Galveston TX budget Essay Example | Topics and Well Written Essays - 2500 words

Galveston TX budget - Essay Example The budget aims to balance the preference of the community with the reality that sacrifices must be made in order to align the spending of the county’s resources and services. In the employment sector, the county strives to minimize retrenchment by aiming to use early retirement and voluntary distinction of rewards to reduce working staff and align working employees into vacant positions. To achieve this objective, the county is aiming at reducing services and programs and applying general capital or funds reserves in proposition funds. The recommended budget is designed in that it aims to restore structural balance of the following financial year, which is 2012/2013. That implies that the county will spend its means with borrowing from reserves. Policy makers warned that if the county showed some weakness on the way and did not stay on track, then it would continue relying on reserves and at one point in time, it would run short of reserves. To aid close the gap between reven ues and expenditures, the county has over time made tremendous development and progress (Hayes 51). Galveston County has: i. Reduced layoffs by eliminating vacant positions ii. Designed new service mechanism that have consolidated departments iii. It has partnered with private and public sectors to enhance safety and other services to operate well iv. It has reduced labor costs by partnering with labor organizations v. It has created various cost savings programs that will see reduction in operation cost while guarding other services, enhanced management and cut down on oil and hotel services. The main incremental approach to the development of Galveston budget is based on the financial difficulties posed by the financial crisis. The budget planners in the city of Galveston consider the revenue growth because increase in revenues can be distributed to the all programs and departments with little controversy. There is possibility of acrimony, though, when distributing revenue decreme nts during times of revenue decline (Finnkelstein 17). There are several perspectives that the policy makers need to consider when planning for the budget, for instance, by what methods will resources be distributed too services? How and where will the politicians, public, and citizens engaged during the process? Before budgeting, jurisdiction plays a critical role in that it states how the city should invest resources to meet its laid down goals and objectives. Priority assist in articulating why its plans and programs exist, what value and benefit they offer to citizen, what price the inhabitant pay for them, and what goals and citizens preferences they are settling (Finnkelstein 41). Galveston County in Texas has major six priorities, which are expressed as citizen statements: i. Well organized, planned, and developed communities within the county. The policy makers proposed that it was significant to strategize and plan infrastructure in order to maintain quality life of its cit izens. ii. Economic vitality in that Galveston County wants to have more industries that will enhance and promote a healthy and sustainable economy that does not burden its citizens. iii. Self-sufficient people and families for the Galveston citizens whereby the community provides variety of opportunities for its citizens to be self-productive and sufficient.

Entrapment by Government Agents Essay Example | Topics and Well Written Essays - 500 words

Entrapment by Government Agents - Essay Example Throughout the two and a half years, the government has been pestering Jacobson, to the point of almost forcing him to commit a crime. The fictitious organizations that have been sending him mails and surveys seem to be wanting to pin him down. The government was trying to lure him to commit the crime by informing him that censorship was infringing on his rights and sexual freedom. Jacobson is an innocent victim of entrapment by the government. The information about pornography and other illicit sexual activities were being fed to Jacobson, flaunted right into his mail box. The government did not give him a choice but to participate in the surveys and be a member of the phony organizations. Instead of trying to trap him, the government should have gone after the real offenders, those who do not need any persuasion from them to commit the crime. The Supreme Court defined entrapment in this case by stating that â€Å"if the defendant before contact with law enforcement officers or their agents did not have any intent or disposition to commit the crime charged and was induced or persuaded by law enforcement officers or their agents to commit the crime, then he was entrapped† (What constitutes entrapment by government agents?, 1992). Yes, one agrees with the definition of the Supreme Court. One believes that to prove that there is entrapment, two factors must be considered which was captured in the definition of the Supreme Court. The first is that the defendant was induced by the government to commit the crime. The second factor is the matter of whether the defendant is predisposed to commit the crime, given the fact that he was induced inappropriately to commit the

Updates and Revisions to previous project on Multigenerational Assignment - 1

