dance around an earthen lamp, representing Goddess Durga, kept in a decorated mud Jar called Garba, singing songs accompanied by the rhythmic clapping of hands an expression of gratitude towards goddess Durga for saving the world from the atrocities of the Mahishasur. Though it is one of the most celebrated festivals of Hindu calendar, it holds special significance for Gujaratis and Bengalis and one can see it in the zeal and fervor of the people with which they indulge in the festive activities of the season. Garba The name Garba comes from the Sanskrit term Garbha Deep. Garbha, when translated, most closely resembles the English preposition inside, and Deep is a small earthenware lamp. Garba is a dance that originated in the Gujarat region. Traditionally, either the lamp (the Garba Deep), or an image of Amba is placed in the iddle of the concentric rings. People dance around the deity clapping rhythmically. At every step they gracefully bend sideways, the arms coming together in beautiful sweeping gestures, up and down, left and right, each movement ending in clap. The songs of the Garba are often historic and melodious and have been handed down through generations. The origins of them seem to be a tribal dance revolving around a hunt; later it was transformed into an agricultural ritual dedicated to the goddess Ambika. Today in the cities and town the dance is a social activity and entertainment ather than religious agricultural or fertility symbol. People clad in chaniya-cholis and different regions and communities. Dancers have involved their own style and steps. The Garba of Gujarat is the most popular womens folk dance of Gujarat. During Navratri, a pot is ceremoniously placed attractive designs are made on the pot and a light is placed inside. Village girls bearing pots (garbis) on their heads go from door to door and dance around the respective house. Dandiya Although Dandiya Raas is also somewhat associated with garba, it is originating from a totally different root. The origin of the Rasa is traced back to the legends connected with the life of Lord Krishna. It is essentially associated with the agricultural rites. Dandiya raas was traditionally performed by men only. Traditionally, this was a pseudo practice of the sword fght with footwork, you can call it as in poomse in Tae Kwon Do or Kata in Karate. You will still find these traditional movements and forms of Dandiya raas in Saurashtra (Western Gujarat). This was an excellent social tradition of incorporating goddess with an art of swords and also with entertainment, hen there were many invasions happening on small kingdoms and almost every man in society was responsible for his regions and communitys safety. The Rasa dances of Saurashtra are closely related to agricultural functions and are for the best part grain-ritual dances. Dandiya Raas is performed in groups of pairs, with a pair of sticks in their hands played to the beat of a dhol. These sticks, which can vary from 1. to 2 feet in length, and is meant to represent the sword of the avenging Goddess Durga. The circles formed by men and women move in clockwise and anticlockwise irections. Raas is a very energetic, colorful and playful dance providing an opportunity for acting and exchanging messages through eye contact. The most impressive artistry of the Rasa dances of Gujarat and Saurashtra is displayed in the Dandiya Rasa by men. It is a counterpart of the Garba of the women . The dancers use sticks at the end of which tiny bells (ghungrus) are tied so that they give off a clear Jingling sound when they strike one another. This dance has a very complicated rhythm pattern and even though the dancers begin in a slow empo, the dance develops in such manner that each person in the circle not only performs a solo dance with his own sticks, but also has a complex multiple relationship with both his partners on either side as also partners opposite him in the circles. The circle keeps breaking sometimes into two concentric circles and sometimes into three or four circles within the orbit of a larger circle. Garba and Dandiya Raas are now amongst the dances representative of India and have been seen in several world cultural festivals. One of the most important factor of the Garba/ Dandiya Raas is the quality of singers. Today there are famous choral groups like Falguni Phatak, Babla, Adesh Srivastava, Preeti-Pinki group, Vijay Shah are some of the favorite Dandiya Raas singers. There are also training academies at which you are taught many different styles/steps like Dodhiyu, simple five, simple seven, popatiyu, Trikoniya (hand movement which forms an imagery triangle), Lehree, three claps, butterfly, hudo, two claps and many more. Dandiya Choice Traditionally Dandiyas were bamboo sticks about a feet in length. Today, Dandiyas come in ocket and ball bearing in the center, to give a good effect when the stick goes whirling in the air. Acrylic dandiyas are colorful, light and attractive. Among wooden ones, there are a wide range of stick to choose from from ones with tiny bells and trinkets to those with silk or fabric coatings. The wooden dandiyas give a definitive sound of clashing sticks Ahmedabad and Vadodara are two of many great places to enjoy Navratri. All kinds of Rasa-Garbas, Dandia ras etc. are practiced in this period, feasting and fasting are important cultural aspects of this day, and various rituals are erformed at temples. The atmosphere is electric and revelry is in the air. Dabeli is far the most popular snack that most dandiya revelers consume during the Navratri in many parts of India. Categories Duha: Is in opening fast tracked song, at a very high pitch and after that the geet follows! Men display an energetic form of dance synonymous with the tunes. Raas: Its roots lay from the days of Lord Krishna who played raas on the shores of Yamuna river on a moonlit night with his beloved Gopis. The tradition still continues! nowadays, men and women play in pairs with bamboo sticks called dandiya! Garba: Is a very graceful form of dance among the Gujaratis and it is performed on 9 nights, Navratri to Goddess Ambica, where women dance gracefully in circles sometimes also using, Bedu, Kamari or Just Taali and Chapti They are dressed in exquisitely embroidered, set in mirrors Choli, Ghagra and Bandhani dupattas, silver oxidized Jewellery where in Tika and Anklets are a must! the dress code of men is Kehediyu, Chudidar and a Turban. Aarti: Is sung in the beginning genuflecting the Goddess. Prayers are offered and Praises are sung and danced with diyas in hand.