Updates and Revisions to previous project on Multigenerational Leadership - Assignment Example Effective multi-generational team leadership is required across the spectrum of industries. This paper analyzes several characteristics of effective multi-generational team leadership and offers recommendations for management. Emphasis is on how effectively managing multi-generational work teams can lead to increased organizational success. While organizational success is the common goal of business leaders, many businesses have failed to achieve the expected level of success due to ineffective leadership. Leadership styles and methods vary, but many common practices exist. In the 21st century workplace, several generations of employees work together. Their varying beliefs and values add a uniquely important expectation of management. According to Martin and Tulgan (2003), multi-generational teams find it hard to embrace innovation, productivity, collective learning, and responsibilities. This challenges a leader’s leadership strategy. This paper considers this leadership challenge, and seeks to deepen understanding of the complexities of multi-generational work teams. The paper also seek to answer the question: What are best practices to effectively lead multi-generational work teams? The outcome of the study will be to advise business management on how effectively they can lead and inspire multi-generational work teams to create a business advantage. Leading multi-generational work teams presents unique challenges for management, because different generations of employees possess widely varying beliefs, values, and expectations. Fully understanding the unique characteristics of multi-generational work teams, and employing strategies for managing them, is a challenge for business leaders that must be met. Additionally, the leadership team itself is now comprised of individuals from multiple generations, adding even more complexity to this critical

A illustrated time line 1945 1997 Coursework Example | Topics and Well Written Essays - 250 words

A illustrated time line 1945 1997 - Coursework Example As a result, the coalition government ended as Labour leader Clement Attlee clearly won majority seats over Winston Churchill. In addition to this, the year also finished with celebration of the victory in the World War II. In 1948 National Health Service was established and Labour government made significant changes that promote medical services. Moreover, a free paid system was introduced to those who registered with a doctor. Labour Leader Clement Attlee was re-elected as Prime minister in 1950. Later British troop were sent to support the USA in the cold War at South Korea. In the year 1951, Winston Churchill won the general election under Conservative party and became the Prime Minister for the second time at the age of 76. He promoted foreign affairs, reduced pressure of Cold War and maintained good relationship with the USA. He once said that â€Å"We see nothing but good and hope in a richer, freer, more contented European commonalty. But we have our own dream and our own ta sk. We are with Europe, but not of it. We are linked, but not comprised. We are interested and associated, but not absorbed† (Britannica.com). After the death of George VI in 1952, his daughter Elizabeth II became the Queen and the Prime Minister supported her. In 1955 Winston Churchill at the age of 80 went on retirement due to the health issues. His successor was Anthony Eden who won the general elections in 1956. Furthermore, British power station was turned on for the first time. However, Egypt decided to nationalize the Suez Canal and American intervention made Britain and France to withdraw and Egypt got the canal back. As a result, it placed America higher over them. In the year 1957, The Prime Minister Sir Anthony Eden resigned due to Suez Crisis and was taken over by Harold Macmillan. Besides, Britain tested its first hydrogen bomb and joined to Soviet Union. The Conservatives leader Harold Macmillan won the general election with great margin of votes

The Work Of Stephen Sondheim Music Essay

The Work Of Stephen Sondheim Music Essay Born in New York in 1930, Stephen Sondheim is widely acknowledge as the most innovative and influential Broadway composer of the last fifty years. However, despite having some sixteen projects under his belt (not counting the numerous musical anthologies, revues or movie scores), Sondheims work still divides the critics; whilst some embrace his innovation, others lament over the loss of a more traditional form and lack of hummable melodies. Many seem to deem his work as clever and intelligent but missing the warmth that was generally considered the mark of a hit Broadway show. Yet despite not always meeting with landslide approval for his work, Sondheim has collected more than sixty individual or collaborative Tony Awards; most notably he has received the award for best Score/Music/Lyrics for Company, Follies, A Little Night Music, Sweeney Todd, Into The Woods and Passion, all of which won the New York Drama Circle Award for Outstanding/Best Musical as did Pacific Overtures and Sunday In The Park With George. Company Sondheims first collaboration with writer George Furth, marked his first major hit in 1970. Furth had come to Sondheim in early 1969 with a series of one-act plays he had written. Sondheim passed them on to now legendary producer Harold Prince who suggested the two should work together to transform the plays into a musical, promising to stage it once it was completed. The piece shook Broadway from the fantasy happy ending story it had come to expect and brought about a more provocative musical comedy. As Sondheim stated, Company does deal with upper middle-class people with upper middle-class problems. Broadway theatre has been for many years supported by these people. They really want to escape and were saying well bring it right back in their facesà ¢Ã¢â€š ¬Ã‚ ¦what they come to a musical to avoid, they suddenly find facing them on stage. This hard-edged, unromantic depiction of romantic relationships was revolutionary for the Broadway stage and managed to both humour and challenge audiences with its unsettling view of relationships. Some found fault with what they saw as an anti-marriage show that didnt stand up against the classic Broadway themes, however, mostly the show met with the kinds of intelligent accolades reserved for something new and exciting. After its opening, observers noted that the shows protagonist, Robert, showed a similarity to Sondheim own character a middle-class, single, professional, living in New York, commenting on the life of the other young professional couples around him. Sondheim has always denied that any of his work is autobiographical, but his next collaboration with George Furth in 1981, once again seemed very familiar territory for both writer and composer. As far as the new era of Broadway composers goes, Jason Robert Brown has been hailed by some as The next Stephen Sondheim. Brown, also Jewish and born and raised in New York, began his career as an arranger, conductor and pianist. His first major production came in 1995 with Songs For A New World, an off-Broadway revue directed by Daisy Prince, daughter of Hal Prince who later hired Brown to write the songs for the musical Parade after Sondheim turned down the show. The musical tells the controversial true story of the trail and hanging of Leo Frank, who was wrongly accused of the rape and murder of a young factory girl in early 20th century Georgia. The show dealt with the anti-Semitic tensions in the southern states at the time and did not shy away from the conclusion that the likely killer was the African-American factory worker, Jim Conley. . Browns score is full of riches, mixing period American styles with strong melodies, intricate counterpoint, selective dissonances, and natural lyrics which give their characters true, expressive voices. Despite the cool reception of the show by the critics and the feeling that the show took too many liberties in the use of racial slurs, Browns score was highly praised and he later won the Tony award in 1999 for Best Original Musical Score. The attention received by Brown marked him out as the hottest up and coming talent. He returned to work with Daisy Prince on his next piece, The Last Five Years for which he wrote both the book and the score. Literature It is strange that despite the wealth of artistry and innovation which musical theatre has produced throughout the 20th century, it has never really being given its rightful place amongst academia, always being seen as a more low brow art form than that of serious plays or music. It seems that if the likes of Sondheim and Jason Robert Brown were to work in the medium of non-musical drama, or doubled in the field of serious musical composition like Gershwin or Bernstein, perhaps their work might be viewed in more of our universities. Why must important pieces of musical theatre be limited to the destiny of popular artists, however richly deserving of serious attention on its own merits? That is not to say that there has not been much analysis and writing on musical theatre or Sondheim in particular; Martin and Gottfried and Meryl Secrest both present biographies of Sondheims career, life and works in sharp detail providing an in depth look at past and present influences which have shaped his artistic development throughout the years. Sondheim On Music by Mark Eden Horowitz focuses on three main areas: Firstly his interviews with Sondheim, particularly focusing on five of his main works (Passion, Assassins, Into The Woods, Sweeney Todd and Pacific Overtures). The second part is entitled songs I wish Id written (at least in part) providing a look at some of Sondheims major influences from a list compiled for his 70th birthday celebrations at the Library of Congress. Part three supplies a list of all works, complete discography of all recordings to date and publishing information for all songs and scores up until the release of the book (2003). Joanne Gordons Art Isnt Easy The Theatre of Stephen Sondheim focuses on content and themes of Sondheims stage works, highlighting his innovative use of form and how he manages to weave the music and lyrics into the fabric of the entire piece. It is almost a guide to the appreciation of Sondheims scripts and music and would be especially useful for those staging any of Sondheims musicals and provides an excellent basis of primary research material. With little literary focus on Sondheims use of music, Stephen Banfield takes a different route, examining much of Sondheims output from a musicological perspective, undertaking practical and theoretical treatment of the music. Despite these and other writings in the last decade which are taking a more serious treatment of the works of musical theatre, there is still an elitist treatment against the reading of musical theatre within the academy. It seems to be stuck on the view that musicals remain largely unsophisticated and lacking in high serious. Unfortunately, there are times when this is true. Recently, Broadway and the West End seem to have been plagued by film adaptations, Disney rehashes and juke-box musicals which, whilst they may have been commercially successful, are tarring other more worthy writers and composers with the low-brow brush. A collection of critical essays edited and with a foreword supplied by Sandor Goodhart makes moves to further the writing and critical analysis of the works of Sondheim, again pushing for the academy to take a closer look into the world of intelligent musical theatre. Hopefully the moves towards a more intellectual appreciation of the work of Sondheim within academia will allow the same to later happen for the new class of musical theatre composers like Brown. Merrily We Roll Along Merrily We Roll Along was one of Sondheim and writer George Furths most famous flops, running for just 16 performances after it opened on Broadway in 1981. It was based on a 1930s play by George Kaufmann and Moss Hart, and follows a group of hopeful young college graduates, from 1957 to 1976. But there is a twist the plot is stage in reverse linear motion so the show begins in 1976 and gradually works backwards in time. So we watch everything knowing how it ended up, with friendships broken, idealism betrayed and marriages on the rocks. The score is full of what sound like traditional musical comedy songs hailing from 50s and 60s Broadway. While the score is very clearly Sondheim and the songs are not parodies, there does seem to be hints of several of his contemporaries; Berstein, Bacharach, Styne and Kander. It seems somewhat ironic that this traditional book-musical which contains some of Sondheims most accessible songs, has had such a troubled professional history. After the failure of the original production, Sondheim later made several major revisions for the revival of the show at the LaJolla Theatre in 1985. The reworking created a score Sondheim now calls, definitive. The show is centred on Franklin Shepard a rich, famous and influential songwriter and film producer. But how did he get to be where he is today? (Merrily We Roll Along) The years begin to roll back. First stop is Franks swanky Bel Air pad in 1976, after the premiere of his latest movie. Frank is throwing a party filled with his friends; the hangers-on, people who make things happen in show business and the movers and shapers are all there, and lavish praise on him (That Frank). At the party we also meet Franks old friend and theatre critic, Mary, who is now an alcoholic. She is sickened by the superficiality of the people Frank has chosen to associate with and by his abandonment of music the one thing he was truly good at for the world of commercial film producing. As she gets progressively more and more drunk, she begins to loudly insult everyone, and is ordered to leave. Their friendship is over. However, Frank is hurt by Marys drunken remarks because he knows they are true. He has concentrated so completely on being a success that everything he most valued at the beginning of his career has long been left behind. The evening ends traumatically with the break down of Franks unhappy marriage to his wife Gussie, a former leading actress in one of his early musicals, when she viciously attacks Meg, his mistress. The years roll back to 1973 (First Transition). Frank and his long-time lyricist collaborator and friend, Charley Kringas, are about to be interviewed in a New York TV studio. In the make-up room, Charley greets Mary (Old Friends), and tells her that Frank is now so busy making deals that he never has time to write shows with him like they had always hoped. Mary laments over their strained friendship and wishes that it could be Like It Was. On-air the TV interviewer accidentally informs Charley of Franks plans to once again put off their long awaited politically idealistic show for another project. A nervous Charley launches into a demented rampage on the way his composer has transformed himself into a corporation (Franklin Shepard Inc). As Charley swings ferociously between bitterness and self-contempt, Frank walks out. Their friendship is over. Its now 1968, and Charley and Frank are in Franks apartment on Central Park West (Second Transition). He and Charley are arguing over his decision to do a movie version of one of their shows, Musical Husbands. Frank wants to do it for the money, but Charley says that it will get in the way of writing the idealistic show theyve always wanted to create. Mary looks on, and when the argument starts getting out of control reminds them that they are all still old friends (Old Friends Part II). Broadway producer Joe Josephson and his wife Gussie arrive. She and Frank have been having a long-term affair. Joe has learnt to live with it, but Mary, hopelessly in love with Frank, finds it much harder to accept. When the others leave, Gussie startles Frank by announcing she intends to divorce Joe to be with Frank, leaving him to decide on what he wants (Growing Up). The years rewind to 1966 (Third Transition). Frank is being sued for divorce by Beth, and they wrangle over the custody of their young son in a courthouse in Lower Manhattan. Beth tells him that Not A Day Goes By when he isnt a part of her life, but she cant live with him knowing he is cheating on her with Gussie. The marriage is over. Mary and Charley and Franks other collegues rally around him telling him that the best thing to do is to move on and start again (Now You Know). Act II opens on the opening night of Frank and Charleys first Broadway show, Musical Husbands. Gussie stars in the show, and the act opens with Gussies performance of Franks and Charleys big hit song(Act Two Opening). Although not exactly the kind of show the duo had always planned, as the curtain comes down on the show, the audience applauds wildly. Broadways latest words-and-music team, Charley and Frank, have just found themselves a hit. (Its A Hit!) The years roll back further to 1962 (Fourth Transition) at a party in Gussie and Joes apartment. Gussie has thrown a soirà ©e so that Frank and Charley, who are going to write a musical for Joe to produce, can meet all the richest and most influential people in town describes as The Blob. We see early signs of Gussies romantic interest in Frank (Growing Up). Gussie invites the collaborators to perform their latest song, Good Thing Going. The guests love it. Gussie simply fawns over the number and implores them to do it again. Charley urges Frank not to. You want to know what true greatness is? Its knowing when to get off, Charley says. But Frank insists. They play the song again, but the guests quickly lose interest and resume their cocktail chatter over Franks reprise (The Blob Part II). Back to 1960, the dawn of a new decade with new hopes (Fifth Transition). Charley, Frank and Beth are young and on the outset of their careers, playing Frank and Charleys music at a small nightclub in Greenwich Village. Trying to appear bright and sophisticated, they perform a cheeky number celebrating the accession of Americas new First Family (Bobby And Jackie And Jack). Joe is in the tiny audience and hes quite impressed, as is his wife Gussie. Afterwards, Frank explains that hes marrying Beth and pledges that a day doesnt go by when shes not a part of his life (Not A Day Goes By Part II). At an adjoining table, Mary echoes the sentiment; its how shell always feel about Frank. Its 1959 (Sixth Transition) and the young Frank, Charley and Mary are busy in New York, establishing their careers (Opening Doors). The boys audition for Joe, but he wants more hummable tunes. So they decide to do their own show and end up hiring Beth as a singer. The years finally take us back to October, 1957 (Seventh Transition). Its 5:30am, and Frank, Charley and Mary are on the roof of an old apartment house waiting for the first-ever earth-orbiting satellite. Suddenly, Sputnik is there in the sky, and for the three young friends, anything is possible (Our Time). The Last Five Years Jason Robert Browns one act musical The Last Five Years premiered in Chicago and was later produced off-Broadway in 2002. The story explores the five year relationship of Jamie Wellerstein and Cathy Hyatt. Like Merrily it also makes use of reverse-linear motion, but just for one character; so Jamies story moves chronologically through their relationship, but we begin at the end of Cathys story moving chronologically backwards. Their relationship begins in their early twenties; Jamie is an up and coming novelist, Jewish and intense. Cathy is a struggling actress, catholic and insecure. Browns score is diverse and he is not afraid of writing catchy melodies with much of the material being pop-driven and wedded to intelligent lyrics that explain who these characters are. The show was met with high acclaim, with critics praising the Browns genuine, smart, humorous and moving writing . The show begins with Cathy alone in her apartment as her marriage to Jamie has ended, and he has just moved out (Still Hurting). When the song finishes, Jamie appears. It is five years earlier and he is on their first date. We learn that Jamie is Jewish and Cathy is not. Despite this, Jamie is completely smitten with his Shiska Goddess The scene then switches to Cathy sitting on a pier in Ohio with Jamie, who has come to visit her for her birthday while she does summer stock theatre (See Im Smiling). It is clear that she is not happy about spending her time away from Jamie and is enthusiastic about fixing their marriage. She becomes very angry when Jamie announces that he has to return to New York. They argue, and Cathy claims that he spends all of his time thinking only of himself, singing you and you and nothing but you. During interludes in the music, Jamie, several years earlier, talks to a literary agent about the book he has just written. His future looks promising. The play moves away from their argument, and Jamie tells a friend that he is moving in with Cathy. Everything seems to be going right for him; his book is being published and the Atlantic monthly is printing the first chapter. Even though his work and his relationship with Cathy seem to have taken on lives of their own, hes too happy to get worried (Moving Too Fast). Cathy, meanwhile, is making a call to her agent. Though we only hear her side of the conversation, it is obvious that she is struggling with her career. Cathy sits at Jamies book signing party. She sings about her life with him, asserting that even though he often obsesses over his writing and ignores her, she is terribly in love with him (A Part of That). Cathy confesses that she does not act independently anymore, but instead follows in his footsteps. Jamie celebrates his first Christmas with Cathy. He tells her a fable (which he has written, new and unpublished) about an old tailor named Schmuel whose encounter with a magical clock gives him infinite time to realize the dress of his dreams. Jamie reveals the parallel between Schmuel and Cathy: she needs to take the time to unlock her dreams. He presents Cathy with her Christmas present: a watch (The Schmuel Song). Cathy sits in Ohio and writes a letter to Jamie. They have just been married and she is missing him dreadfully. She describes to Jamie her quirky life in Ohio among her eccentric cast members (A Summer in Ohio). Jamie is sitting with Cathy in a boat on the lake in Central Park. He proposes. Cathy enters and Jamie presents her with the engagement ring and, for the first and only time in the musical, their stories meet and they sing together (The Next Ten Minutes). They exchange vows and rings, promising to stay together for the next ten lifetimes. They kiss before Jamie escorts Cathy to the rowboat, where she has the other side of the conversation that Jamie had before her arrival. Jamie watches her go. The newly-wed Jamie is facing some temptation issues. He feels like he is constantly bombarded by attractive women, especially since his writing career has taken off (A Miracle Would Happen). Cathy, meanwhile, embarks on a series of audition for the job in Ohio (When You Come Home to Me). She is frustrated with the audition process and discusses her sense of inadequacy with her father (Climbing Uphill). Jamie, on the phone with Cathy, does his best to convince his wife that his relationship with his editor, Elise, is purely platonic. Cathy doesnt believe him. Jamie wants to celebrate a book review in The New Yorker, but Cathy isnt in the mood to go out. She sings passionately about her desire to be independent, refusing to trot along at the geniuss heels. Jamie is reading an excerpt of his book. It is obviously about his relationship with Cathy. In the next scene, Jamie is fighting passionately with Cathy. It is toward the end of their relationship and he is trying desperately to just get her to listen to him. He wonders aloud if they will ever get to the point where things are easy, where there arent so many obstacles facing their marriage. He accuses her of being unsupportive of his career just because hers is failing. Though his words are harsh, he promises her that he believes in her unconditionally, and that if he didnt he wouldnt love her (If I Didnt Believe in You). Some time into the relationship, Cathy drives Jamie to her parents house in the suburbs. As she drives, she babbles happily about her past relationships and her desire not to end up in the same small town life as her best friend from high school: married with children and living in a little cute house on a little cute street with a crucifix on the door (I Can Do Better Than That). At the climax of the song, she asks Jamie to move in with her. Towards the end of the marriage, Jamie wakes up in the apartment beside a woman who may or may not be his editor, Elise (Nobody Needs to Know). He tries to defend his actions and blames Cathy (who is away in Ohio) for destroying his privacy and their perfectly balanced relationship. Jamie promises not to lie to this woman and tells her, just as he told Cathy in Shiksa Goddess, that I could be in love with someone like you. Cathy is at the end of her first date with Jamie. She sings goodbye to him (Goodbye Until Tomorrow). She proclaims that she has been waiting for Jamie her whole life and is ready for this romance. Simultaneously but five years forward, Jamie sits in their shared apartment writing a farewell note (I Could Never Rescue You). As Cathy waves Jamie goodbye until tomorrow, Jamie wishes Cathy simply goodbye. So what do these two musicals have in common apart from the obvious manipulation of time used in each story? Well it becomes apparently clear on examination of both the shows and their creators that these stories are more than just something to be told, but in fact stay perilously close to home and stem from a more personal elements of the world of both Sondheim/Furth and Jason Robert Brown. In Merrily the character, composer Frank Shepherd, advises an aspiring writer Dont just write what you know Frank says as he points to his head. Instead, he encourages to write what you know, pointing to his heart. Despite Sondheim always being very avid that he never writes himself into any characters, there was a clear choice made to change the original Kaufman and Hart play from playwright and painter to composer and librettist who write musical comedies together. There are further similarities established by making the librettist a native of Chicago and graduate of Columbia University. Also we note that the theatre in which Frank and Charleys hit show is produced is The Alvin, which was home to Sondheim and Furths first great hit Company in 1970 and later Merrily itself in 1981. Where the characters and contemporary settings in Company were directly forcing the audiences to acknowledge and confront the themes presented, Merrily also challenges Sondheim and Furth themselves to acknowledge their own world, their own relationships and the industry they find themselves in. Putting the characters in the familar surroundings of Broadway productions allows Sondheim and Furth to make a real statement about the industry; What kind of people fill this world? What kind of pressures do writers and composers face throughout their careers? What do producers want? Can one walk the fine line between commercial success and artistic integrity? Perhaps it is this demystifying of the Broadway illusion was what led to the original production of Merrilys early closure? Jason Robert Brown is more open about his obvious personal link to the character of Jamie and the similarities of the Jamie/Cathy relationship to that of Brown and his failed marriage to actress Theresa ONeill. We see how the rise of Jamies career as a writer mirrors that of Brown as a composer and the troubles it gave in marriage. Indeed, ONeill even threatened legal action before the opening of the off-Broadway production, claiming the piece came too close to real life. Brown made some changes, disclosing them, he states, would violate the settlement but we know that one of the major changes was the inclusion of the Shiska Goddess instead of I Could Be In Love With Someone Like You. The fact that both shows deal with a certain type of person an artist, a creator, trying to make a professional career in New York dictates the musical and lyrical style of the show; In Merrily the fact that the show deals with two friends who write Broadway musicals leads to a traditional book musical with a score widely considered to be one of Sondheims most accessible scores with many ironically hummable melodies. With the characters of Frank and Mary, Sondheim and Furth have the chance to have some verbal fun as they enforce their characters abilities as writers. We see with that Mary has a habit of taking other peoples clichà ©d conversation and turning it into unexpected meanings, for example in the opening party seen: Ru: So what do you do? Mary: I drink. Ru: No, what do you really do? Mary: I really drink. Also, when Frank tells everyone that he and Mary go way back, she continues, but seldom forward, not only a comment on their stalling friendship but also a clever inside joke on the narrative structure of the piece. Verbally, Mary keeps taking people places they dont expect to go. Sondheims lyrics in That Frank show this ability to take the listener down one road and then take an unexpected turn in another direction. Singing about Franks guest she says: These are the movers, these are the shapers These are the people who give you vapors And in Now You Know she makes the surprising point that you should burn your bridges every now and then, turning around the conventional idea that burning bridges is a negative thing. Similarly there is some further beautiful wordplay highlighting her knack with words as she advises Frank that bricks can tumble from clear blue skies, and that people love you and tell you lies Charley sometimes plays a similar verbal trick. Whilst being interviewed on TV he is asked, What comes first, the words or the music? he replies, Generally the contract. Infact, the song Franklin Shepherd Inc is a complete show piece for Charley, highlighting both his talents with words and having only been introduced to the character, the audience are made aware of the dynamics of his character who seeks purity of purpose, dedication and the rewards of keeping it simple. On the other hand, composer Frank is inarticulate in comparison. We find that when he opens his mouth he tends to create some clichà © like the worst vice is advice or she is the raft that keeps me from drowning. Also, we note that he only sings one solo number in the show Growing Up, where we become aware of the characters ability to think he is rationalising his hopes and beliefs when he really means compromising. Both shows seem to have a sense of honesty with the creation of real, multi-layered storyline and flawed characters. Maybe it is the close relationship of creator(s) and story that manages to generate scenes and songs which capture a moment in time or an emotional snapshot which sets these shows apart. Furthermore, both shows also centre on the fragility of relationships, with the manipulation of time constantly conditioning and changing the audiences view of the relationships and where their sympathies lie. **

The Heart of Darkness: The Great Human Disease :: Literary Analysis, Joseph Conrad

It is easy to look at others and see their faults and weaknesses, but it is hard to see the same vices in ourselves. In the novella Heart of Darkness, by Joseph Conrad, this universal human flaw can be seen in the character of Marlow. While it appears that Marlow escaped the darkness, really he remained just as lost in the wilderness as the rest of those involved. The truth is that Marlow was not the exception. He may have escaped Africa, but he did not escape the darkness. Marlow thought that he had only â€Å"peered over the edge† (pg. 119), seen into the darkness, when really he had fallen into it. He had been seduced by the snake. It should have been obvious to Marlow that there was something wrong with this company. There were countless clues right in front of him. Nothing was masked or hidden, made to appear wholesome. First of all, the way that he got the job was something that should have raised suspicion. The previous captain had died â€Å"in a scuffle with the natives† (pg. 12). That bit of information should have made Marlow reconsider taking the job or at least raised some questions concerning the circumstances of the â€Å"scuffle.† Aside from how he got the job, from when he first set foot in Brussels, Belgium, Marlow saw so many off-putting things. He describes the city as a â€Å"whited sepulcher† (pg. 14)-a symbol of death. It is a biblical allusion from the book of Mathew. In a passage Mathew describes â€Å"whited sepulchers† saying that they â€Å"appear beautiful outward, but are within full of dead men's bones, and of all uncleanness† (Matthew 23:27). The fact that Marlow recognizes this shows that he is not completely ignorant to the truth about the company. Then he walks into the company’s office positioned on â€Å"a narrow and deserted street in deep shadow† (pg. 14), and he sees these two women knitting black wool, looking as though they were â€Å"guarding the door of darkness† (pg. 16). Basically everything was telling him not to go behind those doors-not to take the interview-and Marlow chose to do it anyway. At one point Marlow even says it was as if he â€Å"had been let into some conspiracy,† into â€Å"something not quite right† (pg. 15). Clearly, Marlow knew that there was something nefarious about the whole business, and yet he took the job just the same, thus disproving his innocence in

Pfizer information systems Essay

Pfizer is a health organization in form of a pharmaceutical company. It has its headquarters in London. Due to the wide distribution of activities within the corporation however, success of its activities has been through the use of Clinical Management System (CMS). This is management software, which is in a form of a wide scope of database that support the storage, processing and release of information across different departments. In 2000, this information system database won the top honor towards care management. The nature of the database is inform of a complex autonomy of information sourcing, storage and dissemination center to the various departments within the organization. (http://ieeexplore. ieee. org/Xplore/login. jsp? url=/iel5/6709/20043/00926806. pdf? arnumber=926806) It has been an important implement towards the maintenance of patient records in electronic forms. It helps in providing support for the providers of primary care, care managers, health professionals and nurses with the most appropriate framework for decision-making. Within its system, CMS database holds records about the outlay of various chronic diseases. Elsewhere, it is equipped with the health information of various patients which is seen as an important step towards offering adequate performance lifestyle in the care management for the patients. (http://www. pfizer. com. my/01b_bus. asp) To Pfizer, CMS database system was developed as a solution towards patients care management. It has been a tool for supplement health care management in various institutional process management within the organization. A complex autonomy of data is held within its system which captures patient health history, chronic diseases, and medical attention given to them above others. Decision support for patients is attained through the provision of information across various departments within the organization. The database helps the professionals for health care in collected the most appropriate medical history, laboratory data, medical data information on treatment status, symptoms and other basic patient information. Within its system also, treatment information on patients that have diabetes, depression and heart failure is maintained. It also has a component of modules that are used by health care professionals in facilitating health lifestyles. Consequently, an approach towards lifestyles that help to reduce the risks involved in cardiovascular disease is provided. (http://www. pfizerhealthsolutions. com/media/071301_award. asp) Therefore, CMS is a risk management database system where information which is patient specific is stored. Consequently, the stored information is thus configured towards providing the most appropriate real-time analyzed decision support structures to the caregivers. The application of the information held in the system involves trained nurses as well as care managers who are licensed to use various program protocols under strict supervision of a specialist. They then deliver the most appropriate care towards the success of the patients. It has various clinical features and functions aimed at patient care management. Generally, Pfizer Health solutions have been known in offering and enhancing efficiency and quality in health care delivery. This would perhaps be a simple structure of database CMS information system.